Issue link: http://digital.copcomm.com/i/1260764
T H E C R O W N | P E R S P E C T I V E 5 9 the moment by pasting together a rough collage that was to become season one's go-to reference image, never replicated as a set (that wasn't its purpose) but always hinted at wherever the story took us: thrones and wreckage sharing the frame, just as they would share the narrative. There are tours of Buckingham Palace for no more than ten or so people at a time so, together with producer Martin Harrison and director Philip Martin, I took one. Quizzed by our guide at the end over a complimentary glass of English sparkling wine, none of us could admit our true reasons for being so fascinated. I left confident that I could recreate a sense of the state rooms using grand English houses already known to me, together with unfamiliar ones that location manager Pat Karam would surprise me with. I could then build offices and private apartments from the ground up and link them invisibly to our locations. This link would be the greatest challenge: to create a single look for Buckingham Palace out of four built interiors and four unconnected locations over four separate blocks of filming headed by four different directors. The term "connective tissue" became so much part of our currency that it became impossible to say it in meetings without finger uotes. At some point, it became "ct" just to keep the meetings shorter. B A. SEASON ONE REFERENCE IMAGE. COLLAGE BY MARTIN CHILDS. B. STATEROOM AT BUCKINGHAM PALACE. SET SKETCH BY MARTIN CHILDS. C. STATE DRAWING ROOM. BUCKINGHAM PALACE. SET SKETCH BY IAN CROSSLAND. C