NFS: How did you get your start in production design?
Tabitha Pease: I grew up in a very creative household. My parents are the ultimate do-it-yourselfers - always immersed in some kind of project. That environment set me up with a natural inclination towards a creative career. I went on to study interior design and architecture in college, where I spent countless hours building models and conceptualizing spaces.
At the same time, I was performing in a dance ensemble within the theater department. For each show, we helped install the lighting plots and roll out the marley floor. This opened my eyes to the behind-the-scenes world and led me to designing sets for theater and moving to New York. After working in theater for several years, a director unexpectedly reached out after discovering my theater design website. He asked me to design my first indie film, and this set me on my new path toward production design.
NFS: Who were some of your biggest inspirations in the film and art space?
TP: I always find myself drawn to Joe Wright’s films — his collaborations with one of my favorite production designers, Sarah Greenwood, never fail to inspire me. From the gritty, beautifully distressed world of Pride & Prejudice to the sleek, hyper-stylized aesthetic of Barbie, her work consistently resonates with me. I’m also deeply inspired by Aline Bonetto and her vibrantly imaginative worlds in Pan and Amélie. Her use of color and whimsy brings such richness to storytelling.
Color plays a central role in my design aesthetic – it’s one of my favorite tools for deepening narrative. I’ll never forget watching The Danish Girl and seeing how production designer Eve Stewart expertly crafted a subtle but powerful color progression that mirrored Lili’s emotional journey. It was a beautiful example of how visual design can quietly, yet profoundly, support character transformation.
'Things Like This' Production DesignCredit: Tabitha Pease
NFS: How were you first approached for Things Like This?
TP: I was approached by producers Robyn Davis and Andrew Zolot for this film from a previous film I applied to design. You never know when not getting one job will land you another!
NFS: What was your collaboration like with the director and your other department heads?
TP: Working with writer and director Max Talisman was a pleasure. We had thoughtful, in-depth conversations about the characters and their backstories and how those elements could be reflected in the environments we created for them. Costume designer Naomi Wolff Lachter and I had a great time collaborating on color and pattern choices, ensuring our departments were visually aligned, and I also worked closely with DP Matt Clegg to find the most effective angles and compositions to bring the story to life.
I was fortunate to have an incredibly talented team supporting the vision as well — set decorator Jordan Janota and props master Alexandra Koskoris were essential in helping shape and build the detailed, character-driven spaces we envisioned.
NFS: What were some of the references used to build this world you created?
TP: This film was a journey in exploring visual opposites. I spent a lot of time researching eclectic, lived-in Brooklyn apartments — full of texture, personality, and chaos. Then, I contrasted that with sleek, minimalist, and modern home interiors. These contrasting references helped highlight the polar differences in the two “Zacks’” backgrounds and lifestyles, emphasizing the tension and comedy in their world.
'Things Like This' Production Design Credit: Tabitha Pease
NFS: How did Things Like This differ from your past work?
TP: Things Like This gave me the opportunity to explore color through a comedic lens, something I hadn’t had the creative space to dive into in my past work. One of the best examples is Margie Kitlin’s office, where we really leaned into bold, playful color choices to heighten the quirky, offbeat energy of the workplace. It was a fun and refreshing departure from more grounded palettes I’ve used before.
NFS: What was the biggest challenge of working on this project? What was your solution to the challenge?
TP: Ironically, one of the biggest challenges never even made it into the final film. There was a deleted scene where Zack Anthony and his best friend Chloe visit a fortune teller, envisioned as a cozy, colorful, and richly patterned oasis. The location we had to work with, however, was a stark white office space – with almost no prep time, no budget for a build, and a tight strike window. So, to transform the space, we built a “room within a room” using pipe and drape to reduce its scale and create intimacy. We hung deep turquoise and carmine velour curtains and used additional drapes to suggest hallways beyond the parted tassels and beaded entrances. Despite the limitations, the space became something magical – even if it never made it to screen.
Tabitha Pease
NFS: What do you hope audiences take away from this film?
TP: I want viewers to feel immersed in our vibrant, quirky world – one where the environment itself becomes an extension of the characters. Every visual decision I make, from the texture of a wall to the color of a pillow, is rooted in character and theme. I believe that the spaces characters inhabit should speak volumes about who they are, where they’ve been, and what they’re going through. My hope is that the design not only enhances the story but also invites the audience to feel something deeper and connect more meaningfully with the world on screen.
NFS: What’s next for you?
TP: Right now, I’m set decorating a horror rom-com, which has been a fun blend of genre and style. This fall, a limited series I also decorated — The Artist, starring Janet McTeer and Mandy Patinkin — is set to premiere. I’m always on the lookout for the next creative adventure and for inspiring directors and teams to collaborate with.