Behind the Scenes of Mr. and Mrs. Smith: An Exclusive Interview with Set Decorator Michael Nallan

PH: Can you walk us through your creative process in bringing the Mr. and Mrs. Smith scene to life? What were your main inspirations and goals for this particular scene?

Michael Nallan: The creative process always begins with the script. The writers will give us keynotes, details, and adjectives that help us visualize the spaces and sets we are about to create, much like the visuals you would get in your head.  In the case of The Smith’s townhouse, we had many specific callouts to various luxury amenities that we knew we would have to incorporate; high-end kitchen, screening room, indoor pool, multiple bedrooms, water bar, rooftop terrace with composter (this is important later on) etc.  From there the production designer will curate some mood boards ds with renderings and reference photos of his vision which he, the decorator, and the showrunner will go through to discuss elements they do and don’t like from those reference photos, this sort of gets the whole team on the same page about what our respective visions are and from there we can start moving ahead.

We will begin picking the main guts of the sets: flooring tile, lighting, and so one, and begin constructing the set.  As those elements are selected we move on to key furniture pieces, window treatments, and every other item of decor you can think of that will help tell the story.  The main inspirations for this set were to create a lovely, glamorous and aspiration townhouse for the characters, one the viewers would lust to live in.  But also the townhouse was intended to be a little cold to start, as if was provided by their employers the spy agency and would not yet have been furnished with personal details from our main characters, these elements were gradually added later (EP 4, after they get back from Italy onward) and we were able to add and layer items that helped develop out characters

PH: Tell us about the location and set design for this scene. How did the environment contribute to the overall tone and mood you were aiming to convey?

Michael Nallan: In terms of the physical location we actually built the townhouse from the ground up on a sound stage in Long Island City.  However, as it was intended to be a New York townhouse, we were true to the parameters of what a townhouse would be.  This meant only using exterior windows and doors on the front and the back (as the sides would be flanked by other townhouses), the width of the townhouse we kept to 20’ wide as a standard townhouse would be, and similarly we worked with the appropriate ceiling height and scale.  While we had free reign to design the entire interior of the townhouse, we made sure to keep true to these parameters to keep it realistic.  In this way is much the same as someone renovating at home.

PH: Did you encounter any unexpected challenges during the filming of this scene? How did you adapt and overcome these obstacles?

Michael Nallan: There were of course obstacles in this scene (as there are in most days in this industry), but part of the fun of this profession is to take those obstacles, take a step back, find a solution and make it work.  As I like to tell people, you have to find calm in the center of the hurricane so you can think clearly and find a solution because there is always going to be a problem but your ability to not get too emotional, and think logically to solve that problem quickly and well is what is going to set you apart and help you get ahead.  Relative to this particular scene I think the issue was we were unaware earlier in the season that the final episode would include the “battle royal” as we called it where John and Jane attempt to kill one another in the townhouse (and destroy it in the process).  As a result of not knowing this earlier on, the set was not designed to be easily destroyed and we had sourced many one-of-a-kind pieces of furniture that could not be destroyed in multiple takes.  So when we were given these script pages we had to put a lot of conscious thought into how to execute that scene by sourcing multiples of key items on short notice, building additional wall panels, and so on to give the desired effect of mass destruction of the townhouse.

PH: How did you collaborate with other key members of the production team, such as the lighting department or the art department, to achieve your vision for the scene?

Michael Nallan: The second decorator, set dressing, and all of the departments collaborate on a daily basis, we are all interdependent so communication is key.  Lighting as a simple example; set dec will provide practical lights that justify a light source, and often are used to light, and so it's important to be in communication with the gaffer and DP to understand what the tone of the lighting is intended to be.  It’s important to communicate with construction on door hardware and hinges (sourced by set dec but installed by them), wallpaper picked and sourced by set dec (but installed by scenics artists), with the AD department on how many extras to expect in scene, or any special requests from the director, with the costume department to properly dress a closet for a character relative to what they wear, to coordinate with the prop department on a million details like china and glassware for a dinner that stylistically ties in with the tone of the rest of the set’s decor.

PH: Can you discuss any special effects or visual effects used in the scene? How did these elements enhance the storytelling?

Michael Nallan: In this scene, we used quite a bit of special effects. Namely, we installed a lot of squibs around the house that when paired with blanks in the prop guns create the effect of the shootout.  So we made panels on the walls that would explode, light fixtures in multiples to explode, tons of breakaway glass (jars of items, walls of wine, you name it).  All of these items helped to create the sense that there was real gunfight going on, that the danger was real and amplified the sense of suspense and action for the viewer.

PH: How do you feel this scene contributes to the overall narrative arc of Mr. and Mrs. Smith? What emotions or themes were you hoping to evoke in the audience?

Michael Nallan: I think this scene is really the culmination of the love/hate love affair we see developing for John and Jane throughout the season.  They are polar opposites, but then as they come to navigate their new life together they find love and respect, but then as the season progresses their fundamental differences drive them apart again.  In this scene during the shootout, they are both “trying to kill” one another but neither is succeeding because they don’t want to actually kill the other.  It’s during this scene that they realize just how strong their love and bond have become and by the end, they are back in this together.  It’s a tumultuous arc, but it's very real and relatable and I think that’s what's so beautiful about the story being told in this season, they are real people with real flaws, and I think as a viewer it’s very relatable and grounded even in this super spy world they are living in.

PH: What advice would you give to aspiring filmmakers or production professionals looking to create impactful and memorable scenes like the one you worked on in Mr. and Mrs. Smith?

Michael Nallan: I think the advice I would give any aspiring filmmaker is to keep going.  It’s not an easy path for anyone and it takes a lot of drive and determination to make it.  If this is what you want, keep going, and don’t get discouraged. There will be plenty of highs and lows, but it is truly a one-of-a-kind profession at its high points, and if you love it like I do you feel that.  The other piece of advice I would give is not to overthink it; take opportunities as they come, listen and learn from those around you, and do your best to keep a level head and enjoy the journey as you go.