Spellbound: Creating the magical world of Sabrina the Teenage Witch

One of the things that makes “Chilling Adventures of Sabrina” fascinating to watch is attributed to how the production team behind it manages to “reimagine” a parallel world that is as much inhabited by humans as it is by wicked warlocks, shape-shifting witches and nightmare-inducing demons.

Be forewarned: This isn’t the frothy and kitschy “Sabrina the Teenage Witch” your dad and mom grew up reading.

“Blame” the show’s production designer Lisa Soper for its delectable visual beauty.

Lisa hews closely—and diligently—to the “show it, don’t tell it” axiom that proficiently conveys the series’ darker tone and sinister themes.

We’ll let Lisa’s stunning work in “Chilling Adventures of Sabrina” speak for itself. Its youthful vibe and the pertinent issues aside, the series is guaranteed to transport viewers into the darker side of Sabrina’s spellbinding realm.

Our Q&A with Lisa:

The series is a curious departure, tonally, from the “wholesome” comic book and ’90s TV series starring Melissa Joan Hart. In terms of design, what was your primary goal for its latest incarnation? Reimagining a beloved children’s show for our cynical age gives a wonderful opportunity to suck on the rich veins of classic horror. We wanted to update the sensibilities and mood of movies such as “The Omen” and “The Exorcist” with a knowing modern twist, in much the same way as the Duffer Brothers did for the ’80s with “Stranger Things.”

What makes this “Sabrina” different is that she will scare the audience and leave scars. I want to make people as afraid to go into the woods as they were to take a shower after watching “Psycho.”

The chance to create a coherent nasty reality was what excited me about Sabrina. The range of possibilities this show offers is unlimited.

Design is the great lie. As a designer, I take the story and create believable imagery that contributes to building a 60-minute experience that seems real. The more believable the lie, the more senses we get to manipulate. That is the thrill of what we do.

What were your inspirations in creating its unique “look,” like the lovely but spooky Spellman mansion and its gorgeously realized interiors, the “slice of Americana” look of the Paramount cineplex, the eerie Glendale woods, and even Baxter High. It’s like they have a life of their own. It’s important for me to start in the woods, where it all began.

Many centuries ago, witches were one with nature, and the darkness protected them. Here, you see nature literally taking over some of the sets, some of them in harmony with the house, and some fighting a continuous battle representing the characters’ oppression.

What makes something believable is giving it a history. So, when tasked with creating a history for something that does not exist, I did what many writers did, like Hawthorn, Lovecraft and Barker—I looked at history.

The house started with looking at Salem, Massachusetts. I was very much drawn to the House of the Seven Gables. Once I had the initial inspiration, I shifted into my animation background to create the illusion of life for this house. I continually referenced stories about the Salem witch trials, hauntings, why the witches’ house is crooked—and everything started to come together.

The house itself is designed in the shape of a spiral, which is not only a powerful symbol in pagan belief, it also gives something to the screen that isn’t normally seen.

What were your biggest challenges in “Sabrina?” Finding the perfect balance of choosing what we can create in sometimes only a couple of days, but still selling it as though it has been around for a lifetime.

What scenes or sets were the most fun and fulfilling to create? This is a difficult question for me, as I tend to immerse myself into each set, no matter how big or small.

These sets are my creations born into the “Sabrina universe.” Depending on the day, or what is happening in the scene, I always find a refreshing love for a set.

Weren’t you concerned that the series’ much darker tone would veer too far away from the comic book series’ “more mainstream” appeal? How did you find the balance between the comics and the new TV series? Not in the slightest. I know that horror done right will always have an audience. The balance came first from [series creator] Roberto Aguirre-Sacasa’s vision. Once we all knew what we were doing, the comic element helped us make it into what I feel is a perfectly balanced level of horror.

Did you read the Archie and Sabrina comic books growing up? How did you feel being part of a team that gets to “reimagine” and reinvent them? I did. Honestly, I would read them usually when I ran out of Barker, Tolkien, Elliot, Shelly and other fantasy or horror writers’ novels I had on the shelf. But I feel that it balanced out the seriousness of so much of the writings I would read.

It is important to laugh and not take life so seriously all the time. When I read the pitch, I told my mother, “I have to be a part of this!”

What was it like working with “Sabrina’s” telegenic cast, like Kiernan Shipka and Ross Lynch? I could not have imagined a better cast. They’re truly a pleasure to work with. I could engage with them about their characters’ backstories and motivations, and how I could support them through the design for their characters.

What was the collaboration process like in creating “Sabrina?” How was it working with Roberto, producer Greg Berlanti and the rest of the team? “Chilling Adventures of Sabrina” isn’t just a shake-and-bake show. Working with Roberto is like descending into a chasm of creativity that pushes boundaries unlike anything I have ever seen.

As far as working with the Berlanti group, it has been an absolute joy. When producers Sarah Shechter and Greg Berlanti come to set, there is a “very present” level of support and leadership.

Lastly, I love the directors and the entire crew. The saddest day for me during the shoot is every time one of our directors finishes an episode—because I have to say goodbye.