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The Design Process in Production Design: 8 Conversations about Sets, Props, and Locations

In this combination of creativity, research, and collaboration, various production designers have approached us to share their adventures.

Return to Silent Hill plot and filming locations revealed

The plot and filming locations for Christophe Gans' Return to Silent Hill, which isn't connected to his 2006 Silent Hill, have been revealed

Monster In The Bed: An Interview With THE INVITATION Director Jessica M. Thompson

A stylish reinvention of the Dracula legend, blending contemporary social commentary with gothic romance and horror.

The Invitation Director Jessica M. Thompson Talks Dracula

Director Jessica M. Thompson talks The Invitation, her new take on the Dracula mythos, told from the point of view of the brides and not the count.

¿Cuándo se estrena Ruega por nosotros en México?

'The Unholy': Film Review

Jeffrey Dean Morgan and Katie Aselton in 'The Unholy' Shady Lady Madonna. TWITTER 4/2/2021 Jeffrey Dean Morgan plays a disgraced journalist who stumbles onto a wave of religious miracles obscuring a malevolent history in the latest from Sam Raimi's Ghost House Pictures. Just in time for Easter, The Unholy offers up satanic counter-programming to sate the appetites of the religious horror faithful. Almost a decade after getting drawn into a dybbuk haunting in The Possession, Jeffrey Dean Morgan reteams with Sam Raimi's Ghost House Pictures, this time switching from Jewish folklore to Catholic demonology in a tale that tills the soil of Massachusetts for its history of charred witches. After an intriguing setup that takes its time building atmosphere and characters, declining to rush the first death, the film becomes progressively overwrought and hokey. It also loads up on derivative tropes that worked better everywhere from

Felicity Abbott: "Production Design has been referred to as Architecture of the Screen"

Production designer Felicity Abbott is behind the great staging of The Luminaries, a mini-series that takes place in New Zealand during the 1860s West Coast Gold Rush. In the below interview, she tells us her thoughts on the connection between films and architecture, addressing her work process and the main challenges on this set. Courtesy of Felicity Abbott and Daniel Birt Fabián Dejtiar (FD): Alongside set decorator and fellow New Zealander Daniel Birt, you researched, designed, and constructed the time period of the New Zealand colonial gold rush. Could you tell us about your work process? How did you translate all that on the set? 

Felicity Abbott: "Se ha hecho referencia al diseño de producción como arquitectura de la pantalla"