The world is very expansive, because what happens is that sometimes becomes so monotonous that you can’t necessarily distinguish things from each other. And so I felt like “Lost Highway” was a good reference for that, or I thought about the scene in “Wild at Heart” where they pass that traffic accident. , I was talking to Tom about David Lynch, and it looking more like it’s very surreal, and there’s some violence, obviously, to it. And so what I was thinking about was how there should be two different looks to the West Texas world, so there’d be a night look and then a day look. I distilled it down to Tony and his relationship to masculinity. What went into creating West Texas, the fictional setting of the manuscript?
We have Erin Curry, and then also Mark Bradford. There was a Sterling Ruby piece that’s in the film, but it was actually part of the house, so we just got a clearance on it. We used a Calder piece that was his we used a John McCracken piece that was his we used a Robert Motherwell piece. Well, it’s very easy when you’re working with Tom Ford because he has a lot of that artwork in his collection. We brought in a lot of that artwork as well. We had to bring in a lot of the furnishings to make it look more like her world. So we could get those long hallway shots, and it feels like she’s being captured a little bit by the architecture and isolated from her family and then her relationship with her husband. It’s basically one level, but it’s a very long house. Kurt Rappaport is the owner of the house, and the designer Scott Mitchell did a lot of the Nobu restaurants. Her house was this ridiculous $100-million home in Malibu. What came into my head was Antonioni’s the “Red Desert.” And dealing with that alienation and isolation in this industrial world could be applied to how Susan Morrow is dealing with and navigating Los Angeles in this upper-echelon world. In “Nocturnal Animals,” what were your visual touchstones for the present-day world? He then launched a career as an art director for the Oxygen network before expanding into film.
Prior to that, he studied film as a fine art at Occidental College and the San Francisco Art Institute. The thriller from director Tom Ford spans three distinct worlds: the present-day existence of art gallerist Susan Morrow (Amy Adams) the fictional setting of a manuscript penned by Susan’s ex-husband, Edward Sheffield (Jake Gyllenhaal) and the past shared by Susan and Edward during their marriage.Īrt galleries are familiar spaces to Valentino, who has served as supervising art director for exhibits at the Metropolitan Museum of Art. Working on “Nocturnal Animals” was really an opportunity to design “three films in one,” says production designer Shane Valentino.
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