![]() I’ve learned not to get too emotionally attached to these things.” “It’s a little sad for me when that happens, but but I’ve done this long enough where I can come to terms with it. “I designed a warehouse set where that was actually created with the intention of blowing it to smithereens both in the exterior and interior,” Matteo notes. It’s also the fate of production designers working on a show featuring pyrotechnics that there will be explosions, and those explosions will destroy what they’ve created. To that end, he worked in his sets to emphasize the lead character’s uncertainty and the blurred lines between reality and Weir’s perception of events. He leaned into the idea of a labyrinth or maze in many of his designs to create an illusion that the interiors require effort from Weir to escape or reach the goal in the middle, making the designs themselves active participants in the story. Our protagonist is really struggling with what it means to live in a post-truth world.” The designs that he and his art direction team came up with “had to allude to a kind of disquiet, a bit of turmoil under the surface.”Īs the show’s production designer, Matteo designed safe houses with secret hiding places for documents and electronics and created designs that spanned decades, from John Weir’s child home and boarding school to modern hi-tech offices. “It’s very much about the mental state of our hero and everyone he meets. When he joined on, Matteo’s marching orders were to create a moody motif – “an action thriller where a lot of the real action is mental,” he explains. In the spy drama “Rabbit Hole,” Sutherland portrays John Weir, a master of deception in a world of corporate espionage whose tragic past bumps up against the present when he’s framed for murder.
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