‘THE LOWDOWN’ production designer Brandon Tonner-Connelly on slipping a ‘RESERVATION DOGS’ easter egg into the Sweet Emily’s Diner wallpaper: “I talked to Sterlin [Harjo] about it and he was like, ‘Well, what if it's characters from Reservation Dogs in the pattern?’ It started as a joke, but then I was like, ‘Well, yeah, we could actually do that.’ [Laughs] I brought in a great illustrator who I work with a lot, Mary Hayes. I was like, ‘Let's pick five moments from Reservation Dogs that we really love, and then you're going to illustrate them, then we're going to turn that into a pattern and then we're going to get that printed on the wallpaper.’” (via: nittygrittyinterviews.substa…)

‘THE LOWDOWN’ production designer Brandon Tonner-Connelly on using a whole city block for the series: “We scouted a lot and found a derelict block in Tulsa, knowing that the geography is so important. We need a diner. We need a lawyer's office. We need a bookstore. They've all got to be on the same block right next to each other. We need a little backlot here…And with Ethan [Hawke], the whole thing was how the character is unpredictable. This is really his world, his domain and we want to be able to show him moving in and out of the space seamlessly. We want to be able to not have any limitations, like, ‘Okay, so today we're going to shoot the exterior in the real world and then a week later, we're going to shoot the interior on the stage…’” (via: nittygrittyinterviews.substa…)

‘TEENAGE SEX AND DEATH AT CAMP MIASMA’ production designer Brandon Tonner-Connolly reveals that the shot featuring a glass matte painting had to be locked six weeks in advance. “We had to lock in the frame six weeks before we actually shot it. Matt had to go back out there with a still camera that had the same lens as our film camera. Our film camera is being used to film the rest of the movie. He had to go back out there to actually lock in where the frame is and make sure that we had the piece of glass precisely sized, to make sure that we knew the height of the lens, the angle of the lens... that it was in exactly the same spot as it was when we had all said, ‘Yes, this is the shot.’” (via: nittygrittyinterviews.substa…)

The set design behind ‘TEENAGE SEX AND DEATH AT CAMP MIASMA’ was inspired by ‘KWAIDAN,’ according to production designer Brandon Tonner-Connolly. “I think [Jane Schoenbrun’s] first email to me with the script ended with ‘one word: Kwaidan’…it's all these classic Japanese folktales, but told in this really epic scale where they built all of these crazy exteriors in a studio — an ancient forest, a snow swept landscape, a lake, all these things. The scale of it was so large that I think they actually bankrupted the studio that was financing it, just through continually building all these crazy things. I was like, ‘Maybe let's not tell the producers about that part.’” (via: nittygrittyinterviews.substa…)

'TEENAGE SEX AND DEATH AT CAMP MIASMA' production designer Brandon Tonner-Connolly on Jane Schoenbrun’s initial idea for the KFC scene: "It was actually Popeye's in the script and Jane really wanted Popeye's. I think at some point, the product placement people were like, 'Actually, you like to talk about Popeye's too much in the script. There are too many mentions of Popeye's. It's like too loving about Popeye's to clear the bar.'" (via: nittygrittyinterviews.substa…)

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