“It was designed to show her character was controlled by everything and that she doesn’t have any other life except for the world she created for herself,” Caso says. We wanted to show she is pure, untainted by the world, and lives in this great open space with her mother.” Her color-coded closet is a lesson in anal-retentiveness. “I never really like to design an all-white set, but for this character, it was important. The white-on-white interiors for singer and radio evangelist Sister Molly Finnister (Kerry Bishé) show just how essential production design is in narrative storytelling. “Everything on the set is there for a reason and has a meaning, as details are very important to John,” says Caso.Ĭaso and set decorator Brent Mannon sourced flea markets and estate sales from Bakersfield to Los Angeles (Madigan, seated, and Bishé). ” One of the more memorable sets is Detective Vega’s mother’s garage sanctuary, which is filled with an array of angels, figurines, and candles that also involved a good deal of research into Santa Muerte (known as the Mexican folk saint of death). The team wanted to hit as many locations as possible, and to avoid prop houses, she says, because “you see the same things over and over. She and set decorator Brent Mannon scoured flea markets, yard sales, and antique shops all over Los Angeles, Bakersfield, Sacramento, and San Diego for period-appropriate furnishings and accessories. “We wanted to show the family and their struggles and the relationships with each other, and show the contrasts between each, so you will see a lot of family photos,” Caso says. Creating it involved a deep dive into the designs of Mexican culture and folklore of the time. One of the primary sets is the Vega house, where the detective’s mother, brothers, and sister all live under the same roof. A garage filled with religious artifacts becomes a sanctuary for matriarch Maria Vega (played by Adriana Barraza).
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