Inside The Screen : The Awarded Set Production Design of Mr.Robot
Enter The Future The Right Way… Or is It?
As the third season is mostly in the end, Mr.Robot promises a lot of disarrays and wonderful chaos to show the world in awe. In this dystopic world of intricate realities and parallel feelings, the show that keeps on giving is going to leave a stain, and a mark, in the lives of the fans and the world. Along with that, we’re here to present how theset productiondesignof this intense TV series is already leaving a mark. *Warning: Spoilers Ahead!*
A dystopian future where everything is, in reality, a lot more complicated than it should be. Mr.Robot presents the fans with several new outcomes of what the future might be and how we can cope with it. Although the focus stays on the on the themes of surveillance and paranoia, the one we want to talk about is how this dystopian and futuristic future is set to be.
Fun Fact: Originally, the renowned hit TV show, was intended to be a feature film! The creator Sam Esmail, was interested in the hacker culture for over 15 years and finally, after so much time has passed, this is the wonder he brought to us. With inspiration such as American Psycho, Taxi Driver, A Clockwork Orange, and The Matrix the show has a bit of it all – even Fight Club!
Anastasia White is the woman we all want to meet. With a focused eye when it comes to reality, the production set design is one that we have our eyes on. Keeping the world of New York and the technology the characters use as close to reality as possible this was one of the key features the producer was focused on.
Colors, lighting, and textures create the contrast necessary. While the spaces in which Elliot moves are dark, muted and are usually illuminated by natural or practical lighting, E Corp—aka Evil Corp—is presented in the sleek, white surfaces of corporate architecture. “You go from E Corp, where they’re doing fine and it’s bright and clean and shiny, and then you’re outside where everything is trashed. It’s just even more of a shock to see,” White says.
For the interior design, the crew had a bit more control. And as a show about technology and its hold on our lives, incorporating technology into the sets had to look more or less seamless—and accurate. White says that Sam Esmail, the show’s creator, prefers to shoot screens live instead of burning them in by way of a green screen in postproduction, an easier process.
White, who won an Art Directors Guild Excellence in Production Design Award earlier this year for her work on Season 2 of Mr. Robot, shows us that, working closely with the series creator only creates benefits. Moreover, imagination is all around us “Sam and I share a lot of reference photos during prep, as well as work together to create colour schemes for the characters. While I’m location scouting, I send him photos of my favourite options. […]The great thing about Mr. Robot is that I can find visual inspiration in anything from a concert, to an art museum, to street art, and Sam is equally as open and excited to incorporate those elements.”
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