THE OWNER SAID YES TO KILLERS’ CREW BLOWING UP HIS HOUSE

Three-time Oscar-nominated production designer Jack Fisk marked his first collaboration with Martin Scorsese for Apple’s Killers of the Flower Moon, which required exhaustive research — and an explosion

Jack Fisk’s résumé lists collaborations with an incredible group of directors, among them Terrence Malick (Fisk has worked with the auteur since his debut, 1973’s Badlands), David Lynch (The Straight Story, Mulholland Drive) and Paul Thomas Anderson (There Will Be Blood, The Master).

But Apple’s Killers of the Flower

Moon, which scored Fisk his third career Oscar nomination, is the production designer’s first film with Martin Scorsese.

“Marty and I started out about the same time, but he was always on the other coast,” says Fisk, who now lives in Virginia with his wife, Sissy Spacek. “I never really met him, but we had a lot of mutual friends.”

Fisk tells THR that he first heard about the events that take place in Scorsese’s latest — the systematic murders of members of the Osage tribe, perpetrated by their white neighbors in order to claim their land rights and wealth — while shooting To the Wonder with Malick in Oklahoma, roughly seven years before the release of David Grann’s acclaimed book about the subject. “When the book came out, I remember sending a note to Terry about it, but it wasn’t his kind of fare,” says Fisk. “I like trying to understand the trials and tribulations of the Indigenous Americans. This horrible thing, where we just invaded America and took over everything from them …”

Particularly fascinating to Fisk was that the film captured the Osage amid a process of assimilation. “The work I’d done with Native Americans [in previous films] was always in their Native structures,” he says, noting that Grann’s book described the Osage characters as living in mansions (which by today’s standards are middle-class homes). After exhaustive research into Osage history and society — and working with Osage consultants in Fairfax and Pawhuska, Oklahoma, where the events of the film actually took place — Fisk set out to bring the past into the present. Here, he looks back on designing three locations for the film.

BILL & RETA’S HOUSE

Like most of the homes seen in the film, this was an actual house in Fairfax that