With more than 300 roles on a film set in addition to VFX, animation, post-production, and film-adjacent careers, there are countless ways to build a career in the motion picture industry. The Voices from the Field series highlights professionals across departments to showcase the variety of paths into film and their unique contributions towards the emotional and visual worlds audiences step into.
Among these roles, Production Design remains one of the most essential and (ironically) least visible storytelling engines behind the scenes. In this Q&A, we spoke with Cheryl Marion, an award‑winning Production Designer whose 23‑year career has been shaped by a deep love of design, a talent for world‑building, and a collaborative spirit honed through years of working alongside some of the industry’s most respected designers. With a background in interior architecture, she has built a career bringing stories to life, melding character, narrative, and aesthetics into environments that feel lived‑in, purposeful, and true.
Throughout our conversation, Cheryl shares reflections on her pathway into production design, the creative problem‑solving at the heart of her craft, and the moments on set that remind her why she loves this work. To explore more of Cheryl’s work, including past projects and interviews, visit her website.
Can you tell us a bit about your background and what inspired you to pursue a career in the film industry?
My background is actually not in film at all. I have a degree in Zoology, but shortly after receiving my B Sc., I came to the realization that what I really wanted to do was interior architecture. So I went back to school and studied Interior Design for 4 years. When I graduated, I began working as an Interior Designer in Vancouver and it’s only through that work that I learned my skills of drafting, graphics and design were applicable to film work. When watching films, I often wondered about the people designing sets and how they came up with their design ideas and what their training was. Once I discovered that there was a possibility to work in film with my education, I never really looked back. I thought (and still think today) that working in film was the coolest thing ever and I decided that that is where I wanted to be.
How does your role help shape or support the overall storytelling process on a production?
That is a great question because I think that, very often, the Production Designer is overlooked as being central to storytelling. I always approach the creation of a set, with the character and narrative in the forefront of my design. If you take the character and dialogue out of the set, the set should still be able to tell a story or explain something about that character. The design decisions that go into creating a set are not at all a passive thing. There is purpose to the shapes, colours and arrangements of the elements. If the film is a period film, the details of that period need to be accurately represented, otherwise it can take the viewer out of the story. If a film is a fantasy, there is likely more room for imagination and creativity, but the sets and scenery still need to carry the story we are telling. I’ve also come to realize that getting a set right and world-building is important not only for the filming, but also to help the actors feel immersed in the story we are telling.
Can you share a project or moment in your career that reminded you why you love this work?
This feels like an impossible question to answer. I get reminded every day of why I love my job. I love working as a team, whether in the Art Department or with other HOD’s in brainstorming solutions to complex problems; how do we transform a location when we cannot touch the walls, how do we build, paint and dress a set in just a few weeks, or how do we crash an airplane into a lake? Sometimes a set has very specific technical requirements for a SPFX gag or a stunt and the constraints of those requirements force you to think of a new way of doing things.
I love being challenged to come up with designs that solve problems. I love watching the evolution of a set. Whether it’s a set that is built on the stage or a location that is being transformed with finishes, paint and dressing. I love to walk through a set when the bare flats have just been erected. It’s a moment of pure potential for what is to come. Mostly though, I love the challenge of imagining something new or imagining how a set should look given the character and story inhabiting it. There is something incredibly rewarding about imagining a design and then watching the execution of that design unfold in front of you.
The project that ticked all the boxes for me was the Netflix limited series “Keep Breathing”. We had significant stage builds: Interior Loft, Interior NYC Prewar Apartment, and a Cave set. There were big SPFX and stunt requirements. We set the Interior Loft set on fire inside the stage with only minor VFX help. We had an airplane crash into a lake, filming as the fuselage turned 180º, filled with water and then came to rest on the bottom of the lake. The directors and producers were incredibly collaborative and the whole project was an amazing design experience for me.
What has been one of the most creatively rewarding challenges you’ve faced on a production, and how did you approach it?
I feel like the challenges that come my way are usually logistical and it’s the circumstances around the design that become challenging. The indie feature “In Alaska” was a project I that I desperately wanted to work on. It is an Indigenous story about a youth who rediscovers himself and his culture in an Arctic community. I interviewed for the project and then heard no news for quite a few weeks, so I took another show that was filming in Victoria. When the directors of “In Alaska” later called to hire me, I was no longer available. They asked if I could work in some sort of remote capacity and because I so wanted to participate in this project, I agreed.
I flew to Iqaluit on a Wednesday in early February and stayed for 5 days. In that time, I scouted all the locations in – 45º weather. I took dimensions of each interior location so I could draw floor plans and I spent as much time as possible walking around the community trying to understand the culture and way of living in this Arctic community. I also spent as much time as possible with the directors, discussing characters, locations and story points.
I then returned to Victoria and began a plan for the design all the sets for Iqaluit from a distance. I drew floor plans, continued to do more research and created mood boards for each set. I then made detailed lists of what little dressing we were to ship from Vancouver and what my set decorator needed to find in Iqaluit. A small art department team of a decorator, an art director and a props master were sent to Iqaluit a week before shooting. They would find local hires to fill out their teams and find sources for the rental of set dressing. I stayed in Victoria, giving copious notes on the decoration and design of the sets through photos and Zoom calls. I did all this while working on another show.
It was exhausting and exhilarating at the same time. I had to trust my team and let them build on the creative tone I had set. It was difficult for them and difficult for me, but it was truly worth it. It think the sets in Iqaluit are some of the best sets I have ever designed. On top of that, I got to experience this amazing and beautiful Arctic community in the winter months. This is truly one of the highlights of my career.
In your experience, what are some small but impactful ways teams can make film production more welcoming for everyone?
I think that in general, the art department is a very welcoming and inclusive place. The tone that is set by the Production Designer is vital to keeping it so welcoming. The attitudes of those in leadership roles (Production Designer and Art Directors) filters down throughout the art department. I try my best to lead with integrity, grace and patience. I don’t claim to have all those qualities all the time, but I certainly strive for them.
I think the knowledge that you are contributing to a greater whole is also important to a healthy workplace. I have learned that people show up for work, not so much for the paycheque, but really because they want to work together towards a common goal. As much as possible, I try to allow those on my teams to contribute, suggest ideas and make decisions in their areas of expertise.
Lastly, I would say that having fun at work is so very important. The workday cannot just be ‘nose to the grindstone’. One thing that I think is important is for the art department to sit down and eat lunch together, at least once per week. It’s a little thing, but it helps to get to know each other and break down barriers.
