From Carrie’s Townhouse to the Big Screen: Inside the World of Production Designer Miguel López‑Castillo
Miguel López‑Castillo has quietly shaped the worlds we escape into. In this conversation, he shares the inspirations behind his sets, his creative beginnings in Mexico, and the thoughtful, layered process of designing spaces that tell unforgettable stories.
Credit: Getty
What first drew you to production design? Was there a particular film, project, or experience that sparked your interest?
Growing up in Mexico, I had a mashup of cultural experiences with films and TV shows that had strong visual styles. Silent films like King Kong and Battleship Potemkin, Hollywood sword-and-sandal epics like Ben-Hur, and on TV, early Doctor Who and Thunderbirds. I didn’t know what art direction or production design meant at the time, but during my alone playtimes, I’d make maquettes of castles, and later tank and airplane plastic models—stuffed with firecrackers to set them on fire. I recently found some sketchbooks from that time, and they’re more disturbing than visionary (or talented), to be honest.
Do you remember the moment you realized how powerful production design can be in storytelling? What made it stand out to you?
Even though I’ve always watched movies with an eye for design—meaning I don’t get too drawn into the plot—L.A. Confidential, designed by Jeannine Oppewall, really stands out. The masterful use of locations and (minimal) built sets created a distinct and very believable 1950s look that grounds the film in a tangible world. There were no digital backdrops, and it all looks like it was shot with available light. Later in my career, I had the great privilege of working for Jeannine on Catch Me If You Can, The Happening, and The Good Shepherd.
Can you talk us through your process when designing a major set—from the first idea to the final details? How do you choose what stays in and what gets edited out?
Design must serve the script and the characters. Often, the screenwriter or director has strong ideas about the setting but can’t fully visualize it. My job is to think about the mood the set needs to evoke, and how it will function practically for the scenes. I usually create a backstory that isn’t spelled out in the script. For contemporary sets, I rely on memory first, then supplement with visual research. Real-life details are more evocative—like the greasy-spoon diner I used to eat at late nights during art school, or homes and offices I’ve visited.I then draw ground plans and put together an inspiration board to show the creative team. Often, I’ll develop a concept illustration from my pencil sketches. Once approved, my team produces full drafting for budgeting and scheduling. The set decorator and cinematographer are shown the approved concept early so they can plan accordingly. Paint schemes and illustrations are shared with the costume department for coordination. If the set is on location rather than on stage, the process is quicker but follows the same steps.
When you worked on Carrie Bradshaw’s townhouse for And Just Like That…, what were your main inspirations or references? How did you approach making that space feel personal and lived-in?
Michael Patrick King described it as “the most beautiful apartment in Manhattan, full of plaster moldings and French doors. ”We knew the exterior location would be in Gramercy Park—a historic block with distinct period style. The design evolved from Season 2 to 3, and it's not a museum reproduction. I researched the actual building and found that the interiors had been heavily modified over time. So I looked elsewhere for reference, including Greek Revival details from well-preserved townhouses in Greenwich Village and the arched entryway of the Morris-Jumel Mansion in upper Manhattan. In the story, Carrie moves in without renovating, buying the four-bedroom place to accommodate Aidan’s sons. Over time, she begins to make it her own. I worked closely with our decorator, Karin Wiesel Holmes, who has deep knowledge from the original series and a great working relationship with SJP. The final looks will be revealed at the end of the season.
Credit: Architectural Digest
Credit: HBO
When you’re starting a new project, what’s the first thing you focus on? Do you start with a mood, a color, a character, or something else?
I always start with mood—the emotional core of the character’s situation. When it comes to color, I choose from paint books and ask the scenic department for larger samples. I consider the actor’s skin tone, the wardrobe, and lighting—especially window exposure. The sets need to support the cinematographer.
Where do you usually turn for inspiration? Are there books, places, films, or eras you often go back to?
It depends on the project. Period scripts require deep research—not just on architecture and décor, but even what paint colors were available at the time. I try to avoid looking at similar films or shows. Instead, I use books by photographers and candid photo archives online. For contemporary stories, real estate listings can be useful (or as an example of what not to do). Anyone can make a beautiful room, but I look for visual layers and meaning.
Production design often works quietly in the background, but it shapes the whole mood. What kind of feeling or atmosphere do you hope viewers take away from your work—even if they don’t realize it?
Great question. Ideally, I’ve done my job well if the audience doesn’t notice the design—but still feels the story’s emotional tone. There’s definitely a layer of subliminal messaging in what I do.
You’ve built such an impressive career. What advice would you give to someone who wants to get into production design and tell stories through space and style?
Watch films and TV with a critical eye. Look at what’s behind the actors. Learn to draw by hand while collaborating with others. Believe in yourself. Be patient with your career. Be kind to your team, but hold firm on your standards. I’d be nothing without my collaborator's.
Quickfire Round
Set you wish you’d designed?
Barbie – what an amazing world-building opportunity!
Most underrated design detail on a set?
The door hardware.
Most treasured object in your own home?
My kitchen table with a Carrara marble top and wooden base. It broke three times during delivery before they finally got it right. It’s the most used, treasured, and useful item I own.
If you weren’t a production designer, what would you be?
An opera singer. I’m a bass-baritone, like Bryn Terfel, though I never took serious lessons. I imagine myself singing Don Giovanni or Nick Shadow.