Earlier today, we shared the first half of our interview with The Hunger Games set decorator Larry Dias. Keep reading to learn more about what went into the process of creating the set!
CasaSugar: Where was the chandelier above the dining table sourced?
Larry Dias: The "chandelier" was actually comprised of 50 to 60 separate fixtures from Arteriors that we arranged off site and installed into the cantilevered overhang on stage. It was built into a wedge that floated over the dining table that came to a very shallow point. We had to put one of the set dressers inside the wedge to do the installation and wiring so we picked the smallest guy and in he went. A claustrophobic environment to say the least.
CS: The chairs at the dining table are so futuristic, and I love the pleating effect. Where were these sourced?
LD: Those chairs are made by the Phillips Collection [note: photo above is from Phillips Collection, not from the film]. Buyer Margaret Hungerford found them in High Point in North Carolina. We decided they were perfect for the set since we were looking for something that was a little "off center." They are made of strapping similar to seat belting and are woven around a wooden frame. The texture and silhouette of the chairs read wonderfully on film.
CS: Since Lenny Kravitz also has a design firm, did he have any feedback about the set? Did you collaborate together at all? (The high pile rugs in the penthouse reminded me a bit of his designs.)
LD: He gave some really positive feedback. He seemed to thoroughly enjoy the sets. By the way, the high pile carpeting was area rugs that we fused together because we had to cover an area that was quite large.
CS: I loved Katniss's bedroom quarters. What went into your look for her room? How did you choose the color palette?
LD: Phil and I were trying to come up with a bed that anchored the room, and we were really playing with color. We couldn't find anything that wasn't too recognizable so he designed it on his computer and we built it. The paint is a high-gloss lacquer, and the upholstery was this amazing patterned velvet Margaret had found. The faux fur spread was an homage to Katniss's hunting prowess.
CS: I also loved the row of organic, macrame-look pendants behind Katniss's bed. Where did you source these? How did you come up with the idea for these lights as a focal point?
LD: Those fixtures are actually made of wire. They are a group of pendants from a company called Shine Labs in the Bay Area. I thought they had great silhouettes so I bought a number of them and played around with some configurations, and that's what we ended up with.
CS: What went into your inspiration for President Snow's Capitol home? What
time period particularly influenced you?
LD: This was a funny one. The script called for an opulent room in the Capitol, but being sort of landlocked in Charlotte limited the options available for Phil to choose from, and since it was at the very end of our shooting schedule it was impossible and not cost effective to do a big company move. A film crew has quite a lot of people working between all of the departments. So after futile attempts to find something appropriate, Phil asked me to join him to look at a space in the Philip Morris facility that we were using as our home base. The room was a former screening room/meeting room of sorts that looked out onto an amazing interior courtyard. We had the neglected plants pruned and added about 50 rose bushes to the garden. We built some interior walls that were clad in a faux travertine and did mica inlays that were very luminous. It tied into the brutalist architecture very well and to me had the feeling of the '30s Milanese Villa Necchi Campiglio, one of my favorite places ever.
Have you seen The Hunger Games yet? What was your favorite part of the set design? Share your thoughts in the comments!