Judy Rhee Interview: ‘Better Call Saul’ production designer
“It’s a little intimidating to come onto a show that has such a huge following,” admits production designer Judy Rhee, who joined “Better Call Saul” in its fourth season. Because the series “has already been established to some degree in terms of the look and its direction,” the veteran designer was excited to bring her own interpretation “while keeping the visual continuity of the show” intact. Watch our exclusive video interview with Rhee above.
Season four, which aired last summer and fall, found the AMC prequel series edging closer and closer to where the story intersects with “Breaking Bad”; down-on-his-luck lawyer Jimmy McGill (Bob Odenkirk) is just a few steps away from morphing into Saul Goodman, lawyer for the criminal underworld. “The challenge for me was to keep track of what had already been said and shown and make sure you didn’t disrupt that timeline,” Rhee says. “So there was a lot of going back and re-watching certain episodes from ‘Breaking Bad,’ as well as ‘Better Call Saul,’ to make sure” not to “interrupt that visual thread.”
Rhee earned an Art Directors Guild nomination for “Better Call Saul” earlier this year, and she was previously nominated by the guild for her work on “The Hours” (2002). Other projects in her career have included “Alpha House,” “Patriot” and “Jessica Jones,” as well as the films “Little Odessa” (1994), “Flirting with Disaster” (1996) and “Requiem for a Dream” (2000).