Cary White, the veteran production designer of ‘1923’, shares his insights on the challenges of recreating iconic locations and the collaborative spirit behind the series.
Insights from Cary White on Designing for ‘1923’
“Taylor does not write any easy scene. You read them, you just go, ‘oh my God, how are we going to do that?,'” veteran production designer Cary White admits about designing for 1923. White, nominated alongside co-production designer Lisa Ward, explains in Gold Derby’s Meet the Experts: TV Production Designers panel: “That’s Grand Central Station and that’s Ellis Island and the ferry going to Ellis Island, but you just make it work. You pick your angle and between the construction and the wonderful job our scenics do and everything everyone does, and a little visual effects, you can sell it. You can do Grand Central Station, but it’s not an easy thing to do!” (Watch our full interview above.)
Expanding the Yellowstone Saga
In the Paramount+ series 1923, Taylor Sheridan expands his Yellowstone saga, following Jacob and Cara Dutton (Harrison Ford and Helen Mirren) as they confront sweeping challenges to their Montana homestead in a time defined by Prohibition, harsh drought, and the onset of the Great Depression. The Western blends depictions of frontier conflict with character-focused narratives, examining themes of loyalty, resilience, and survival. Its second season pushes these themes further, with escalating family rivalries and high-stakes power shifts, all set against richly detailed production design that vividly evokes the unforgiving yet beautiful American West.
Cary White’s Career and Recognition
This is White’s fourth career nomination (Lonesome Dove in 1989, Buffalo Girls in 1995, Yellowstone in 2021, and 1923 in 2025). He is nominated for Best Narrative Period or Fantasy (One Hour or More) Production Design alongside his co-production designer Ward, with supervising art director Sean Ryan Jennings, and set decorator Carla Curry for their work on the third episode of the show’s second season, “Wrap Thee in Terror,” directed by Ben Richardson and written by Sheridan. The episode spans settings from the immigration halls of Ellis Island and the iconic main concourse of Grand Central Station, to the sweeping landscapes of Montana, as Alexandra faces the harsh realities of entry into America while tensions rise across multiple frontiers.
Collaboration and Creative Vision
“I’m so used to being bridesmaid, it would really be terrible to be a bride at this point,” White jokes about his fourth nomination (with no wins), after over 45 years in the industry, from his first credit as a property master in 1981 on the low-budget horror Demonoid, to becoming one of the most prolific production designers in the Western genre. White adds, in all seriousness, humbly acknowledging the recognition as a testament to the boss’ creative vision that, “we just do what Taylor envisions. And he loves history. He loves the history of this family. So, we want to continue that and we’ve done it with 1883 and now 1923. We try to maintain the same quality, the same tone that Taylor has established from the get-go.”
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Recognizing Team Efforts
White shares the nomination with co-designer Ward, elevating her as his equal this season in recognition of her contributions to the Sheridan universe. “I felt like Lisa, to a large degree, deserved the production design credit after the last season. And so when this came up, I wanted to share that credit with her, and it just worked out great,” he offers with his signature relaxed charm. “We get along just fine and have a good time with it. And, you know, I think we kind of creatively hit some good marks there!”
This article and video are presented by Paramount+.
