remains, as Bashore puts it, “this idea of the way you want it to be isn’t really the way that it is. We knew that we could take that same thing that we did with the wallpaper in season one and take it much, much further with these murals and paintings, and create stories that fall apart in front of your eyes.”
White was inspired by the trompe l’oeil frescoes at the real-life Villa Tasca in Palermo, where Daphne and Harper stayed in episode three. “In some ways, it was even more challenging, because it’s an existing set of rooms, and it’s like, ‘Make a film out of this,’” Bashore explains.
To start, Crawford flew to the villa in Italy, accompanied by a photographer, and they spent several days shooting high-resolution stills of anything that they thought might be usable. Upon her return to the States, they began identifying shots that were a possible fit, then removing material, and repainting new material in its place, or painting completely new scenes.
But the most fun part of the process for Crawford and Bashore was brainstorming the imagery paired with each actor’s name when it appears in the credits. In the seven months of total work, at least a full month went toward scanning the scripts and coming up with 10 or so options to directly link with every character.
The creators hope that they’ve provided something for everyone, whether it be fans of the various characters, the psychology of the show, or art history or mythology. “It does present a good puzzle and challenge for us,” Crawford says. “Mike worked so hard to create these really rich shows that that’s a bar that we had put out there for ourselves.”
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