Variety: You don’t get to establish the overall look when you’re hired to work on a TV show that’s a season or more into its run, but the gig can still be creatively rewarding, says production designer Judy Rhee, who scored back-to-back jobs on two high-profile series in progress: “Marvel’s Jessica Jones” in its second season and “Better Call Saul” as it embarked on its fourth.
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I’ve never really thought about having new designers on a production in progress because most of my thoughts about designers has been in terms of theatrical performance and occasionally film, where I do not believe this happens unless there is an issue that calls the designer away or removes them. It makes sense though, given the almost organic nature of television series where the story lines progress through a life and the characters grow and the world changes as if it were the real world. The whole story isn’t thought out from the beginning so why would the designs be. It seems like a interesting challenge to make your own work from someone else’s or try to make some part that’s entirely your own (like the previously unseen apartment in Jessica Jones) have to fit into a world that was already established as if it had always been there.
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