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P E R S P E C T I V E | J A N UA RY / F E B R UA RY 2 0 1 6 49 of the era: Vivian Maier, Esther Bubley, Evelyn Hofer and Helen Levitt (Therese is an aspiring photographer in the story). In the work of all these artists, an aged grimy city, exhibiting many shades of brown, beige and grey, textured with aged brick and cracked asphalt, is offset by bright touches of color emanating from streetlights and signage, bits of wardrobe, and bright yellow cabs (which stand out among the mostly black and neutral cars). Also evident in the images, and important to the story of two women struggling to come to terms with their feelings, is the frequent use of fogged and soiled windows and reflections. These methods of concealing and distorting imagery came to be a crucial visual component of the film, used to comment on the repressive atmosphere of 1950s society where emotions are veiled, and to conceal and heighten the story's psychological undertones. An assortment of windows, panes of glass and mirrors were carried on the set dressing truck, so that Todd and Ed could get more of these specific shots on the spur of the moment. Visualizing Emotions Designing Carol by Judy Becker, Production Designer Above: Carol (Cate Blanchett) in the McKinley Motel Presidential Suite. All the architectural, wallpaper, paint and set dressing detail was added to the bare room. © The Weinstein Company