Production designer Tamara Deverell knows how director Guillermo del Toro works. They don't talk ideas; they draw them.
Well-versed in his recurrent visual motifs, thematic fascinations and detail-oriented mind-set, she knows exactly how to satisfy his vision.Deverell served as art director on 1997’s “Mimic,” Del Toro’s first English-language film, and nearly two decades later crafted the sets for four seasons of “The Strain,” a horror episodic project that Del Toro created and executive produced.
“It still amazes me that we found that,” she says. “Outside of all the big lighting cranes and rain towers around, it was really like walking into this magical, sad, Midwestern carnival.” Deverell’s team bought, treated and dyed the fabric for the tents onscreen, before sending it along to a company in the Midwest that has specialized in making circus tents since the 1890s. Once the finished products came back, they still had to weather them to achieve an age-appropriate appearance.While the look of most of the attractions derived from historical references, the fun house signified Del Toro’s personal addition to this parade of rarities.
When the story later takes Stan, a charming charlatan, into the high society of the city of Buffalo, Art Deco becomes the dominant architectural style of Deverell’s sets. The office where the alluring psychologist Lilith Ritter treats Stan was the pièce de résistance.
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