Having designed for a number of acclaimed projects across film and TV including American comedy-thriller Fresh (2022) and Hulu’s 2024 series Under the Bridge, we connected with Canadian production designer Jennifer Morden to learn more about her creative process, what she loves about her work and the advice she has to those looking to follow a similar path.
Can you tell us a little bit about what you do as a production designer?
As a PD, I am brought into the film process in the development stage before prep on a show has begun. I start by reading the script and pitching to the director/showrunner and often a creative producer, what I see for the project visually. If the decision is made to work together, I put a team of talented artists (set designers, graphic designers, decorators, painters, construction teams, props masters etc) to bring the vision of this film to life. As we build the visual language and scenography for the script, I am continually working with the other creatives to make sure this language is cohesive throughout all of the sets.
“I think the key is to not get caught up in actually designing. Not every set or project will demand the same level of actual design. What every project demands is a curator, a director of design. The art and skill of doing it well, in my opinion, is knowing what a set needs to enhance the backstory.”
What drew you to the world of production design and what do you love most about your work? Alternatively, what would you say is the most challenging part?
My movement into film came about very organically. Initially, I was interested in visual story-telling through photography, and then found myself wrapped up in the world of the set around my subjects and felt the power that building out the world around them could help to tell whatever story I was trying to tell. From there, I started talking to people, and found out about production design for film. The most challenging part of the process for me comes with keeping everyone in sync…adjusting as the process unfolds. It starts out as a small team with a vision, but then the realities of locations and money come into play, the team grows exponentially as you get closer to the camera, so keeping everyone aligned becomes the next challenge.
You’ve designed for a number of acclaimed projects across film and TV. Is there one project in particular that has stood out to you the most?
Every project stands out for different reasons. I would say that Fresh was the first project that really challenged me as a designer. Not only designing the physical sets we shot in the studio, but Mimi, the director, really pushed me to think deeply about the power of art, props, and small details in a way I did not have the flexibility to think about on previous projects. The power is in the details, and I have since taken those learnings and their impact with me into every job I have done since and fought for the time, budget and crew to allow for that depth of design.
Can you walk us through your creative process and how/if it differs depending on what kind of project you’re working on?
Honestly, the creative process is pretty similar whether I am working on a commercial, film or TV project. What differs is the personalities and the attention to different details depending on what the director, show runner, or client is themselves most passionate about.
In your opinion, what do you think makes a piece of production design iconic or unforgettable in pop culture? Are there any examples that come to mind?
I am finding myself more and more caught up in the power of music videos. It’s a field I haven’t had much opportunity in and I am constantly blown away by the visual storytelling that can be done in collaboration with a musical artist’s lyrics. This interest started with some of Sia’s videos, Billie Eilish, Childish Gambino, Taylor Swift’s ‘All Too Well’ and many others.
Does pop culture have an influence on your approach to production design? Are there particular films, shows or trends that have shaped your aesthetic or process?
I don’t know if ‘pop culture’, per se, has an impact on my approach to design, because each project demands a different thing from it. Some of the more youthful ‘Rom-Coms’ certainly have a demographic that is worth considering in their design, but I mostly like to think about the characters, and then begin to research whatever comes up for me when I do their study.
Any advice for emerging designers looking to make their start in production design?
My advice would be to dive in! Take some courses in design – be that graphics or architecture – and then start working. I worked on indie films and commercials initially and then started working under designers I admired, who were doing larger scale union projects, and just studied them! Do your best to understand each part of the process and feel out what resonates for you. Ask all the questions, and treat every project with the same respect, no matter your role, or the budget.
