The reboot is set in Depression-era Los Angeles in 1932, and the City of Angels faces the boom of the oil and film industries, as well as a Christian revival headed by Sister Alice of the Radiant Assembly of God (Tatiana Maslany) that plays a large part of the backdrop. Creating the varied and complex worlds fell to production designer John P. Goldsmith, who found inspiration from the 1974 neo-noir Oscar-winning classic Chinatown. “Director Tim Van Patten hosted a screening for the department heads, and there was a kind of ethos about Los Angeles then and Los Angeles in 2020. You can find the bones of things in ’20s and ’30s architecture, but the city is completely modernized with streets, buses, and cars, and you have to edit it all out and strip things down. We saw how they did that in Chinatown,” he says.
For Goldsmith, designing the various key sets—from a Streamline Moderne–influenced courtroom and luxurious Hancock Park interiors to the dark underbelly of the city—became an exercise in class distinctions. “The houses represented a broad range of contrasts,” says the designer, “and we quickly developed housing typologies to show upper, middle, and working classes.” The sets included locations in a 40-mile radius from Thousand Oaks, San Pedro, and Pasadena to Hancock Park and downtown Los Angeles. “We had 136 locations and 24 stage builds, such as the courtroom, Mason’s farmhouse, the morgue, the jail, the Radiant Assembly Church, and various Hollywood apartments and estates that ranged from Spanish Colonial and Tudor to traditional and Art Deco,” says Goldsmith. The film’s color palette and tone are influenced by Los Angeles artists of the period such as Thomas Hart Benton, Emil Kosa Jr., Millard Sheets, and Maynard Dixon.
Of course, no Perry Mason episode would be complete without a courtroom set. Researching various halls of justice across the world, Goldsmith found inspiration with the architecture of Los Angeles City Hall and with Blenheim Palace in London, a 1930s palatial residence. “Tim and I talked about the advancement of modernity and its progression, and how it was expressed in the courtroom. It shouldn’t feel typically traditional and needed to reflect the modernity that was coming,” he details. Emmy Award–winning set decorator Halina Siwolop (Masters of Sex) created the decor for the courtroom, built on a soundstage. Of particular interest is a hand-painted frieze on the ceiling that provides a contrast against the dark wood benches and wall panels. “It was guided by John’s vision and harkens back to the teens and ’20s, and a moment to represent something more in line with WPA design,” Siwolop says.