Issue link: http://digital.copcomm.com/i/1260764
opposite end was a raised level which led off the kitchen to the children's sleeping uarters with an ornate art nouveau railing. This level housed the windows at the front of the house, but also had a mural painted on its wall inspired by atisse's cut-outs, and reugel's Hunters in the Snow. This style of mural was also featured on two of the walls in the children's bedroom. The slanted ceiling in the kitchen was made up of a series of chevrons, again using the motif from concentration camp gates and German sentry boxes. The fl oor to ceiling fi replace was sculpted by the plasterers to look as if it was constructed of large fl agstones, but arranged in clean modern vernacular architecture, it even had the chain mail curtains found in s Californian fi replaces to help give it an overall modern feel. Anachronisms running rampant. enny Oman helped to fi ll the space with immense detail and elevated the appearance of the room with her esoteric ideals and timeless decoration. The children's bedroom was sparse with two wooden beds, and a rug that was actually painted onto the wooden fl oor. There were wooden slats that ran fl oor to ceiling on the wall behind the two beds. These repeated slats stood in metaphorically for the bars you would fi nd on a typical jail cell, therefore the children would seem to be prisoners of the witch. All the doors in the house were designed as pocket doors that slid back into the walls when open, as opposed to hinged doors. This made entering a room a little bit more awkward than usual, and I felt this also gave the eff ect of the doors being pneumatically powered, as in a spacecraft. The doors all had incredibly ornate carved patterns on them, inspired by the old Christian Coptic religion. The door lintels were all low, as the witch had them made to suit the height of the children. The crew got the hang of the unusual door heights very uickly, so there were no banged heads when going in and out of the room. The largest set of the fi lm was reserved for olda's underground chamber, which was fondly called her killing room.' It had -foot-high ceilings hewn B A. CHILDREN'S BEDROOM. GRAPHICS BY ANAIS MULGREW, PAINTED BY MURALIST ALAN LAMBERT. B. CHILDREN'S BEDROOM. DIGITAL ILLUSTRATION DONE IN PHOTOSHOP BY JONATHAN MCGONNELL. C. KILLING ROOM. DIGITAL ILLUSTRATION DONE IN PHOTOSHOP BY JONATHAN MCGONNELL. D. HANSEL'S CAGE. CONSTRUCTION DETAILS DRAWN BY IRINA KUKSOVA. E. KILLING ROOM. PRODUCTION STILL. F. KILLING ROOM. PRODUCTION STILL. A C