Inside the creative world of the set designer, who has worked with the Olympics, the opera, and Miley Cyrus:

There’s a philosophy that goes with all this, which Devlin lays out for me in an e-mail from a hotel room in Ipanema. “The environment and/or objects and light are chosen very specifically on a moment-by-moment basis. When it’s working, each constellation of word, prop, action, costume, character, light, plot and environment should chime towards a cumulative effect. For example: that shoe with that phrase with that light on that cup on that table in this room with this sound—and then that moment is over and we are onto the next one: that eye-shadow, with this music, with that fork, with that light on that face within the frame of that window wearing that T-shirt. It’s composed like notes on a stave—layers fusing together to form a whole sound, beat by beat.”