ABSTRACT
This chapter explores the role of production design in Tomas Alfredson's 2011 film version of Tinker Tailor Soldier Spy and the ways in which it weaves together themes of espionage through the design of both public and private environments. It identifies the emergence of a labyrinth motif which visually constructs ambiguity around private and public spaces, where there is a lack of clear division between the interior and exterior. The ways in which these boundaries are transgressed reflect the themes of espionage through the design of space, light, colour, and set decoration. The discussion draws on interviews conducted with the film's production designer, Maria Djurkovic, and set decorator, Tatiana Macdonald.
