26 Apr Michael Manasseri Behind the Scenes Designing Reality for Film and TV
From the iconic red couch on “Friends” to meticulously crafted movie sets, the worlds we see on screen are products of deliberate design choices. On our latest iDesign Lab podcast episode, we explored this fascinating realm with actor, producer, and director Michael Manasseri, whose career spans from Broadway to his iconic role as Wyatt Donnelly in “Weird Science” to his recent award-winning film “Give Me Liberty.”
The parallels between interior design and production design are striking and numerous. As Michael explained, “It’s all design. It’s the designing of what an audience is going to see and take in on the screen, and all of the elements, all of the questions. They’re really similar to what a designer would need to ask from a homeowner or a client.” This collaborative process involves directors, producers, and production designers working together to create environments that serve the story while appearing authentic to the characters inhabiting them.
Production designers function similarly to interior designers, overseeing everything visible on screen – from wall treatments to furniture selection to the smallest decorative accessories. They consider the character’s age, background, socioeconomic status, and personality when making design choices. Would an 80-year-old character have modern IKEA silverware? Probably not. These details matter tremendously in creating believable worlds.
The design process for films begins with a lookbook – a visual guide establishing the mood, style, and aesthetic direction for the entire project. This document helps align everyone’s vision and serves as a reference point throughout production. Michael shared that these lookbooks typically reflect the finished product closely, though budget constraints can necessitate changes. In both film and interior design, the budget dictates what’s possible, though Michael noted that homeowners are often more reluctant to discuss financial parameters than film investors.
Temporary design is another concept bridging both worlds. While homeowners typically seek permanent solutions, film sets are inherently temporary – even long-running television shows like “Friends” eventually wrap. Yet these temporary spaces must appear lived-in and authentic. Is that famous living room from “Friends” still somewhere in a warehouse? More likely, as Michael pointed out, it’s been mass-produced as part of the Friends Furniture Collection.
One of the most entertaining insights Michael shared was about the unexpected challenges that arise in production design – like when 20 pounds of frozen chicken (a crucial prop for the next day’s shoot) was stolen from a freezer during the filming of “Give Me Liberty.” This crisis required immediate problem-solving, demonstrating how even the smallest design elements can impact an entire production schedule.
The relationships formed during creative projects also mirror one another across industries. Michael described the intense, family-like bonds that form during film production – people working closely together for months, only to scatter to different projects afterward. Similarly, interior designers often form close relationships with clients and vendors during renovation projects, connections that evolve once the work is complete.
Whether designing for a homeowner or a film audience, the fundamental goal remains the same: creating environments that tell authentic stories about the people who inhabit them. As we navigate our own spaces, we might consider what story our homes are telling – and perhaps view our favorite films with new appreciation for the thoughtful design choices that make fictional worlds feel real.
LISTEN: https://twinteriors.com/podcast/
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