Issue link: https://digital.copcomm.com/i/1546606
surprising "flower power" plastic floor liner— was a joy to incorporate. A number of critical scenes take place here, so to make it shootable, the crew put the ceilings on hinges, hid camera ports and wilded nearly every wall. The series' real baddie, Andrei, was a scheming KGB social climber, so we picked an apartment that kept him mired in the low mid-level of the power structure. A spectacular time capsule on location in a 1930s "Constructivist" building, it captured me from the moment I walked in. It gave an aesthetic flair with "early Deco" details, A and solid construction, though the apartment retained the maze-like quality I wanted to accentuate. While the series leaned into the architectural elements of repression and segregation, what kept us from trope was the profusion of color, pattern and texture that filled every inch of the Soviet spaces. It's true that access to goods was limited, but power clashing was a nationwide talent, so each installation of a wallpaper or carpet would be subtly different. With that, I come back to the mandate— vibrancy. It was easy to make color a key to unlocking the look of our show. Co-creators Susanna Fogel and David Iserson are steeped in the aesthetics of the era, so we had a shorthand about what colors were real, but had never been seen, what would feel new and fresh. Adding past collaborator, costume designer Anastasia Magoutas to the mix, allowed us to be strategic about what we each offered to our color language. We also worked closely with the first block DP, Callan Green, to calibrate the LUT that would define the look of the show. It took several A. SASHA'S APARTMENT. 3D SKETCHUP MODEL BY DÁNIEL MIKLÓS. B. SASHA'S BATHROOM. PRODUCTION STILL. C. SASHA'S LIVING ROOM. SET PHOTO BY DÁVID LUKÁCS. D. ANDREI'S APARTMENT. LIVING AND DINING ROOM. PRODUCTION STILL. E. ANDREI'S KITCHEN. PRODUCTION STILL. B C E D