Issue link: http://digital.copcomm.com/i/1072449
the length of the Great Hall. It was hung from the upper level and balanced over three immovable paintings. I remember being told the value of the paintings and an already complex manoeuvre became a white-knuckle experience. Kitchen scenes were filmed at Hampton Court where no one was allowed to touch or lean objects against walls. Cupboards, shelving and the sink unit were built, all of which were carefully sleeved into position. King Henry VIII built Hampton Court in the early sixteenth century. It is a culturally invaluable building, and the production was fortunate to be given permission for filming. The construction was a slow and painstaking process but the benefits far outweighed the inconveniences. The production was surrounded by extraordinary architectural and design details. The Art Directors catalogued the carvings, the painted motifs and the joinery and used them as inspiration for the designs. The intention was that the audience would never be able to recognize what was the location and what was the set. Arched windows were built along the entire front facade of Hatfield House but were so neatly integrated that even I forgot they were there until I was revisiting my photographs. Emphasizing and repeating details that existed in the architecture allowed not only the exploitation of their screen value but also grounded the film. There are threads running through the construction and decoration of The Favourite that link together again and again—octagonal shapes appeared as tables, as silver platters, rabbit cages and the spa plinth. By repeating and embellishing motifs, the visual parameters of this world stayed consistent and clear. It comes back to the idea of simplicity. F. THE SECRET PASSAGE. DRAFTED PLAN AND DETAILS BY ART DIRECTOR CAROLINE BARCLAY IN VECTORWORKS. G. THE SECRET PASSAGE UNDER CONSTRUCTION. THE LENGTH OF THE SECRET PASSAGE WAS BUILT IN AN EMPTY WAREHOUSE SPACE AT LUTON HOO. BOTH ENDS OF THE PASSAGE WERE ALSO BUILT AT HATFIELD HOUSE TO ALLOW ENTRANCES AND EXITS THROUGH THE SECRET DOORS. THE SECRET PASSAGE DESIGN WAS INSPIRED BY THE PANELLING AT HATFIELD HOUSE. THE GREATEST CHALLENGE WAS IN THE AGEING OF THE FRESH PANELS. THEY WERE HEAVILY WAXED AND DUSTED, KNOCKED AND EVEN BROKEN IN PLACES SO THAT THEY HAD IMPERFECTION AND AGE. H. ABIGAIL (EMMA STONE), NEXT TO ANNE'S CARRIAGE. PRODUCTION STILL. I. QUEEN ANNE'S CARRIAGE. COLOUR ELEVATIONS BY GRAPHIC DESIGNER CHARIS THEOBOLD DONE IN ILLUSTRATOR AND PHOTOSHOP. F G H I