Issue link: http://digital.copcomm.com/i/1072449
8 8 P E R S P E C T I V E | M A R C H / A P R I L 2 0 1 9 A One of the great pleasures in creating The Favourite was the opportunity for intricate detailing. The question asked again and again was 'What would be fit for a Queen?' Beautiful hand-blown glassware was made, sheets and pillowcases hand sewn and the Queen's bed is hand carved and painted. Pondering what would befit the seventeen royal rabbits, the ornate hutches with miniature terrines filled with wheat grass were devised. Alice Felton created a document called 'Anne's State of Mind' in which she charted the dressing of her bedroom according to the Queen's health and mental state. When Sarah was running the court, her influence was shown in the healthy snacks dotted around the room—dried fruits and nuts, simple biscuits. The room was tidy and the bed made. There was order. Under Abigail's influence, the room became messy, the snacks became sugary treats and the floral arrangements were frivolous. The entire film was lit either by candlelight, open fires or braziers. Opportunities to bounce light were used where possible—off the wooden floors, reflected in mirrors and even in the food and tableware. For Abigail's dinner party, there were towering jellies and sugar subtleties that glistened in the light. I have been asked why, with such a tight budget, I prioritized making so many bespoke details. I felt strongly that these details helped tell the story of Anne's opulence. The film was largely going to be comprised of extreme wide angles and tight close- ups. The details seen up close had to be as beautiful and rare as jewels, fit for the Queen of England. I have now seen the film three times. On the first viewing, I was exhilarated and excited but self- centeredly scanned for all the design elements I was worried about…I can't help it! The first viewing is always the most intense. I was pleased that the world felt cohesive. On the second viewing, I enjoyed the detail of the performances and how funny, tart and brutal the film is. On the third viewing, I was struck by the film's depth and its brilliant construction. I am now looking forward to my fourth viewing. ADG C A. THE SPA. CONCEPT SKETCH BY ASSISTANT ART DIRECTOR JAMIE SHAKESPEARE. B. THE SPA, SHOWN UNDER CONSTRUCTION, WAS BUILT IN THE VICTORIAN KITCHEN AT DANSON HOUSE. THE ROOM WAS CHOSEN FOR ITS SHAPE, ITS HIGH WINDOWS AND VAULTED CEILING. THE KITCHEN WAS TRANSFORMED BY CLADDING THE WALLS WITH SHEETS OF MARBLED MDF. THE PLATFORM AND THE BATH HAD TO BE SCULPTED AND MADE AFTER A FRUITLESS ATTEMPT TO FIND ONE TO BUY AND ADAPT. C. THE SPA. PRODUCTION STILL. D. MOOD BOARD FOR THE KITCHEN BY SET DECORATOR ALICE FELTON. E. SKETCHUP DRAWING OF THE BLENHEIM PALACE ARCHITECTURAL MODEL BY JAMIE SHAKESPEARE. F. PRODUCTION STILL OF QUEEN ANNE (OLIVIA COLEMAN) AND SARAH (RACHEL WEISZ) WITH THE BLENHEIM PALACE MODEL. G. TREATS AND FLOWERS FIT FOR A QUEEN. B