“Amy is all rectangular lines, minimalism and Scandinavian-Japanese influence, and George’s sculptures are rough, blobby and organic-feeling with many layers and colors, referenced by ceramic artists such as Ken Price… even Seth Rogen with his use of specialty glazes,” said Yun. Bryan Holloway, and representative of how Amy’s husband interacts with the world, without a care, as well as the aesthetic difference between the two. That freedom figures, too, into George’s sculptures - globular, amorphously-shaped works, crafted in-house with lead sculptor J. George’s cluttered workspace ANDREW COOPER/NETFLIX The complete opposite, however, was true of Amy and husband-sculptor George’s (Joseph Lee) manicured home. “We wanted to highlight the learning-on-the-fly aspects of his job and its how-to imperfections,” laughed Hersey. Hersey went on to discuss the bump-outs and the handyman aspects of Danny’s one-bedroom space with unfinished walls, bent nail heads and trimmed 2×4 planks. “Danny’s space was drawn from Sonny’s memories of his first apartment,” noted Yun. Jin, Yun and Hersey also considered the radical differences in living environments, what the production designer called “the visual anchors” of Danny and Amy’s homes.
Their initial vehicular rage encounter in the first episode unleashes a genie-in-a-bottle brand of anger that could not be resealed, especially when you consider the drive to define each character’s ride: “Amy’s shiny white Mercedes SUV and the battered, oxidization of paint we had to add onto Danny’s old truck,” Hersey says.
Danny’s outward presentation is of struggling to make ends meet and goal attainment with so much of a non-starter personality.” “The outward presentation of self, with Amy, is about success and perfect curation, and yet her inner-self is in turmoil and chaotic. Matching the hyperactive road rage vibes and vicious revenge tricks of “Beef” to its physical ideation of art, sculpture and room design came down to each character’s psychology - “Where they were in life,” said Yun.
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