Building a Giant Leg in the Desert for Season 3 of Euphoria
According to CinemaDrame News Agency, production designer François Audouy, creator-writer-director Sam Levinson, and cinematographer Marcel Rév discuss the creation of a club built on the very stage where Humphrey Bogart once performed in Casablanca.
When Sam Levinson, the creator of Euphoria, introduced the new season at a Hollywood premiere event, he pointed to the influence of several directors from the Golden Age of the studio system—names like Howard Hawks, John Ford, and Don Siegel, as well as his father, Barry Levinson, who has a deep affinity for classical cinema. The most evident influence appears from the very beginning of Season 3, where Rue, played by Zendaya, attempts to cross the border as a drug courier. The sequence is clearly inspired by American Westerns, something that greatly excited François Audouy.
He explains that imagining present-day Southern California as the backdrop for a Western was both an intriguing opportunity and a serious challenge. His goal was to present a fractured and unconventional vision of the American West. Particularly in the first episode, Western “DNA” is clearly embedded in the show’s atmosphere.
The influence of Westerns and classic Hollywood films runs throughout the new season, even in locations that might not initially suggest it. For instance, in Episode 2, viewers are introduced to the Silver Slipper strip club, where Rue works—not as a dancer, but as a manager—alongside its owner Alamo, played by Adewale Akinnuoye-Agbaje. The venue presents a striking contrast between spirituality and sin: a building devoted to vice in the middle of the desert, yet one that appears to offer Rue a form of salvation.
Levinson explains that Rue meets Alamo and forms a deep connection with him, leading her to believe that working there might be her dream. He was drawn to the idea that the club’s visual elements—such as a giant leg stretching into the sky—would feel like an oasis to Rue, only for its darkness to gradually reveal itself, teaching her the consequences of blindly pursuing desire.
The giant leg, constructed alongside the club’s exterior in Lancaster, had been in Levinson’s mind from the beginning. Audouy recalls that in their first conversation, Levinson described the image he envisioned: an enormous leg rising into the desert sky. The idea was inspired by a black-and-white photography book featuring an image of a 1930s Hollywood nightclub. Building the massive structure—reminiscent of roadside attractions along Route 66—drew many locals to the site, some traveling from afar just to see it.
For the interior, built on a soundstage, Audouy chose to emphasize the club’s darker side, incorporating taxidermy animals provided by set decorator Anthony Carlino. He notes that selecting predatory animals was fitting, as the entire space is filled with predators—even the humans. While he envisioned the Silver Slipper as having a Western saloon feel, he made an effort not to confine the design to a single stylistic approach.
He also points out that elements of the 1970s and ’80s were woven into the design, creating a compelling blend. Levinson adds that some inspirations came not from films but from unexpected sources—such as Mike Tyson’s former home in Ohio, which featured zebra and leopard patterns. The aim was to reflect the Western sensibility that Alamo admires, as though he had personally designed the space.
For Audouy, it was essential that the location offer ample visual opportunities for both the director and cinematographer, as much of the season takes place there. He explains that the set remained in use from the first week of filming through the last, making it one of the most important environments, so it was designed with numerous angles and visual “cracks” to explore.
Marcel Rév notes that having a location that remains visually engaging over months of shooting is rare. They continually discovered new angles, thanks in part to the use of two-way mirrors and various types of glass that allowed for diverse perspectives. Audouy adds that the layout enabled compelling shots through doorways and rooms, with the goal of creating a set rich in both composition and detail.
To achieve this, Audouy and Carlino ensured the space was fully functional and immersive for the actors. Every drawer and door worked, and everything felt real. This not only benefited the camera but also helped the actors inhabit their roles more fully, as if the set itself were part of their costume.
Levinson also emphasized that the club should not feel tied to a specific time period. He explains that they avoided modern elements like flashing lights, opting instead for a more timeless atmosphere reminiscent of burlesque halls, with warm lighting. Building the set on a soundstage provided both creative freedom and a sense of nostalgia. He describes the location as something akin to Rick’s Café.
Notably, the Silver Slipper was constructed on the very stage where Rick’s Café in Casablanca was originally built—a space that has hosted numerous classic productions. Levinson says that before entering each day, they would read the list of films shot there, making the experience both unique and deeply meaningful.
