Issue link: http://digital.copcomm.com/i/1316563
planted boarded-up shop facades on some of the expanses of fl at brick wall and wherever there was an aperture built and dressed shops inside. The empty Victorian warehouses contained the bomb factory and blacksmith's sets continuous with the street, allowing a fi ght seuence to spill in and out of these sets and up and down the street. Serendipity When the trailer dropped, I was gratifi ed to see the small bone letters, moving around on a worn oak surface spelling out words to solve ciphers, had become a major part of the marketing campaign for the movie. In the script, the ciphers were solved as a visual eff ects overlay with Enola talking to camera. I wanted a more real-world solution, and Jamie Reid's DIY collage graphics for the Sex Pistols were on the war room wall by way of inspiration. "Couldn't she push a load of letters around on a table?" I suggested. It seemed far too simple, but Lisa Chugg found some lovely bone tiles, Jools Faiers added the fonts and in the printing offi ce set, surrounded by zinc letters of all shapes and sizes, the idea came to life. ADG Michael Carlin, Production Designer Choi Ho Man, Supervising Art Director Martin Hitchcock, Andrew Munro, Ashley Winter, Art Directors Lorna Houlihan, Suzanna Smith, Assistant Art Directors Stephanie Clerkin, Senior Draughtswoman Miranda Diamond, Alice Sutton, Daniel Warren, Catherine Whiting, India Jaques, Abigail Levers, David Tinto, Draughtspersons Kieran Belshaw, Frederick Mpuuga, Illustrators Jools Faiers, Alexa Galea, Liberty Thompson, Graphic Artists Lisa Chugg, Set Decorator E F H G