Designing “Crash”

by Hilda Stark, Production Designer

I liked the challenge of carving out a new look for the second season of “Crash,” one that reflected both the stylish sensibility inherent to Los Angeles as well as its gritty underbelly. The storylines presented an opportunity to contrast many different facets of the city. Also, the producers wanted me to design some very exciting permanent sets, which I love to do.  

Having been a big fan of the movie Crash and the “six degrees of separation” aspect which drove the story, I was glad to find that the divergent characters portrayed by Dennis Hopper and Eric Roberts in our show would set the stage for interesting environments on their journeys towards redemption.    

Recreating Los Angeles has as much to do with people’s perception of the city as it does with a realistic representation. If you consider those perceptions and then heighten that reality, the viewer will be validated. So it ultimately comes down to what one chooses to present and how to do that. Controlling the color palette is one way, and supplementing our sets with LA foliage from our own greenhouse is another. In some cases it may be about enhancing a scene through visual effects, a tool that is immensely helpful. Making Albuquerque—where we shoot “Crash”--look like LA is also very much about framing, about what you don’t see. As in—the desert Southwest’s brown, brown, brown!  

As a one-hour dramatic series, “Crash,” has the story requirements of feature film projects, but requires expediency and creativity within strict budgetary and time restraints. Once the “honeymoon” period of conceptualization and pre-visualization is over, design decisions on each episode have to be made very quickly.   

The production designer is responsible for developing the overall look of a show, a process that begins with creative brainstorming between myself and the executive producer or “showrunner,” who for “Crash” is Ira Behr. The production designer is technically responsible for what is seen in front of the camera. That might mean anything from designing a tattoo for the makeup department to working with special effects to insure the proper look for a bonfire or dented car. My job includes designing sets, supervising the decorator, guiding location choices, consulting on wardrobe, props, picture cars, and special effects, as well as working closely with visual effects.  

My relationship with the cinematographer, Frank Perl, is of utmost importance as it is in conjunction with him that the visual tone is ultimately set. In the episodic TV world, a new director usually comes in for each episode. It is my job to facilitate his/her approach while protecting the look. And of course, like all department heads, I must report to Lester Berman, the line producer, and stay within budget. There are a lot of people to please!

One of the more difficult aspects of designing for episodic television is that while one show is in the midst of being shot, I am already off scouting and prepping with the next director and not always available. That is when a good crew is essential. My decorator Susan Magestro is terrific, and she is hooked up with the art world in Santa Fe, which has been a real plus. In fact, in all areas I have been pleasantly surprised by the expertise and talent available here in New Mexico.