I am Carla Curry, and I am the set decorator for 1923.

Can you tell us who you are today?

This is Tinka.

She's our on-set dog who makes everybody happy.

We did a lot of traveling in season one.

We do even more traveling in season two.

We do so many different types of traveling that really take us on the journey.

We have ships.

We have boats.

We have trains, automobiles.

So just that alone and trying to figure out how to make all that happen, period-wise, was quite challenging.

But we have a super deluxe production designers, Lisa Ward and Carrie White.

My name's Lisa Ward, and I am the co-production designer.

When I first read the scripts, I was astounded by the sheer quantity of sets that we were going to have to tackle and also all of the locations that we were going to be in.

We were delving into Alex boarding the Beringaria in Great Britain, Alex's arrival on Ellis Island, her subsequent arrival in New York City in the 1920s, which is such a wonderful period and so fun, and then in Chicago once Alex lands there.

So we got to do research on so many different facets of life in this country in 1923-24.

We're literally sifting through hundreds of photographs, sort of trying to find the right corner and the right place in those spaces for those scenes to happen.

And that was a wonderful and like tricky thing to say like, okay, we think we can sell this iconic space by building this corner of it.

They just really brought the vision to life.

We had a lot of period streets in this season.

We did New York, Bozeman.

We did Amarillo.

We did Fort Sill.

We did Fort Worth.

So huge amount of graphics and period decor and details that went into that just to bring it to life.

The period cars get in and it just, it's pretty magical.

Here, just drop right into it.

It was a really cool experience when you could just be in it and everywhere you look is the world that you're playing in.

It's awesome.

A set that I was really excited about was the engine room set on the merchant ship, both the architecture of the ship itself, but also figuring out how we were gonna light all of the ovens and all the other elements was really interesting.

As much as I love all of the travel across all the country, the work in Montana is always my favorite.

I love that Taylor's got this in the winter.

When we finished last season, we actually got drove out of Montana because of the snow.

So reading these first few episodes where the Duttons are fighting to stay alive in the winter was wonderful because we could all picture it because that's sort of how we'd left things last season.

We had one of the harshest winters on record, I think, in Montana.

With the wind chill factor, it was 21 degrees below zero.

It was really, really, really cold.

This season, we were hoping for snow.

You know, our episodes all deal with the snow.

You know, you hope for snow and you don't have it, or you don't want snow and it happens the other way.

So we have an amazing special effects team that if we don't have snow and we need snow, then it seems to always be the way.

We have been thinking a lot about what we've called phases of winter and sort of moving from that deep winter and deep snow, crystal on the trees and branches through a sort of more moderate, cold, muddy, snowy, icy into what feels in Montana like possible emergence of spring where you're suddenly looking at patches of snow and ice rather than deep drifts and eddies and just sort of the nuance of all of that.

Winters are always hard, but then the spring comes and there is nothing so splendid as the mountains in the spring.

Right now, this interview, we're in the dining room of the Duttons.

Just about where Beth sits.

When we did the set, you really feel like you are in the great room.

And I think we paid respect to it, that we wanted it to feel familiar.

So the furnishings that we put in there was laid out in a familiar way, you know, which still fit the style of 1923, but you still get the feel that you're in a Dutton home.

So that's fun for me, since I have a history with Yellowstone to see that legacy still around and being able to happen.

I started with Yellowstone.

I got to work on 1883, then 1923.

It's just been such an incredible design opportunity to move through Westerns in each of these different eras.

It's been incredible.