Finding a Time and a Place for the END OF THE WORLD
Creating the Design for SEEKING A FRIEND
Figuring out the right design and costumes for the END OF THE WORLD is not as easy as you might think. Writer/director Lorene Scafaria and her design team had to keep things real and present, but also a fantasy.
SEEKING FRIEND FOR THE END OF THE WORLD takes place sometime in the future – but not too far away.
Writer/director Lorene Scafaria explains, “I always intended to be vague about it in the telling. The only time we see a date is on a bottle of cough syrup, and we don’t know if the expiration date is coming up or it’s already come and gone.
“By being only relatively in the future, I had options to play with the look of the film. [Production designer] Chris Spellman and [director of photography] Tim Orr helped create the aesthetic for the movie.”
Spellman remembers, “When Lorene and I first met up, we talked about some films that she wanted me to see.”
“I was inspired by films like Defending Your Life and Songs from the Second Floor, movies which created their own world,” says Scafaria, who also discussed with Spellman how the design, sets and set dressing should not overpower the story and characters – as in many an end-of-the-world tale – but instead inform them. “Chris and I figured out the tiny little stories within our story, whether it was for an object or for a person you see only fleetingly.”
Producer Mark Roybal found that “the aesthetic that’s been achieved is that of a future which is recognizable. Since things are not overdesigned, there is no detracting from the heart of the story.
“Chris was so good at doing research when it was needed; for example, the plot point of if a small plane could in fact transport someone overseas was something that he ratified.”
Spellman notes, “We went with what the script dictated. Tim – whom I’ve worked with before – and Lorene and I went through it page by page, and discussed what the mood might be in terms of lighting, for instance.”
Scafaria reveals, “I had had high hopes we would get Tim for Nick & Norah’s Infinite Playlist; I’d seen and loved his work. When that didn’t pan out, I became obsessed with working with him some day, and I felt so fortunate when we landed him for this – my first time out as director.
“We mapped out the entire shot list well before production started, then revised it as we went along, and certainly improvised when we had to on a given day. It was a very symbiotic collaboration. We agreed on our process together out of the gate, coordinating on shot composition. I come from a theater background, so I had to keep reminding myself to try to get as much coverage as possible. I learned more from Tim than from anyone else, and often referred to our time together as ‘my film school with Tim Orr.’”