Interior Design Psychology in Film: Not Just For The Aesthetics9 min read

Reading Time: 6 minutes

When we step into a room, we divert most of our attention to the overall aesthetics and functionality of the space. But what about the psychology that comes with the space, and what the designer intended to convey through the furnishings in the room? 

They call it interior design psychology, a field within environmental psychology that studies the relationship between an environment and how that environment affects the behaviour of its inhabitants. 

Take hotel lobbies for example. Most lobbies have high ceilings that not only serve as an ideal space to hang a chandelier or other ridiculous posh decorations, but also influence a guest’s notion of freedom and subconscious perception of space. It is built to lure people in. 

Film is different. Though the set designers are also subjected to costs and space constraints, they have more creative freedom because they can build their ideal space from the ground up, with less boundaries. The items used in scenes—from the wall dividers to the posters hanging down to the books and stacks of paper on the desk—act as expressions of the characters’ personalities and desires. 

Let’s look at some films where these elements are not only used as props, but also to enhance the story. 

In Blade Runner 2049, two-time Oscar-winning cinematographer Roger Deakins experiments with colours and lighting that not only makes the film breathtakingly beautiful from beginning to end, but also adds depth to the story. The visual effects alone proves its evolution since the 1982 prequel, challenging and inspiring other cinematographers to recreate the same.

Set in 2049, the future in the Blade Runner universe is bleak. Picture a combination between Mad Max and Tron. There’s a lot of metal and sand, except replace the sun with darkness and the neon lights with huge nude advertisements of Joi, a holographic product for the lonely. 

Then there’s Wallace’s headquarters—a juxtaposition against the dark, depressing streets outside. The scenes in his palace are so meticulously lit. The colour yellow—or dare I say ochre—is prominently featured in his palace, done to represent nature and love amidst the artifice and planetary destruction. Its similarity to gold could also be a nod to Wallace’s power and influence.

During the confrontation scene between Wallace (Jared Leto) and Deckard (Harrison Ford), the room is minimally lit as opposed to the others. The spotlight shifts in and out of the characters’ faces, interchanging focus while they are conversing. In the background, the projection of wave patterns that gives the effect of light dancing on the walls becomes more sporadic, showing the tension between the two. 

Watching Blade Runner was intense. I had to rewatch it after finding out about the different techniques used. The colours and lighting used are expressions of themes to generate or enhance a certain emotion in a scene. The yellow inspires status and naturalistic elements on top of inciting relaxation and peace.

The lighting expresses suspense and unfamiliarity, adding a dramatic effect to the scene. It is with no doubt that the film is recognised for its stunning visual effects that plays a pivotal role in building the story and setting the tone for the viewers. I just wish I caught it the first time and saved myself three hours.

Moving on to a different element, and a present timeline that we are more familiar with, Marriage Story uses furniture to heighten the discomfort Nicole (Scarlett Johansson) and Charlie (Adam Driver) are feeling at that point of their divorce.  

For a Variety piece, director Noah Baumbach breaks the intense fight scene down in detail. The sequence is filmed in Charlie’s new apartment he lives in during the process of their divorce. There is plenty of negative space in the apartment—the walls are empty and unpainted. Because the space is not fully furnished, it makes the room even emptier than it already is. 

The living room has couches and tables that have hard rectangular edges, purposefully used to give off a sense of discomfort in an area where it is supposed to be comfortable. This is dissimilar to their family home that has furniture that is rounded and welcoming.

At one point, a wide shot pins the wall divider in the middle, with Charlie in the kitchen and Nicole in the living room. Both characters cannot see each other while conversing. The blocking is used to parallel their situation then—a feeling of disconnect and frustration. 

The use of space and furnishings—albeit inanimate—are other ways to evoke emotions from viewers. Though the scenes are shot in a practical location (not built), the director has freedom in choosing what goes into the space. Each furnishing is symbolism for the story, and the given space is a sandbox for set directors to frame their best shots.

In American Psycho, Patrick Bateman’s (Christian Bale) all-white apartment is curated using a mixture of tones and intricate art pieces ideal for an ego-centric psychopath. The satirical horror film covers the ramifications of following a materialistic lifestyle, prioritising personal image to individuality. Christian Bale’s performance elevates the character’s existential terror and psychosis. Naturally, the set design of his personal space—far off a humble abode—to mirror a posh but unpleasant bachelor pad much like the character’s inhuman personality. 

Production designer Gideon Ponte said, “Bateman’s apartment was white, and typically in film, you never use white; you normally drop it down a couple of tones on the walls in order for the skin tones to read well. So that’s why it was sort of jarring—it’s not easy on the eye.” 

What added to the jarring-ness of it are the empty spaces with furniture kept to a minimal. The stark contrast of black and white accents of the furniture and appliances represents the coldness that runs throughout the room. Everything has sharp corners, not to mention the giant telescope by the window for reasons far from acceptable. Nothing in the space is comfortable.

The art collection on the walls is not provocative or gruesome but gives off an equally strange atmosphere to the room. A series of paintings from Robert Longo’s “Men in the Cities” are featured. It shows images of people falling over after being hurled by tennis balls. Some others include a line of smaller framed pictures of what appears to be a blank black picture in the hallway and multiple others embodying artificial identities. 

Similar to Marriage Story, space and furnishings are used but this time, they do it to paint the character’s personality. They say you can tell how a person is just by looking at his apartment or room. In the film, Bateman cannot find his identity amid the “yuppie” culture—young, rich, arrogant, highly educated professionals. And this reflects upon his ridiculously pristine space where there isn’t a trace of personality shown.

The space is hollow and empty, just as they depict him. You can feel the unsettledness and picture the negative things that are about to happen. I never thought the colour white would make me so disturbed, I now associate the combination of pristine and white with devilry.

Colours, lighting, space and furnishings all control an environment and the relationship and behaviour of its inhabitants. Every aspect is there to fulfil its purpose in the scene.

I chose these three films because they all represent an element that was executed perfectly. Of course, there are so many others, and these are just a sampling of techniques that are visual aids for us to better understand the films that we all enjoy. 

---

Read more:
A Different Kind of Horror