Issue link: https://digital.copcomm.com/i/1507937
in Jimmy's home and keeping all his drapes closed until episode three, then slowly opening them up to bring in the light as he emerges out of his hole of darkness and despair. I now felt in sync with the show's creators as visual concepts were approved to share with my team—set decorator Andrea Fenton, Art Director Judy Cosgrove and construction coordinator Dwayne Franks. As scouting began, the writers had been immersing themselves in the life stories of over one hundred therapists; we all did extensive research together and referenced an exceptional nonfiction book titled 50 Shrinks. We learned many therapist's often make intentional design choices with their surroundings to provoke a response in their patients. So, with authenticity as our North Star, we were mindful of strategies our diverse cast of characters might employ to set the table for their patients, or to minimize their own exposure with an absence of anything personal. Pasadena is revered for some of the finest examples of Craftsman, Midcentury Modern and Spanish-style architecture in the country, so there were many gems to consider for the exteriors. Given Pasadena's filming restrictions and the limited days out on the shooting schedule, the production's choices had to be equally strategic and creative. I chose to focus on iconic midcentury structures for Paul's (Harrison Ford) therapy practice and his Orange Grove condo residence, a Craftsman-style house for Jimmy's (Jason Segal) and Spanish bungalow style for Gaby's (Jessica Williams) and Liz's (Christa Miller) homes. Once all was decided and approved, we were off to find exteriors so we could get to designing and building matching interiors on three Warner Bros. stages. It wasn't until designs for two of the main permanent sets were approved and under construction that it was announced Harrison Ford would be joining the cast to play Paul, Jimmy's mentor and boss at work. Needless to say, everyone was pinching themselves at the news. The next morning, I was out scouting with director and producer Randall Winston. Randall had to be back at the office early that afternoon to take his first call with Harrison Ford but as we hit traffic, he realized he would have to take the call in the van. He was in the front passenger seat on speaker phone, and I was seated directly behind him. Suddenly there he was…Harrison Ford, that voice we all know so well, in top form, serious but with a disarming sense of humor. I was so close to Randall it was as if I was in the conversation. To my surprise, one of the first requests he made was to meet the Production Designer, because he E. LIZ AND DEREK'S HOUSE KITCHEN. STAGE SET ON WARNER BROS. STAGE 6. SET PHOTO. F. LIZ AND DEREK'S HOUSE FAMILY ROOM. SET PHOTO. G. LIZ AND DEREK'S HOUSE KITCHEN. SET PHOTO. H. LIZ AND DEREK'S HOUSE FAMILY ROOM. SET PHOTO. SET PHOTOS BY TIM SWOPE. E F G H