THE GOOD WITCH SERIES PRODUCTION DESIGN APPROACH

Prior to designing The Good Witch series, I had been the Production Designer on the last four of the seven Good Witch Movies of the Week, the latter of which depended on well chosen locations that were retrofitted and set decorated to suit the tonal and aesthetic goals of the franchise. At the core, these goals were to create a pleasing, textured, harmonious and attractive world in which the characters of the Good Witch story resided, a world in which the viewer would also want to live and thrive.

With the design of the Good Witch series, I had the luxury of desiging and building all of the primary story locations as interior studio sets, paired with exterior locations that we had established within the movies. The budget was healthy but not large, and I was given only a three week period to design the sets prior to a the start of construction drawings. To make this tight schedule work, I did some extensive pre-prep by sourcing a wide range of reclaimed architectural elements from a variety of suppliers, which I in turn, designed into the sets. Often in fact, the sets were designed around specific ‘found’ elements, which offered us tremendously more production value than we could have afforded to build otherwise.

Cassie Nightengale, fetchingly portrayed by Catherine Bell, possesses a rare and special aura and in a way casts this same spell upon the picturesque town of Middleton. This specialness is signified by a certain magical lightness, a refined and eclectic elegance, a sense of sensual and enigmatic mystery and also a sense of timelessness. These qualities were  taken into account at every turn; most certainly in the incorporation of so many unique architectural elements into the studio sets themeselves, but also in the use of layered and translucent textures, in the palette which was comprised of rich, warm and yet also airy colours, and also, in our ongoing location choices.