Production Designer Interview

The Interview Portal; Los Angeles (CA); On-site; USD 60,000 - 80,000; Full time

Job description

While entertainment may not always seem like a direct tool for social change, storytelling does play a powerful role in building empathy and understanding through visual narratives, by exposing the audience to different cultures, values, and perspectives.

Rhea Solanki, our next pathbreaker, Production Designer, interprets scripts visually—designing sets, locations, color palettes, and overall aesthetic tone to bring stories to life.

Rhea talks to Shyam Krishnamurthy fromThe Interview Portal about pursuing a career in Production Design as an extension of her first love for Theatre, which gave her a foundational understanding of space, audience perspective, and the emotional impact of design.

For students, if you choose to follow your passion, be prepared for detours. No career path is perfectly linear. If you decide to do something that excites you, that excitement will carry you through the hard days.

Rhea,can you share your background with our young readers?

I was born in Mumbai, India, and spent a significant part of my childhood in Vancouver, Canada, before returning to India to complete high school. My parents come from tech and business backgrounds, but I was always drawn to the world of imagination and storytelling.

As an only child, I often had to keep myself entertained. I found joy in books—especially the Harry Potter series. When the movies came out, seeing the worlds I had imagined come alive on screen was magical. That was the first time I truly understood what a production designer did, and I knew I wanted to be part of that world—creating visual landscapes that could captivate audiences the way they had captivated me.

Unsure of how to pursue this career, I started by studying architecture and theatre set design in the U.S., which gave me a foundation in visual storytelling. Working in theatre helped me realize my passion lay in designing for film. In 2018, I moved to Los Angeles to pursue an MFA in Production Design at the American Film Institute Conservatory, where I deepened my skills and collaborated with talented filmmakers.

What did you do for graduation/post graduation?

For my undergraduate degree, I studied Theatre Design and Production along with Film and Digital Culture. I then earned my MFA in Production Design from the American Film Institute Conservatory in Los Angeles.

What were some of the key influences that led you to such an offbeat, unconventional, and unique career in Production Design?

Several key moments and people shaped my journey. One of the pivotal events was meeting Sharmishta Roy, who gave a talk on production design. I approached her afterward for advice, and she suggested pursuing interior design or architecture as a starting point. That interaction made a lasting impression.

Also, as a child immersed in fantasy novels and films, I found myself constantly imagining sets and environments—without even realizing I was already thinking like a designer. That spark stayed with me and became the foundation for my career.

Tell us about your career path

Initially, I had no roadmap. After my conversation with Sharmishta Roy, I began studying architecture but quickly realized it wasn’t the right fit. I transitioned into theatre set design, which felt more aligned with my interests. That hands-on experience in theatre gave me the confidence to apply to AFI, where I made the full leap into film production design.

Working across a variety of mediums like theatre, film, television, short films, and web series; has been instrumental in shaping me as a production designer. Each format brings its own set of challenges, limitations, and creative freedoms, and navigating these differences has helped me fine-tune my craft and continually evolve my approach to visual storytelling.

Theatre was my first love, and it gave me a foundational understanding of space, audience perspective, and the emotional impact of design. The beauty of theatre lies in the suspension of disbelief—audiences are willing to imagine an entire world from a few suggestive elements. This means you can lean into metaphor, abstraction, and bold conceptual choices. There’s a rawness and creativity in theatrical design that encourages experimentation and out-of-the-box thinking. You learn to communicate a lot with very little and to be inventive with form, texture, and transformation.

Film and television, on the other hand, require a heightened level of detail and realism. The camera captures everything—textures, finishes, the way light hits a surface. So design choices must feel authentic and cohesive from every angle. You’re building entire worlds that need to hold up under scrutiny, while also supporting the narrative and characters with visual nuance. It’s more technical, but equally creative in different ways. There’s a dance between realism and symbolism, and the challenge is to strike that balance while staying true to the story’s tone.

Short films and web series have offered me the chance to work at a fast pace, often with smaller teams and limited resources. This has sharpened my ability to problem-solve quickly, adapt on the fly, and collaborate closely with directors and crew. These projects have also allowed me to experiment with emerging formats and storytelling styles, keeping my work fresh and forward-thinking.

Overall, working across these varied formats has made me more agile, more creative, and more curious. I’ve learned that no two stories are the same, and neither should be their worlds. Staying open to new experiences across mediums has been key to my growth not just as a designer, but as a storyteller.

How did you get your first break?

My first major break came through AFI. The institute’s emphasis on collaboration allowed me to work with emerging directors and cinematographers on student films, some of which gained attention at film festivals. These early projects built my portfolio and helped me land professional opportunities. I think my next big break was getting to work on Netflix’s ‘Dahmer’ – the show was my first big studio project.

What were some of the challenges you faced? How did you address them?

I think the biggest challenge was navigating a very unconventional career path and coming from a non-artistic background, I had to figure out the steps on my own. Though some mentorships and guidance from professionals in the field helped me find my direction.

Another challenge is that being surrounded by immensely talented people can be intimidating. I’ve learned to acknowledge my growth and embrace continuous learning as part of the journey.

Where do you work now?

I currently work as a production designer on various projects, with a recent focus on children’s content and web series. My role involves interpreting scripts visually—designing sets, locations, color palettes, and overall aesthetic tone to bring stories to life.

What are the skills needed for your role? How did you acquire them?

A strong understanding of storytelling, visual design, architecture, art history, and project management. As well as technical skills like CAD drafting, 3D modeling, an understanding of construction principles and illustration skills. I gained these through formal education, hands-on set experience, and ongoing learning from peers and mentors.

What’s a typical day like?

It can range from sketching and digital modeling to supervising set builds or sourcing props. Every day is different, which is what I love most.

What I love: I love the collaborative nature of production design—how every department comes together to create a world. Seeing something go from script to screen is deeply fulfilling.

How does your work benefit society?

While entertainment may not always seem like a direct tool for social change, I believe storytelling plays a powerful role in building empathy and understanding. Through visual narratives, we expose audiences to different cultures, values, and perspectives—often helping them see the world in new ways. And of course, joy, escapism, and inspiration are essential, especially in today’s world.

Tell us an example of a specific memorable work you did that is very close to you!

“We Were Meant To” is a film that holds a special place for me. It was one of the most challenging and rewarding projects I’ve worked on, and I believe it helped me grow immensely as a designer. It taught me about the emotional depth that production design can bring to a story.

Your advice to students based on your experience?

Follow your passion—but be prepared for detours. No career path is perfectly linear. It’s okay to pivot, to try and fail, and to change your mind. Every experience adds to your perspective and growth. Choose something that excites you, because that passion will carry you through the hard days.