Issue link: http://digital.copcomm.com/i/1260764
Nearly everyone I know has their favourite Stanley ubrick film. ine is his acclaimed adaptation of illiam akepeace Thackeray's satirical novel, in which a likeable young Irishman turns into a conniving manipulative rogue. I am of course referring to the visually ravishing Barry Lyndon, whose exteriors were filmed in County icklow, otherwise known as the Garden of Ireland,' owing to its verdant beauty. Therefore, when director Osgood Perkins sent me the script for Gretel and Hansel, explaining that the intention was for all of this project to be shot outside of Dublin at Ardmore Studios in County icklow, I was pretty damn excited to say the least. The films Osgood has directed have all had a certain uality about them. They have a mournful sadness which is very real, and his characters show how to survive when their lives become sad and scary and begin to decay. There was a challenge proposed to A me by Oz, whereby we would make a film about the rothers Grimm fairy tale that no one was expecting visually, something younger audiences would be intrigued by. The illustrator Arthur Rackham was deeply animated by the rothers Grimm spirit and his illustrations of their fairy tales have since influenced generations of artists. nder certain circumstances, his work would have been an excellent starting-off point for my research for this film, but Osgood had wishes for something very different and unexpected in the portrayal of this world. ence, I started feeling out ways to create an anachronistic world, one which would give a chronological inconsistency to the arrangement and juxtaposition of the characters, events, objects, architecture and dcor. Although Osgood stuck with the iconic outfit for the infamous wicked witch, he did not wish for her house to be made of candy. ut that does not A F a i r y T a l e w i t h a T w i s t G R E T E L & H A N S E L B Y J E R E M Y R E E D , P R O D U C T I O N D E S I G N E R