Director Barry Sonnenfeld’s re-imagining of “A Series of Unfortunate Events” took dark and creepy and turned it into a vaudevillian tour de force for Neil Patrick Harris as Count Olaf. And production designer Bo Welch and special effects makeup designer Bill Terezakis brought an imaginative and spirited charm to the proceedings.
“It may look dreary and creepy on the surface, but charmingly idealistic and cheerful when filtered through the eyes of the Baudelaire orphans,” said four-time Oscar nominee Welch, who also directed the final two episodes. “They maintain this attitude that only young people have where they persevere, they use their smarts, and they survive onto the next horrible adventure in the midst of a bunch of moronic adults.”
How the Sets Expressed the Moronic Adults
From Olaf’s decrepit mansion to the bright reptile house of Uncle Monty (Aasif Mandvi) to Aunt Josephine (Alfre Woodard) and her tilted old house atop a cliff, each set represents a distinctively moronic environment. “With Olaf, we’re taking a spooky house and making it frighteningly run down and dirty,” said Welch. “We went big because it’s a kid’s point of view. Everything is slightly amped up.”
Welch looked at abandoned architecture from around the …read more