Issue link: http://digital.copcomm.com/i/1316563
the major interior changes we had in mind. West Horsley Place is a large rambling country house variously modified since the 1th century and much of it is in a considerable state of disrepair. It was also about three times the size of the exterior location. Set pieces were introduced to reduce the size of the main hall, effectively cutting the house in half and creating a floor plan more appropriate to the exterior. This was then papered with arts and crafts-inspired wallpaper. Carved fern finials were added to the staircase, and where the Queen Anne windows related to the front elevation of the exterior location, these were replaced with stone mullioned replicas from the exterior location. Two pairs of rooms opened off this hallway, an 1th century library and study that was turned into the billiard room with minimal intervention apart from set dressing, and an old salon and ante room that the crew completely took to pieces. These two rooms became Enola's mother's bedroom and studio and had been extravagantly renovated in the 1920s. The crew paneled over the '20s fireplace and installed one for the production on the opposite wall, replaced the windows to the front elevation and added more floral papers and paint. The studio in the ante room spills into the bedroom, and Graphic Designer Jools Faiers' team created hundreds of complete and incomplete floral illustrations and paintings that cover the walls and lie scattered over the easels and floor. These contain the clues and ciphers that Enola and Sherlock follow, Sherlock always one step behind his talented sister. Set decorator Lisa Chugg then uite literally filled these spaces up with an eclectic collection of 1th and 19th century furniture and objet d'art. It was in this environment, crammed with antiques and artwork, that the film staged archery lessons, tennis matches, judo and fencing, catastrophic science experiments, and the study of ciphers. At the other end of the hall was a relatively intact Victorian kitchen, but with a lot of crudely introduced contemporary services which were clad with large sections of dummy joinery to hide them. Outside the windows, the greens team transformed the genteel formal gardens into a D. ENOLA'S MOTHER'S BEDROOM BEFORE. SET PHOTO. E. ENOLA'S MOTHER'S BEDROOM MODIFIED AND REDRESSED FOR THE SHOOT. SET PHOTO. F. EASEL DETAIL IN ENOLA'S MOTHER'S BEDROOM. SET PHOTO. D E F