早前我地Talkcomic有幸獲得Netflix邀請，與Chilling Adventures of Sabrina的美術指導Lisa Soper進行了一個簡短的電郵訪問，以下為訪問內容，回覆之中文翻譯由Netflix提供。
Talkcomic: The original comic has a very specific mood and color, how are you going to approach these elements for the show?
Comic and live-action series are two very different media, how did you guys transform and adopt the elements from the comic into the tv series?
這部作品裡有許多獨特樣貌，包括可愛又可怕的 Spellman 大宅、絕美如實的室內裝潢、電影片廠裡的美式風格、詭異的森林、甚至是 Baxter High，一切彷彿有了自己的生命。
若想取信於人，要賦予「歷史」。為了創造尚不存在的歷史，我仿效 Hawthorn、Lovecraft、Barker 等作家的方法，從歷史中找尋靈感，屋宅的發想起點是 Salem Massachusetts，我深受這棟房子所吸引。有了初步靈感後，就能將焦點轉移至動畫背景，讓這棟房子呈現彷彿有生命的幻覺，再參考有關房子的審判、魅影等故事，讓這些元素逐漸組合出完美的樣貌。這棟房屋本身設計呈螺旋狀，不僅在異教徒信仰是重要符號，也呈現出螢幕上少見的畫面，房子裡每間房子連結永無止境，永遠不會走進死胡同，直到闖進太平間裡，生命之旅也在此告終。
Reimagining a beloved children’s show for our cynical age, gives a wonderful opportunity to suck on the rich veins of classic horror. Updating the sensibilities and mood of movies such as The Omen and The Exorcist with a knowing modern twist, in much the same way as the Duffer Brothers did for the 80’s with Stranger Things. But what makes Sabrina different is that she will scare the audience and leave scars. I want to make people as afraid to go into the woods as they were to take a shower after watching psycho.
It’s the chance to create a coherent nasty reality that excites me about Sabrina. The range of possibilities this show offers are unlimited. To delve into the 60’s people pine for, but then extrapolate to form a more twisted world, whilst exploring the experience of becoming a woman at the very cusp of the modern age is a once in a lifetime opportunity. Imagine being a young woman in those heady days as opportunities open up in step with your own burgeoning maturity and desires. It was a time when women could not only achieve more than their mothers, but a time where, for a brief moment, anything seemed possible – especially if you happen to have magic powers!
Design is the great lie. As a designer, I take the story and create coherent, believable imagery that contribute to building a 60-90-minute experience that seems real. The more believable the lie, the more senses we get to manipulate. That is the thrill of what we do.
What were your inspirations in creating its unique “look,” like the lovely but spooky Spellman mansion and its gorgeously realized interiors, the slice of Americana look of the Paramount cineplex, the eerie woods and even Baxter High. It’s like they have a life of their own.
It starts in the woods. Many many centuries ago, when witches were one with nature and the darkness protected them. It was important for me to start here. Where it all began and be sure to latch onto elements of that for the now. You will see nature literally taking over some of the sets. Some of them in harmony with the house, and some fight a continuous battle representing the oppression of some of the characters.
What makes something believable is giving it a history. So when creating a history for something that does not yet exist, I did what many writers like Hawthorn, Lovecraft, Barker and so many more did. I looked at history. The house started with looking at Salem Massachusetts. I was very much drawn to the house of seven gables. Once I had the initial inspiration, I was able to shift into my animation background to create the illusion of life for this house. I continually referenced stories about the Salem witch trials, hauntings, why the witch’s house is the crooked house and everything started to come together literally in a perfect spiral. The house itself is designed in the shape of a spiral, which is not only a powerful symbol in pagan belief, but also gives something to the screen that is not normally seen. I have a never ending link from and to each room in the house. You never dead end…. Unless you hit the morgue, where if you end up here…. Your journey in life has ended.
Talkcomic: Which set do you like the most?
Is there a unified tone in the whole environment of Greendale or is there any special location/set which has a totally different feeling to the audience?
This is a very difficult question for me as I tend to immerse myself into each set no matter how big or small and at that moment I tend to love that one most of all. These sets are my creations born into the Sabrina universe. The world is not complete without any one of them. Depending on the day, or what is happening in the scene, I always find a refreshing love for a set. This is also the beauty of working with such a well crafted team across the board. Sometimes I find myself walking into a set and seeing what a gaffer has done differently that day to draw attention to a new detail, or the framing a DOP will use that always seems to open a new door into the depth of the sets.
Talkcomic: Finally, were you a fan of Sabrina the teenage witch?
答：我有讀過Archie 跟 Sabrina comic books，每當我看過書架上所有奇幻或驚悚小說後，就會轉向漫畫，漫畫剛好能和嚴肅的文字相互平衡。笑聲在生活中非常重要，事事不需全都嚴肅以對，當初讀到提案時，我就決定若有機會，我會在這齣劇集盡力發揮，還曾告訴母親「我一定要參與這部作品」。
Honestly, I would read them usually when I ran out of Barker, Tolkien, Elliot, Shelly and any other fantasy or horror writers novels I had on the shelf, but I feel it balanced out the seriousness of so much of the writings I would read. It was important to laugh. To not take life so seriously all the time. When I read the pitch, I had decided at that moment that I needed to show what I could do with this show if they let me. I told my mother I HAVE TO BE A PART OF THIS.