Production design can make or break a mystery.
Summary In A Haunting In Venice, Hercule Poirot is living in Venice after retiring from mystery solving. Living in self-imposed exile a former associate, Ariadne Oliver, invites him to a séance where he could potentially prove the ring leader, a medium, is actually a fraud. However, when a guest is murdered Poirot will step back into the role of detective to solve the case.
John Paul Kelly, production designer on A Haunting In Venice, discussed his new movie with Screen Rant. He shared his experience collaborating with Branagh on A Haunting In Venice and broke down the importance of balancing historical accuracy and driving the story. Note: This piece was written during the 2023 WGA and SAG-AFTRA strikes, and the movie covered here would not exist without the labor of the writers and actors in both unions.
I think our early conversations really were about how to keep the environment really interesting and keep an audience entertained for an hour and a half. And not bore them to death in just a cliché haunted house. That it had to create different emotions. You wanted the scary basements with the dripping walls and rats in corners and so on, but, you also had a million other ideas.
It was rewritten in Venice for a good reason. The setting is perfect for the script and these houses are that. These houses we saw when we were touring and nobody's lived in for 100 years, because everyone who lives there dies within 20 days or whatever. So these buildings, they are the story. So, you don't have to dig deep into your imagination to find a realistic haunted house to build. A lovely set to build. Ken wanted the whole thing to feel completely realistic and immersive.
John Paul Kelly: Sure, yeah, we really kept a very open mind as to how the film could look. So, Ken didn't come in with. "I like blue. Do it in blue." It's very much let's [take a] second to see and go explore Venice. Imagine what this is. His notes were very particular and very and very astute thought as we went along. He liked the idea of it not feeling like a Grand Canal Venice, of it feeling like a backwater Venice. Of the House been full of surprises.
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