Tamara Deverell used art deco-inspired interiors and '30s-era flair to bring Guillermo del Toro’s vision to the screen.
Deverell also notes that American painters Edward Hopper and Andrew Wyeth were reference points, particularly the latter’s 1948. “[That was the] go-to image we were trying to evoke with the country shack on the hill. That was something that was given to the painters to develop a color palette. I tend to develop a color palette for each area. We show those to Guillermo, and then we go from there.”
Carnival sets included a fun house that was built with moving parts. The skeleton and devil heads, for example, as well as the round wheel that Stanton runs through, were made on set. “That’s 100 percent Guillermo. He had this vision of it, and we started doodling,” says Deverell.
Other authentic pieces included the bumper cars. “We found [them] and we built the whole rig, and we had our special effects team put in little electric engines [so the cars could move]. The [period] carousel was beautiful after we finished with it. Somebody repainted all the horses during the ’70s, so we brought it back to its original state.”
In the second half of the film, Stanton and Molly leave the circus and begin a nightclub act. The period’s art deco aesthetic is visible throughout “to show that they’re becoming more successful and then they’re going into a different world.”
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