Issue link: http://digital.copcomm.com/i/1241865
7 8 P E R S P E C T I V E | M A Y / J U N E 2 0 2 0 Locke & Key, adapted from the wonderful comic book series by Joe Hill and Gabriel Rodríguez, follows the three Locke siblings and their mother after their father is murdered and they move across the country into his ancestral home, Keyhouse. They discover that the home is full of magical keys with unique powers and wake a demon who wants to steal them back. The opportunity to design Keyhouse, which is essentially a lead character in the series, was exciting and intimidating in equal parts, and I was thrilled when executive producers Carlton Cuse and Meredith Averill reached out to me as I was finishing up American Gods. They sent me the first few scripts, I sent them a pitch book and they brought me on board. Their vision was to keep the house inviting—to make it something you'd want to explore and get acquainted with. I was also going to need to create contrast between the house and the 'key spaces' —worlds that the keys opened up. After moving in, the Locke family would be the ones to wake up the house. This would be shown by the house getting mended as the story progressed—it's an injured character that gets brought back to life. The mom ina Darby tanchfield starts working on broken plaster walls and wallpaper, and the kids, Bode, Tyler and Kinsey (Jackson Robert Scott, Connor essup and Emilia ones would open up its powers after finding hidden keys. I wanted to maintain the aesthetic of the comic book in some elements but keep it relatable to viewers. The scale of the D e t a i l a n d F l o w C R E A T I N G K E Y H O U S E F O R L O C K E & K E Y B Y R O R Y C H E Y N E , P R O D U C T I O N D E S I G N E R A