Kent Sponagle is the Location Manager for AMC's The Killing. In an exclusive interview with AMCtv.com, he talks about shooting in Vancouver, Tom Drexler's opulent apartment, and the most difficult location to find thus far.

Q: The Killing is primarily shot in Vancouver. What is it about the city that makes it a good stand-in for Seattle?

A: Geographically, it's right next to Seattle. It's right across the border and it's got a lot of the same West Coast sensibilities and the same West Coast feel. Vancouver stands in for a lot of different cities, so it was a good fit.

Q: Darren Richmond's office has quite the view. How did you find such a beautiful office?

A: That was in an upper convention space in a brand new convention center completed just before the Olympics. It has a beautiful view of the Vancouver harbor. It doesn't really match the actual Seattle City Hall view though, so for Season 1 we actually built the office on a stage and had a backdrop shot for downtown Seattle. For the pilot, we actually went to the convention center and got a great little glass office section with the view of the harbor.

Q: Is the Wapi Eagle Casino a real location?

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Michael Bolton is the Production Designer for AMC's The Killing. In this exclusive interview with AMCtv.com, he talks about how the look of the Larsen house reflects that family dynamics and how rain can look like tears.

Q: What are your key responsibilities as production designer?

A: My key responsibility as a production designer is to maintain the integrity of the script and to have a close collaboration with the producers, the cinematographer, and the director. Another responsibility is the general look of the picture and to make sure we don't stray off into doing things that we don't want. We've established a look which is grays and darkness; there are no real pulpy colors in this because it's a sad story. We're at a dismal time of the year in Seattle, so there are gray clouds and lots of rain. We do try to keep that feel by the environments looking like that.

Q: We see a lot of scenes in the Larsen home. How did you achieve such a genuine familial atmosphere?

A: During the pilot, the Larsen home was an existing location. Once it became a series, we decided it would be best for everybody that we build that on the stage because we can't keep going back and forth to a real location. This story is not only about Rosie's murder, but it's also about how it affects the family including siblings, and we wanted to show that the house is slowly falling apart because people aren't doing what they normally do. Each day, which is one episode, we get a little bit more disarray on the set. We try to think like the family. We try to be as real as possible.

Q: You've worked on an array of different movies from Final Destination 2 to The Muppets' Wizard of Oz. What's your favorite genre?

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