Where we see the most variation are the sets outside of the hotel, because we often go to different locations. In past seasons we could go to as many as 10 different spots in one episode. We’re also jumping between a few different periods, so we’re doing massive amounts of research in order to get the look, feel, and mood of the periods correct.

How important is Pinterest in your process?

I love Pinterest. I’ve actually created Pinterest boards for my last three jobs because it’s a great way to research. It’s really amazing what you find on Pinterest, and a whole new world can open up for you simply by the words you use. I worked on [the TV series] Aquarius this past season, so I had both bohemian and ’60s boards for the show. It’s also great for decorators because you can often purchase pieces you find on Pinterest through the links that are given.

We’ve heard Hotel Cortez was modeled after the hotel in The Shining. How did that inspiration come to life? Are any other horror films referenced?

Ryan will always reference a film or two to get us going in the ideation and creative department. This year, he referenced Se7en, Nosferatu, and The Shining, as well as injecting this ’40s-inspired noir feel onto the set. Mark Worthington [production designer] also has his own thoughts on how everything should come together, so both of their viewpoints are taken into consideration, as well as the Alfred Hitchcock films and other horror and suspense films that have stuck with me. I like to think of it as a patchwork quilt of sorts.

How do you create the balance between the hotel being the focal point of all the characters’ intertwining stories while managing not to overpower their narratives?

The most important thing was to refrain from making the hotel too busy. I didn’t want to create a space that stole all the attention. Ryan tends to like larger-scale items instead of opting for smaller pieces that can be frivolous. I’ve learned to have a less-is-more approach, with what I choose being of the utmost importance. There was a simplicity to how I thought about this show. It’s been a big lesson. In design school, they drilled the use of negative spaces into our heads. I think it has been an insecurity of decorators to throw in a lot of items and keep the subjects’ eyes engaged. If that were the case here, the viewers’ eyes would never land on the actor. A set should be supportive around the characters, almost like a frame.