The Walking Dead's Daryl Dixon: Unveiling the Eerie Beauty of Post-Apocalyptic Paris

Summary

The Walking Dead: Daryl Dixon takes viewers to France, showcasing iconic landmarks and spoken French language for an authentic experience.

The production designer, Clovis Weil, played a vital role in fashioning the distinctive yet fresh appearance of Daryl Dixon in The Walking Dead. The task of converting actual settings into post-apocalyptic ones proved to be a formidable challenge, given the constraints of time and the requirement to preserve the original state of the locations. Specifically, Paris posed exceptional difficulties due to various shooting restrictions.

In The Walking Dead: Daryl Dixon, Daryl proves that there's still life in the post-apocalyptic world. The series, consisting of six episodes, not only focuses on the beloved character played by Norman Reedus but also introduces fresh and exciting elements (while incorporating some noticeable similarities to The Last of Us). Throughout the show, Daryl's journey takes him to France, where the country itself becomes a significant presence. The show beautifully showcases famous French landmarks and incorporates the French language into almost every scene. Additionally, the production team and cast are predominantly French, including the influential production designer, Clovis Weil, who played a crucial role in creating the familiar yet innovative aesthetic of The Walking Dead: Daryl Dixon.

Clovis Weil On The Walking Dead: Daryl Dixon

Screen Rant: What were your intentions for incorporating the production design elements from the flagship show when you initially agreed to undertake this endeavor? Furthermore, how did you plan to broaden the scope of these elements now that our setting has transitioned to France?

Clovis Weil: Honestly, I didn't want to rely too heavily on the previous eleven seasons of The Walking Dead for inspiration. There are certain elements that have become cliches in the post-apocalyptic genre: overgrown vegetation, decay, and destruction. While these elements make sense and serve as the foundation for our storytelling, we wanted to bring something different to the table. The production team didn't want to simply replicate what had been done before, but instead wanted to utilize the unique backdrop of France. This was the primary reason for choosing France - to incorporate its iconic scenery, towns, and locations. I was given the freedom to transform these real places into post-apocalyptic versions, and I have to say, it's been incredibly enjoyable.

In the past, I've spoken with many production designers who have worked on shows like Star Wars, where sets are often contained and controlled. However, with this show, we are doing a significant amount of location work. So, when it comes to transforming a real place into a post-apocalyptic setting, how does that process work?

Clovis Weil: One of the challenges we face is the limited time on each side of the shoot. It is crucial that we restore the site to its original condition when we leave. Our process involves visiting the location, planning and taking measurements, and then executing the work 200 kilometers away in our Paris studio. For example, the opening of the show takes place in Montpelier, near Marseille in southern France. While we visited the location a few times, the majority of the set was constructed in our studio and transported to the site using multiple trucks over several days.

We have a wide range of modular elements and techniques to enhance building facades and temporarily age walls. We even brought sunken boats to create a small harbor effect. Our team of painters are given creative freedom, but we must ensure that everything is perfectly clean and organized two days prior to the shoot. The creative and technical aspects are closely intertwined, as we must work efficiently and flawlessly in order to meet our deadlines and maintain the site's integrity when we leave.

Which location on the show was the most challenging to work with?

Clovis Weil: The toughest location was probably Paris due to its numerous neighbors. To be completely honest, Paris isn't always the most welcoming because of the frequent filming that takes place there. Some neighborhoods have become quite exhausted with the constant shootings. Additionally, we had a very limited timeframe and a vast number of streets to film in Paris, making it even more demanding.

In closed spaces such as the school and the abbey, we experience a sense of freedom despite being cautious about various matters. However, the real difficulty arises when working amidst the bustling streets of a densely populated city.

One aspect of this show that I truly admire is the clear distinction between the different groups. Whether it's the abbey or the nightclub dwellers, each community has its own unique identity. How do you manage to cultivate these distinct communities? Is it a challenging task?

A good set is one that narrates a story effortlessly. It delights me to include countless intricate details that reflect the lives of those who constructed it as well as those who inhabit it. Initially, it was scripted that David wanted the communities to be distinct from one another—such as the school, the abbey, and the rooftop camps. These communities comprised individuals from diverse backgrounds. Personally, I thoroughly enjoyed envisioning and advocating for each community to have its own unique appearance.

I desired an ethereal, timeless quality for the sisters residing in the abbey, while aiming for something reminiscent of "Lord of the Flies" for the school, portraying the children living as untamed beings. My favorite set was the stage set: the demimonde—located in the sewer. I had yearned to create a set within a sewer for quite some time. Initially, it was written to be set in the catacombs, but I had numerous conversations with David to shift the focus back to a sewer. Constructing this set was a truly enjoyable experience, as we added a touch of dubiousness, drawing inspiration from the atmosphere of a speakeasy.

When considering everything, we contemplate how they make payments, obtain money or trade goods, cultivate food, and access light or electricity. In the case of the rooftop camp, we established a small school and repair shop. They are required to construct using the available resources as there is no longer any production or industry, thus necessitating the reuse of existing materials. The ability to visualize these narratives on screen is crucial.

Numerous iconic artworks, such as famous paintings, found their way into the show. Were there any particular pieces that you were particularly thrilled to work with?

Clovis Weil expressed his appreciation for the ability of this particular universe to allow for playful exploration and the combination of unlikely elements, a departure from what is typically seen in our own reality. The notion of incorporating pieces of artwork into a sewer setting, although unconventional, generates a sense of enjoyment and visually pleasing aesthetics. In his opinion, this unique amalgamation of disparate elements would make for an extraordinary museum.

About The Walking Dead: Daryl Dixon

In France, Daryl Dixon from The Walking Dead finds himself washed ashore, grappling with the mysteries of his unexpected presence in this unfamiliar land. Throughout the series, we witness his arduous trek across a fragmented yet unyielding France, driven by his desperate quest to return to his rightful place. However, the encounters and alliances he forges throughout his odyssey intricately entangle his ultimate objective.

Check back for our other The Walking Dead: Daryl Dixon interviews:

Louis Puech Scigliuzzi, Romain Levi, Eriq Ebouaney & Anne Charrier

Director Daniel Percival & Director of Photography Matteo Tomasso Fiorilli

New episodes of The Walking Dead: Daryl Dixon are released on Sundays on AMC.