Issue link: http://digital.copcomm.com/i/1124104
Since premiering on Netflix in February, that's probably the question I've been asked the most about Russian Doll, the Natasha Lyonne-led series developed by herself, Amy Poehler and Leslye Headland. "What does it mean?" I love this question, as I think it gets to the heart of the work of Production Designers. For me, Production Design is not about being beautiful, but about being subversive—making design choices that are suggestive, manipulative and rooted in character. The magic of Russian Doll is that everything seems potentially meaningful. Like a good video game, every room, object and interaction feels like it could lead to a different outcome. This is a true testament to the writing, which from the outset described the door, the handgun handle, and the maximalist apartment with detail and delight. It is revealed over the course of the season however, that the mystery of Nadia and Alan's repeating deaths is not about these details. It's not about a door. It's about trauma, the past, and each one of these characters being their own worst enemy. The Production Design of Russian Doll stems directly from a few abstract script references to "What is up with that door?" A. THE DOOR REFLECTS AND REFRACTS IN THE TILE. A VISUAL CUE OF NADIA'S GLITCHING JOURNEY. THE CHALLENGE OF THE DOOR WAS HOW TO IMPLY DEPTH AND MYSTERY WITHIN THE SHALLOW THICKNESS OF A DOOR. I THOUGHT OF CONTOUR LINES AND THE GLOW OF PAPER, SO THE CONSTRUCTION ENDED UP BEING FAIRLY SIMPLE— SPACED LAYERS OF RIPPED WAY PAPER, BACKLIT WITH LED STRIPS. SET PHOTO. B. & C. PRELIMINARY SKETCHES FOR THE BATHROOM DOOR IN MAXINE'S LOFT. B C