Unlocking the Secrets: Creating Authentic Crime Scene Set-Ups with Production Designer Eric Fraser in The Irrational

Summary

Introducing

Summary

The show is adapted from Dan Ariely's novel, providing an unpredictable perspective as Alec explores the underlying motives behind each crime. Production designer Eric Fraser faced significant challenges in crafting authentic crime scenes and establishing the show's university backdrop. Additionally, Fraser teamed up with Jesse L. Martin for the first time during this project.

The Irrational, a procedural series by NBC, can now be streamed on Peacock. New episodes are aired every Monday on the network. Leading the series is Jesse L. Martin (known for his role in The Flash) as Alec Mercer, a behavioral science professor who utilizes his understanding of the human mind to assist law enforcement in solving complex cases. Based on Dan Ariely's novel, the show offers an element of unpredictability as Alec delves into the true motives behind each crime.

Created by Arika Lisanne Mittman, The Irrational features Eric Fraser as the production designer. Fraser has an extensive background in the art department, having worked on notable projects such as Supergirl, A Million Little Things, and This Means War. Alongside Martin, the main cast includes Maahra Hill, Travina Springer, Molly Kunz, and Arash DeMaxi.

Eric Fraser Talks The Irrational

When you received the call to work on The Irrational, what aspect of the project excited you the most? Did you view this opportunity as a continuation of your past works, or did it present a chance to explore uncharted artistic territory?

I found the script very appealing and I had a positive reaction to it. Although I was not previously familiar with Dan Ariely, who inspired the character of Alec Mercer, I was intrigued by the idea of transforming an Israeli man into an American character. It felt like quite a daring move. I was particularly captivated by the challenge of making this transformation happen. When I discovered that David Frankel would be directing, someone whose work I am very familiar with, I was extremely excited. I had responded well to his recent work on the Inventing Anna series. Additionally, when I met Arika, the showrunner and creator of the show, and learned of the incredible effort she had put into bringing the show to life, it just felt like the perfect fit. The dynamic between the three individuals felt right. Moreover, having Jesse L. Martin attached was also a delightful bonus, as he is well-known and appreciated in Vancouver due to his previous work in the city.

Did you and Jesse have an opportunity to collaborate before this, considering your work on Supergirl and the crossovers with The Flash?

Eric Fraser: This was our first collaboration. I wasn't present for the crossover episodes of Supergirl, but after hearing about the immense task they were, I felt relieved. It was the first time I met Jesse. As I mentioned, his character drew inspiration from an Israeli man, so Bradley (the set decorator) and I took great care in presenting how we would create his office and incorporate Dan Ariely's cerebral approach into Alec's character's world. I didn't know Jesse beforehand, but I got to know him a bit during the series preparation. I found him to be an easy person to work with.

Do you have any law enforcement advisors on set to consult with while envisioning the crime scenes, or did you conduct extensive independent research?

Eric Fraser: We utilized a combination of both. We established a strong working relationship with the FBI to obtain accurate procedures and visual aids for the creation of the FBI office set. This provided us with valuable insights. For the pilot episode, we depicted a crime scene involving an influencer who recorded her own interactions on the internet. I conducted extensive research to understand the technical challenges faced by individuals in that field. This research then influenced the writing process, with screen captures playing a role in Alex's investigation to uncover the truth.

The research we conduct plays a crucial role in the combination of factors that contribute to the overall result. When the director, David Frankel, requested a contemporary approach and aesthetic, we engaged in negotiations and produced numerous artworks that became the focal point of influence within the department. These works were created in-house to establish the desired look and to support the fact that the character in question was not physically present on the show as she had already passed away. It presented a challenge in terms of portrayal, with the essence of her backstory being embedded more in the building's environment than in her performance.

To what extent are you involved in discussions regarding the storyline? I assume it's essential for you to be aware of the setup during crime scenes, specifically, in order to lay the groundwork for future story revelations.

Eric Fraser: To me, that's just a small aspect of my responsibilities. Arika primarily handles that. She and the episode writers conduct their own research, which they share with us. In turn, I also do my own research, which often reaffirms their findings. However, occasionally I notice nuanced aspects that I believe we can execute exceptionally, and I will bring it to their attention. Ultimately, it's up to Arika to decide whether those suggestions make it into the scripts or not.

Do you have specific elements you concentrate on for every setup, or do you approach each scene with a new perspective?

Eric Fraser: The uniqueness of the storyline lies in the fact that each crime in every episode has a distinct beginning, middle, and end. This implies that each crime is exclusive to its respective episode. My main focus is on ensuring accuracy within the storyline. I put in extensive effort to create a setting that feels authentic and appropriate for the narrative. Additionally, we select locations that effectively support the crime scenes. The props master plays a crucial role in delivering the accurate elements of the crime scenes, and we are lucky to have someone talented in that position. Paying attention to intricate details is of utmost importance, and it requires a collaborative effort from the team to ensure their delivery.

Among the various departments within production design, was there a specific one for The Irrational that demanded a remarkable level of creativity and played a crucial role in achieving the series' desired aesthetic?

Eric Fraser: Definitely, Bradley Lang, the set decorator, and I have been working together for about three or four years now, and we make a great team. When entering a new set, it's usually the wide shots that provide the most insight into the backstory, and those are the shots that I deeply care about. As the scene becomes more detailed, the focus shifts to intricate prop work. Coordinating the decoration with the costume designer is vital to ensure the avoidance of clashing patterns, like plaid wallpaper and plaid outfits.

When selecting locations for crime scenes or stunts that require a certain amount of space, what are your specific criteria? How does this differ from shows like A Million Little Things?

Eric Fraser: That's an excellent question. Our show operates on a standard eight-day turnaround, which is quite typical. In my previous experience with feature films, stunts would often have a separate second unit dedicated to them for two days. Here, we have to handle everything with the main unit, sometimes within just one day. Efficiency is crucial, particularly for anything involving stunts or driving. Therefore, we have to carefully choose locations that facilitate this efficiency.

Which scenes do you find most challenging to set the appropriate environment for?

The university setting proved to be the most challenging aspect for me. While the main focus of the story is the crime-solving action, it is crucial to establish Alec's background and the academic world he belongs to. This backstory plays a vital role in defining his character. Simply having him standing behind a lectern for 20 minutes in every episode would be tedious.

Hence, it was crucial to bring the university setting to life, allowing the director to showcase movement and interactions among various characters. This includes the research assistants who contribute to the authenticity of the university environment and Jesse's character's backstory. It may not sound particularly thrilling, but I believe Alec's character wouldn't be able to effectively deliver the analytical dialogue required without the foundation of his university experiences.

While I have the opportunity, I noticed that you were the Art Director for This Means War, which happened to be one of my favorite films when I was younger. I'm curious to know if it had any influence on the type of projects you have been involved with more recently.

Eric Fraser: I absolutely love that film. It exemplifies what I was mentioning earlier. It served as a valuable training ground for me in terms of executing stunts within tight time constraints. With just five days to accomplish a task, consisting of one or two days for the main unit and three days for the second unit, it taught me how to maintain the same level of quality and apply it to television projects, where speed and efficiency are crucial. This lesson has been incredibly valuable in my career.

About The Irrational

Follow world-renowned behavioral science professor Alec Mercer (played by Jesse L. Martin) in "The Irrational" as he applies his unique expertise to tackle high-stakes cases involving governments, law enforcement, and corporations. With his unconventional approach to understanding human behavior, Mercer leads his team on intense and unexpected journeys to unravel illogical puzzles and perplexing mysteries. The show is based on the best-selling book "Predictably Irrational" by Dan Ariely. Also, don't miss our interview with "The Irrational" cinematographer Todd A. Dos Reis.

The Irrational airs Mondays at 10pm ET on NBC and is available to stream the next day on Peacock.

Source: Screen Rant Plus