Issue link: http://digital.copcomm.com/i/1061165
Lisa Chugg Set Decorator. Some of my favorite sets belonged to Drosselmeyer's estate. These included his workshop, great hall and ballroom. Three different locations were used, and this in itself presented some interesting challenges. Even getting the Christmas tree into the great hall through the small entrance doors was interesting! Once up, the crew had to work out how to light the three hundred fifty real candles on the tree and get all the ladders and rigging out of way so it could be shot before the candles burnt out. The lit tree was constantly watched by two fireman, just in case…! Drosselemeyer's workshop was full of wonderful antique props and dressing that were sourced from all over the country, including some stunning antique automatons which were regarded as the most expensive and exclusive toys of the time. A hanging whale skeleton was sculpted along with various fish in lightweight materials so they could be hung in the glass dome above Drosselmeyer's workstation . The stunning ballroom set was dressed with twelve huge chandeliers, and over three hundred meters of red velvet with a bespoke gold pattern were custom printed in India to make the drapes over the arched windows. In fact, the quantities of materials needed throughout the film were huge; I stopped counting after it topped three thousand meters of red satin ribbon to use throughout the Drosselmeyer interiors and exteriors! However, my absolute favorite prop within these sets was the beautiful swan sleigh that provided seating for the string quartet that entertained Drosselmeyer's guests in the ballroom. It was made complete with three life-size, flying reindeer, each with gold bells adorning the reins. Finally, as a wink to the audience, a miniature toy palace with windows that lit up was placed at the back of the sleigh in the area usually reserved for gifts. Like many of our thoughtful background details, it was designed to hint at Clara's adventure still to come... ADG A. HALTON HOUSE OWNED BY THE RAF, THE LOCATION USED FOR DROSSELMEYER'S ENTRY HALL. B. THE INTERIOR WAS WHITE-ON-WHITE AND TO BE ALLOWED TO PAINT THE ENORMOUS HALL GLOSS RED, THE RAF HAD TO BE CONVINCED THAT WITH A MEMBRANE OF CLEAR LATEX, THE HALL COULD BE RETURNED TO TO ITS ORIGINAL STATE. AN ELABORATE ESCHER- ESQUE FLOOR WAS LAID SHOWING AN OWL IN FLIGHT. THE CENTRAL TREE STOOD 18 FEET AND WAS DRESSED WITH HANDMADE, OVERSIZED DECORATIONS AND 350 REAL CANDLES THAT HAD TO BE LIT FOR EACH TAKE. PHOTOS BY STUART KEARNS C. AN ILLUSTRATION OF DROSSELMEYER'S ENTRY HALL. DIGITAL ARTWORK BY KIM POPE. A B C