JANE MUSKY: MAGIC MAKER
With more than 60 films and TV series under her belt, including When Harry Met Sally and Ghost, the renowned production designer brings her keen eye to a series filmed in her beloved hometown.
Photography: Tracy Sham
Written by Angela Matusik, Editor in Chief, Socko!
With more than 60 films and TV series under her belt, including When Harry Met Sally and Ghost, the renowned production designer brings her keen eye to a series filmed in her beloved hometown.
Photography: Tracy Sham
Written by Angela Matusik, Editor in Chief, Socko!
Close your eyes and picture a scene from When Harry Met Sally—Meg Ryan and Billy Crystal standing on a path in Central Park surrounded by vivid autumn leaves. Or Demi Moore and Patrick Swayze sitting at the pottery wheel in an art studio in Ghost. Or the grim office of Premiere Properties in Glengarry Glen Ross, with that big message on the chalkboard: Always Be Closing.
Those images, so clear and seared into your memory, are all Jane Musky, the esteemed production designer with 60 films and titles under her belt.
A production designer is often the first person a director hires, and is responsible for bringing a film’s look and feel to life, including sets, props, locations, and overseeing wardrobe and hair and makeup. Musky often leads teams as large as 200, and admits to always being comfortable being in charge. As she explains, the choices the designer weaves enhances the depth of the characters, the script and helps the director achieve their take on this explosion of a story. “It’s a deep dance,” she says.
Born and raised in Maplewood, the native New Jerseyan credits the creativity of her hometown to giving her the confidence and experience she needed at a young age. “Childhood was nirvana in Maplewood,” she recalls. “You ran everywhere. The sidewalks were a big plus. On weekends you were just let out the door and told to be home by dark.”
After graduating from Columbia High School, Musky got her BFA in theater design from Boston University, which took her to work at the Williamstown Theatre Festival; there she met an up-and-coming young actor, Tony Goldwyn, who fell in love with “the most incredible human being I know” and today is her husband of 39 years. She eventually headed to New York, where she connected with emerging filmmakers like Joel and Ethan Cohen, working on their first feature film, Blood Simple, and the quirky comedy Raising Arizona. She went on to work with directors Rob Reiner, Gus Van Sant, Jerry Zucker, Mike Newell, and many more. And the list continues to grow—her handiwork is visible in the charming new comedy series American Classic, starring Kevin Kline and Laura Linney, currently streaming on MGM+.
Those images, so clear and seared into your memory, are all Jane Musky, the esteemed production designer with 60 films and titles under her belt.
A production designer is often the first person a director hires, and is responsible for bringing a film’s look and feel to life, including sets, props, locations, and overseeing wardrobe and hair and makeup. Musky often leads teams as large as 200, and admits to always being comfortable being in charge. As she explains, the choices the designer weaves enhances the depth of the characters, the script and helps the director achieve their take on this explosion of a story. “It’s a deep dance,” she says.
Born and raised in Maplewood, the native New Jerseyan credits the creativity of her hometown to giving her the confidence and experience she needed at a young age. “Childhood was nirvana in Maplewood,” she recalls. “You ran everywhere. The sidewalks were a big plus. On weekends you were just let out the door and told to be home by dark.”
After graduating from Columbia High School, Musky got her BFA in theater design from Boston University, which took her to work at the Williamstown Theatre Festival; there she met an up-and-coming young actor, Tony Goldwyn, who fell in love with “the most incredible human being I know” and today is her husband of 39 years. She eventually headed to New York, where she connected with emerging filmmakers like Joel and Ethan Cohen, working on their first feature film, Blood Simple, and the quirky comedy Raising Arizona. She went on to work with directors Rob Reiner, Gus Van Sant, Jerry Zucker, Mike Newell, and many more. And the list continues to grow—her handiwork is visible in the charming new comedy series American Classic, starring Kevin Kline and Laura Linney, currently streaming on MGM+.
Though she lives elsewhere in the Tri-State Area now, Musky still considers New Jersey home and was thrilled to merge work with pleasure over the summer while filming American Classic in the very community theater that gave her her start all those years ago.
SOCKO! sat down with Musky to discuss what it takes to have a long career as a preeminent production designer, and how the business she knows so well is rapidly changing.
SOCKO! sat down with Musky to discuss what it takes to have a long career as a preeminent production designer, and how the business she knows so well is rapidly changing.
The producer sent me the American Classic script and said they wanted to shoot in New Jersey. I mentioned I grew up in Maplewood and was part of a local theater group called the Strollers. She said, ‘That’s where [the director] wants to shoot!’ It was meant to be.”
Angela Matusik: I’m so honored to talk to you about your career. You grew up here in Maplewood. What were you like as a kid? What was the town like then?
Musky: Oh gosh. When I was doing American Classic, I was looking at photos of Maplewood from 1900 through the ’70s. I was born in ’54, so I had quite a childhood there, all the way through Columbia High School.
The schools were wonderful. Gentle, smart teachers. And there was always a strong art and theater program, which was huge for me. In fifth grade at Tuscan School, some friends and I did our own version of Mary Poppins. That might have been the first time I thought, wow—theater. In junior high I had a great art teacher, Mr. Boyd. I started painting drops for little shows. By high school, Ernie Del Gurcio—my art teacher—really pushed me toward design. We were one of the first AP art classes. [Renowned artist] Kiki Smith was in my class.
Matusik: And after high school you went to Boston University?
Musky: Yes. I was initially applying as a sculpture major, but someone at BU saw my portfolio full of theater sets and suggested I meet the theater department. That was it—they grabbed me, and that was the beginning.
After college I assisted designers in New York. Then I became an artist-in-residence for New Jersey and was placed at Asbury Park High School. I taught set, lighting, and costume basics.
Then I taught part-time in Montclair at what was then a performing arts high school. It was wonderful—I designed the shows and built my portfolio.
After that, I worked in London as a scenic artist for two years. Then Williamstown Theatre Festival. And eventually, after-school specials—my first step into film.
Film schedules pulled me away from the theater. The hours are brutal, and you can’t really do both.
Musky: Oh gosh. When I was doing American Classic, I was looking at photos of Maplewood from 1900 through the ’70s. I was born in ’54, so I had quite a childhood there, all the way through Columbia High School.
The schools were wonderful. Gentle, smart teachers. And there was always a strong art and theater program, which was huge for me. In fifth grade at Tuscan School, some friends and I did our own version of Mary Poppins. That might have been the first time I thought, wow—theater. In junior high I had a great art teacher, Mr. Boyd. I started painting drops for little shows. By high school, Ernie Del Gurcio—my art teacher—really pushed me toward design. We were one of the first AP art classes. [Renowned artist] Kiki Smith was in my class.
Matusik: And after high school you went to Boston University?
Musky: Yes. I was initially applying as a sculpture major, but someone at BU saw my portfolio full of theater sets and suggested I meet the theater department. That was it—they grabbed me, and that was the beginning.
After college I assisted designers in New York. Then I became an artist-in-residence for New Jersey and was placed at Asbury Park High School. I taught set, lighting, and costume basics.
Then I taught part-time in Montclair at what was then a performing arts high school. It was wonderful—I designed the shows and built my portfolio.
After that, I worked in London as a scenic artist for two years. Then Williamstown Theatre Festival. And eventually, after-school specials—my first step into film.
Film schedules pulled me away from the theater. The hours are brutal, and you can’t really do both.
Matusik: Production designers are usually one of the first people hired on films, right?
Musky: Yes. Usually the director is hired, then the designer. It’s a golden time—just you and the director hashing out how the story should feel. What’s a location, what’s a set build, how characters express themselves through their environments.
A designer defines personality through space.
Matusik: I rewatched When Harry Met Sally last night. So much of it feels iconic and location-based.
Musky: We actually had a lot of sets [on that film]. But I pushed for iconic New York locations. It felt like a valentine of a script—Nora [Ephron] was just so full of warmth. We shot in Central Park in peak fall, at the Puck Building for the wedding and New Year’s Eve party. Harry’s apartment was a set. Some interiors were locations. It was a mix.
Matusik: What was it like working with Rob Reiner?
Musky: Wonderful. He created such a joyful atmosphere. Everyone felt smart and valued. It was just fun—and that matters.
Musky: Yes. Usually the director is hired, then the designer. It’s a golden time—just you and the director hashing out how the story should feel. What’s a location, what’s a set build, how characters express themselves through their environments.
A designer defines personality through space.
Matusik: I rewatched When Harry Met Sally last night. So much of it feels iconic and location-based.
Musky: We actually had a lot of sets [on that film]. But I pushed for iconic New York locations. It felt like a valentine of a script—Nora [Ephron] was just so full of warmth. We shot in Central Park in peak fall, at the Puck Building for the wedding and New Year’s Eve party. Harry’s apartment was a set. Some interiors were locations. It was a mix.
Matusik: What was it like working with Rob Reiner?
Musky: Wonderful. He created such a joyful atmosphere. Everyone felt smart and valued. It was just fun—and that matters.
When Harry Met Sally, Image Courtesy of IMDB
Rob Renier created such a joyful atmosphere [on When Harry Met Sally]. Everyone felt smart and valued. It was just fun—and that matters.”
Matusik: With iconic films like When Harry Met Sally, Glengarry Glen Ross, Ghost, Raising Arizona—did you know at the time you were making them that they’d be significant?
Musky: You can sense when a script is strong. The script is everything. Then you look at the director and the cast. Sometimes you take jobs for money, sometimes for love. But when the script is sound, you feel it.
Matusik: Do you ever rewatch your own work and notice things you wish you could change?
Musky: Sometimes. You can’t be on set every minute—you’re prepping multiple sets. So occasionally I’ll see something and think, Where did that red pillow come from? But usually there’s a reason—an actor needed it. It’s rarely anything the audience would notice.
Matusik: Have you kept any props you cherish?
Musky: I have a chair from Finding Forrester, and a few small things. It used to be easier—now everything’s inventoried.
Matusik: Your current project American Classic was filmed in Maplewood last summer. You and your crews took over the town! Was this your first New Jersey production?
Musky: No. I’ve done several projects partially in New Jersey because of tax incentives. American Classic was entirely New Jersey. It’s tricky because New Jersey can stand in for many places—Midwest towns, for example—but it doesn’t look like New York City. That can be a challenge.
Musky: You can sense when a script is strong. The script is everything. Then you look at the director and the cast. Sometimes you take jobs for money, sometimes for love. But when the script is sound, you feel it.
Matusik: Do you ever rewatch your own work and notice things you wish you could change?
Musky: Sometimes. You can’t be on set every minute—you’re prepping multiple sets. So occasionally I’ll see something and think, Where did that red pillow come from? But usually there’s a reason—an actor needed it. It’s rarely anything the audience would notice.
Matusik: Have you kept any props you cherish?
Musky: I have a chair from Finding Forrester, and a few small things. It used to be easier—now everything’s inventoried.
Matusik: Your current project American Classic was filmed in Maplewood last summer. You and your crews took over the town! Was this your first New Jersey production?
Musky: No. I’ve done several projects partially in New Jersey because of tax incentives. American Classic was entirely New Jersey. It’s tricky because New Jersey can stand in for many places—Midwest towns, for example—but it doesn’t look like New York City. That can be a challenge.
Ghost, Image Courtesy of IMDB
Matusik: Was filming in Maplewood your idea?
Musky: No! The producer sent me the script and said they wanted to shoot in New Jersey. I mentioned I grew up in Maplewood and was part of a local theater group called the Strollers. She said, “That’s where Michael wants to shoot!”
It was meant to be.
Matusik: What was it like working in your hometown?
Musky: Lovely. I saw old friends. My mother’s house was two doors from the theater. It’s not ours anymore but so I couldn't stay there. But it was so emotional to be physically close to that house again.
Matusik: The show feels very lived-in.
Musky: That’s theater training. And great set decorators. You develop a sense of how a space should feel. You consider the character—and even the actor’s personality.
Matusik: What advice would you give aspiring production designers?
Musky: If they can afford it, pursue a BFA in scenic design. The training gives you a strong foundation. When you come out professionally trained, you’re ready. Otherwise, you’re playing catch-up.
Mentorship helps students even realize this is a possible career.
Watch Jane Musky’s latest production, American Classic, now streaming on MGM+.
Musky: No! The producer sent me the script and said they wanted to shoot in New Jersey. I mentioned I grew up in Maplewood and was part of a local theater group called the Strollers. She said, “That’s where Michael wants to shoot!”
It was meant to be.
Matusik: What was it like working in your hometown?
Musky: Lovely. I saw old friends. My mother’s house was two doors from the theater. It’s not ours anymore but so I couldn't stay there. But it was so emotional to be physically close to that house again.
Matusik: The show feels very lived-in.
Musky: That’s theater training. And great set decorators. You develop a sense of how a space should feel. You consider the character—and even the actor’s personality.
Matusik: What advice would you give aspiring production designers?
Musky: If they can afford it, pursue a BFA in scenic design. The training gives you a strong foundation. When you come out professionally trained, you’re ready. Otherwise, you’re playing catch-up.
Mentorship helps students even realize this is a possible career.
Watch Jane Musky’s latest production, American Classic, now streaming on MGM+.
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This story appeared in the inaugural issue of Socko! Magazine [May, 2026]. Click here to subscribe
