Cory Stillman
Production designer Melanie Jones drew from her extensive theatrical experience in putting together over 200 sets for Netflix’s Painkiller.
“My theater experience, mainly in small spaces, required ‘Tetris thinking’ in my design. Film is similar but operates in 360 degrees, unlike theater, which has a backstage,” says Jones.
Painkiller traces the origins of the opioid crises in the United States across several decades, bringing us inside the evil corporate dwellings of the Sackler family throughout the mid-to-late 1990s. For Jones, such a setting marked an opportunity to merge her experiences in theater and fantasy with the more grounded reality of Painkiller. Nowhere is this more apparent than the Purdue corporate show in Miami.
“[Director] Peter Berg wanted something different, so I drew on my musical theater background with a touch of Las Vegas, creating a rotating pill tower that rose up behind Richard Sackler as he hyped the partying employees,” Jones says. “It was one of the weirdest things I’ve done.”
Of course, Jones and her collaborators were in constant search of creative ways to convey the Sackler family’s growing wealth. She adorned the Purdue Pharma headquarters in the show with such unique traits as a purple carpet and an opulent ceiling in the foyer of the building. As Jones points out, those decisions were pivotal to the show’s storytelling.
“The Purdue offices were the pinnacle set of the show. It was a large set and vital that it felt like the Sacklers would inhabit the space.”
Check out our full conversation with Jones below, where she dives even deeper into the relationship between film and theater, and elaborates upon the intensive research that went into her work on Painkiller.
Painkiller covers multiple decades and locations. How did you approach the challenge of creating sets that accurately reflect different time periods and environments?
Research was my first step. I gathered hundreds of images, printed them out, and displayed them on the walls of the office for constant reference. Brenden Stacey, our DP, and I collaborated closely. Since he aimed to use as few movie lights as possible, we both drew images from books, magazines, and news articles, pooling our resources. We selected around 30 final images as our “bible” for the visual palette and tone throughout the series, which also went up on the wall.
What was the most rewarding aspect of designing the Purdue Pharma headquarters for Painkiller?
The most rewarding aspect was creating a design that felt authentic to the late ’90s, conveyed their growing wealth, and had unique elements to make it an original office style. The purple carpet and the ceiling of the office foyer were two key features I had fun with. The design included many details: gold trim, walnut-stained wood, two types of marble, and high-end artwork. Each Sackler office was different; for instance, Richard’s had mid-century modern furniture and a private bathroom.
What was your research process like for capturing the essence of the Sackler family’s story and the spread of OxyContin?
Our writers provided a wealth of backstory and research, which we built upon by delving into various time periods, character styles, and reading articles and books. The art department walls were completely covered with research images, drawings, and texture and color samples.
What was it like transitioning from theater set design to film and television production design?
At its core, it’s all about the story. My theater experience, mainly in small spaces, required ‘Tetris thinking’ in my design. Film is similar but operates in 360 degrees, unlike theater, which has a backstage. My film design experience is roughly 70% realistic and 30% fantasy, whereas my theater design experience was the opposite. I love doing both and enjoy working across multiple genres, as it allows me to design new spaces. There are technical differences, but the basic concepts are all about world-building.
Do you have a favorite set or location that you designed for Painkiller? What makes it special to you?
The Purdue offices were the pinnacle set of the show. It was a large set and vital that it felt like the Sacklers would inhabit the space. Another unique set was the Purdue corporate show in Miami. Peter Berg wanted something different, so I drew on my musical theater background with a touch of Las Vegas, creating a rotating pill tower that rose up behind Richard Sackler as he hyped the partying employees. It was one of the weirdest things I’ve done.
Can you discuss any specific techniques or materials you used to create the 200 sets and locations for Painkiller?
The key technique was staying organized! There were countless details to manage. I needed to get all the sets out of my head and get my designers started on drawings. I spent the first five weeks location scouting almost every day, followed by research and sketching. We had to hit the ground running, find the right places, check them off the list, and keep going, the same with the sets we built. Focus on one design at a time and move on. It was a significant undertaking.
What advice would you give to aspiring production designers looking to make their mark in the industry?
Get a job as an on-set dresser for a show or two. You’ll learn many valuable details and gain insight into how the DP and directors approach actual shooting, which is different from what you learn in school. You’ll understand what’s likely to be important on the day. Being a PD requires adaptability as much as design talent and vision. Also, learn a drawing program.
What can you tell us about your upcoming projects and what fans can expect from your work in the future?
I hope IATSE and the AMTPT come to an agreement soon so we CAN go back to work. Once that happens I hope I get to do some more fantasy work. Working on the Volume stage with ILM was a recent high point for me. I haven’t done a horror film in a few years that could be fun! I also really enjoy a TV series where I can help build a world from the ground up. I want to design Terry Gilliam’s next project. Someone tell him! Once the light is green I am ready to go.
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