Suzie Davies

For a film like Conclave, which is about the extensive process of selecting a new pope, you might imagine that replicating exact locations in Italy might be the goal. On the contrary, all of that historical research becomes an element to inform the visuals and create something unique. By incorporating various religious symbols and references to Fascist Italian Architecture, the Production Design becomes incredibly multilayered, which aligns with the dynamics of the film.

In an exclusive interview with Interiors, we spoke with Suzie Davies, who is the Production Designer for Conclave. The photos are courtesy of Focus Features.

INT: First off, we were curious how the opportunity to do the film, Conclave, came about? What was it about it that made you want to work on it?

SD: I had worked with Edward Berger very briefly on a project during lockdown, which was mothballed during those Covid years. Then he reached out regarding this project: A great script, a great director and filming in Italy? Yes, please! This had a great combination of potentials.

INT: There's this incredible balance of light and dark that is on display throughout the film. The film shows traditional, ornate architecture (Sistine Chapel) as well as a more modern style (Casa Santa Marta) but even within certain spaces and sequences, we see the juxtaposition of light and dark. In terms of Production Design, how were you trying to showcase this juxtaposition throughout the film? Were there any challenges that came along with it?

SD: During Pre Production, Edward and I spoke about his ambitions and desires for the movie and it became clear how graphic and visual he was.  That, along with the objective of making this a thrilleresque type film, we began to build the world.  Rome is known for its beauty and ornate architecture and we absolutely wanted to embrace that but the chance to play with what almost feels like the opposite - brutal, fascist design - really worked to our advantage to help tell this story - particularly to the areas within the Casa Santa Marta  - helping create a sense of confinement and pressure adding to the secrecy and intrigue.  

The challenge is to get the balance right! Making sure the dimly lit corridor had enough light to see the characters or opening a brutalist window into an ornate courtyard. Everything had to be considered.  

INT: From reconfiguring the cardinals opposite each other in the conclave to having artwork that was bespoke in the style or inspired by the real art, I very much appreciated the way you took artistic license with these spaces and details. What was the process like trying to stay authentic to the real locations but also trying to create something unique and tell your own story?

SD: As with any film based on a subject or within a period of time, it’s hugely important to research the reality. Find out everything one can about the processes - speak to experts and delve into any unusual idiosyncrasies that may arise.  But then once we get to the actual design stage of the film, that information becomes an element to inspire and inform the visuals rather than define them.  Ultimately, we are creating a cinematic story rather than a factual documentary. In reference to Conclave, we enjoyed the ritual of the voting but where we took more license was with the behind-the-scenes elements - the canteen - the reception - the kitchens - the modernity of the environments.  To place out the characters in less obvious surroundings - we expect to see Cardinals in the Sistine Chapel or a cloister - but it adds another dimension to see them on the phone or vaping or eating pasta!

INT: We've read that you were inspired by many different things including the photographer Saul Leiter, the paintings of Caravaggio and Italian architect, Carlo Scarpa. Did you take inspiration from any films or architectural buildings for any of the spaces in the film?

SD: Absolutely - Films, Photographs, Paintings and Rome itself had so much to inspire us. On the location recess, we visited many Museums and Palaces, which helped us build our world along with the more modern side of Rome found in the business district. The films of Pakula were also an inspiration.  

INT: You mentioned in a recent interview this concept of restraint and that "one of the jobs of a designer is knowing when not to do [something] and when to let the locations work hard for you.", which I found fascinating. As a Production Designer, can you talk about how you use restraint in your work and how you used this for the sets and locations in Conclave?

SD: Restraint is such a fine line to navigate. Often when I am dressing sets with the Set Decorator, we challenge each other to remove 5 items - and then see if we need to replace them or leave them out. It’s important to know when and how the spaces are used and by whom within the story. In reality, not every surface has to have dressing and the lack of is a character trait too. Regarding the bigger/broader brushstrokes in design and construction, I guess it comes down to making sure the location choices complement the augmentation of spaces and understanding when we can allow the location to live on its own - Does it have the emphasis we need?

For instance, in Conclave, the “Gold Room”, where the amazing choral piece is sung - This is part of a location called the Palazzo Barberini - we hardly did anything other than install a large crucifix and hide some modern radiators. The room was extraordinarily beautiful and of such scale that once the cardinals where dressed in the wonderful costumes by Lisy Cristl, it was very clear - nothing more was needed.

Suzie Davies is an award-winning Production Designer and has worked on various Films and Television Shows.