“I said, ‘What is this table?’” said Hindle. ![]() In the show’s first episode, Britt Lower’s character Helly wakes up to her new life as an innie on top of a large table that bends around the shape of her body. (This piece will be updated as more odd corners of the Lumon office reveal themselves.) Hindle and Baseman walked Vulture through the thinking behind the various cursed objects and furniture that haunt the world of Severance. In designing the sets, Hindle worked closely with set decorator Andrew Baseman and relied on input from writer Dan Erickson and director Ben Stiller to capture the particular menace of Lumon’s aesthetic. The result is an eerie yet playful steel-toned work space that befuddles the characters while winking at the audience. (The innies are, after all, only a couple of years old.) As Hindle puts it, “The managers are raising them in this work environment,” and Severance’s visual design carries forward that sense of “office as haunted playground” complete with influences from mid-century American office design by the likes of Eero Saarinen and Kevin Roche and accessories that seem to exist out of time. In Severance, “innies” have no memory of their lives outside of work (the opposite is true for their “outies”) and are treated like “little children,” says production designer Jeremy Hindle, who likens their mysterious, windowless office to a playground. When you agree to sever your consciousness to work at the mysterious conglomerate Lumon, you end up in an empty, hauntingly generic office space every weekday morning.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |