Behind the Iconic “Superman” Movie Sets with Set Decorator Rosemary Brandenburg

The Decorating Pages Podcast has uploaded a 55 minute interview with “Superman” Set Decorator Rosemary Brandenburg in which she shares insights into the design process, from choosing a “timeless” aesthetic that blends mid-century and Art Deco influences to the meticulous detail involved in creating iconic sets like the Daily Planet, Lois Lane’s apartment, Clark Kent’s modest flat, and the elaborate Fortress of Solitude.

Ever wondered about the meticulous detail that goes into creating the immersive worlds of your favourite superhero films? The “Decorating Pages Podcast” recently sat down with renowned set decorator Rosemary Brandenburg, offering an exclusive peek behind the curtain of the highly anticipated new “Superman” film. Brandenburg, known for her work on “Superman”, “Spider-Man”, and “Star Wars”, shares fascinating insights into crafting the film’s unique aesthetic, from the bustling Daily Planet to Superman’s minimalist abode.

A Fresh Take on an Iconic Hero

For Brandenburg, working on “Superman” was an exciting opportunity to “start over” and avoid being a sequel to previous films. While acknowledging the popular, darker approach of the “Man of Steel” series, this new iteration aims for a “brighter, more optimistic feeling” and a “more relatable Superman” who embraces his vulnerabilities. The creative team drew inspiration from the Donner series and classic comics with rich colours, moving away from the darker tones seen previously. Interestingly, the film isn’t an origin story, setting up the narrative quickly.

Filming Across America: Bringing Metropolis to Life

The production cast a wide net for its filming locations, primarily shooting at Trilith movie studios south of Atlanta, Georgia, which hosted numerous large stages. A “good chunk” of filming also took place in Mon, Georgia, for Clark Kent’s childhood farm and a historic bus station that was “totally revamped to be the Daily Planet”. The team then moved to Cleveland, Ohio, which stood in for urban Metropolis, and concluded filming in Cincinnati. The choice of Cincinnati was particularly noteworthy: its beautiful classic art deco train station was drawn into the original Superman comics as the Justice League headquarters, making this film the first to utilise it.

Crafting Iconic Sets with Meticulous Detail

The Daily Planet: A Timeless Era with a Pop of Orange

The Daily Planet set intentionally evokes a “timeless era,” not specifying an exact year, with a “classic look” and nods to mid-century design. Elaborate colour conversations were held, resulting in the prominent use of oranges, a palette decision made in close collaboration with costume designer Judiana Makovsky. The team re-upholstered chairs and ingeniously built desk pods around existing huge benches from the bus station, revealing the bench ends as a unique design element. Every desk, from the gossip columnist’s to Jimmy Olsen’s photographer’s station, was individually detailed to reflect the character working there, adding depth even if unseen.

Lois Lane’s Apartment: Layers of Story

Lois’s apartment, a stage set, was designed with numerous “Easter eggs” and special requests, including her Pulitzer Prize-winning article and award. Actress Rachel Brosnahan was deeply involved, providing many notes during early rehearsals. The apartment features a darker palette that, despite the lighting challenges, ultimately worked. A dark blue-green sofa became a “light motif throughout the film”. A framed picture in her apartment depicts “skywritten Lois,” suggesting an admirer other than Superman.

Clark Kent’s Apartment: Minimalist and Symbolic

Clark’s high-rise condo was designed to be “as minimal as we can,” reflecting that “he never spends any time here” and it’s “almost like a cover apartment”. The space incorporates a stark white background and blues, intentionally mimicking his Fortress of Solitude. Brandenburg notes the attention to detail, even down to blue dish soap. Discussions were held about what food he would have, settling on apples and bananas because he’s “healthy” and “wholesome,” though he’s also seen enjoying hot cocoa.

Fortress of Solitude: A Collaborative Feat

The fabrication of the Fortress of Solitude was a massive collaborative effort involving special effects, set dressing, upholstery, lighting, and even the makers of the robots. The iconic spaceship-like chair and large desk were incredibly complex, designed by art director Alex McCarol, and featured translucent layers and specific sci-fi elements. The chair had to spin, turn, go up and down, and even rise out of the floor. Prototypes were made from dense bead foam to allow the director, James Gunn, and actor David Corenswet (Superman) to test proportions. The set also featured a hidden lab with giant “ice blocks” containing wild extraterrestrial plants, drawing from the Fortress’s lore.

Kent Farm and Clark’s Bedroom: Authentically Ordinary

The director envisioned a “really ordinary farm” for Clark’s upbringing, contrasting the often idealised versions seen before. The farm location even raised Angus beef cattle, with some appearing in the film. Clark’s childhood bedroom was filled with “Easter eggs,” including the “Mighty Crab Joys” photo shoot (a collaboration with graphic designer Kelsey Brennan) and NASA posters. Discussions around his bedding involved finding a combination that was “quiet yet made a statement” and complemented the actor. The tubular metal bed was chosen after reviewing Sears catalogues, ensuring it reflected a more contemporary (late 90s/early 2000s) period, aligning with the “timeless but reflective of the time” aesthetic. The dog, Krypto, played by a trained movie dog named Jolene, was enhanced by visual effects for expressions, bringing comedy and relatability to the film.

Lex Luthor’s Domain: Power and Precision

Lex Luthor’s office in Luthor Corp features a grand desk that, while a real piece found at Faux Library, had a special effects-made copy for the scene where Superman throws it. The “comm’s hub,” a vast glass-filled set, was an “enormous job,” requiring months of fabrication. Set designer Bria Kinter designed desks that changed size as they got closer to the front of the narrowing room, necessitating full-size foam core prototypes for director approval.

Hall of Justice: Mod and Unpacking

Set in Cincinnati’s historic Art Deco train station, the Hall of Justice sports a mod, mid-century modern style with warm orange and yellow tones, derived from the station’s curving forms. Much of the furniture was custom-made or found and reupholstered, reflecting that the Justice League is “being funded by Mr. Lord, the Uber millionaire”. The set was designed to feel like a “loungey” hangout where the characters are still “unpacking” and haven’t fully settled, reflecting their early stages as a team.

The Immense Effort of Set Decorating

Brandenburg revealed the intense prep period, lasting five to six months out of the ten months she was on the film. Her department is a “vast army,” including designers, a graphics team, fabricators, illustrators, assistant set decorators, buyers, and builders. She highlighted the logistical challenge of moving a whole company across states and prepping for filming in different cities like Cleveland.

Working with director James Gunn, who writes “very specific” scripts and draws his own storyboards, presents both a “pleasure and a terror”. Brandenburg stresses the importance of “being able to read into what some of this direction is” and interpreting Gunn’s vision, often presenting options and conducting warehouse rehearsals with prototypes for approval. This immense attention to detail is crucial, as “every single thing is going to be scrutinized” by passionate fans. For Brandenburg, it’s not just a sourcing job; it’s about “intricate manufacturing and design and figuring out”.

It’s clear that the new “Superman” film not only offers a fresh narrative perspective but also a meticulously crafted visual experience, thanks to the dedicated work of Rosemary Brandenburg and her talented team.

“Superman” is currently showing in theatres and IMAX.