Issue link: http://digital.copcomm.com/i/610353
42 P E R S P E C T I V E | N OV E M B E R / D E C E M B E R 2 0 1 5 Top: The Hideaway Club was the last club the Krays controlled. This Photoshop sketch by Ms. Soode illustrates detailed dressing and treatments for street shops surrounding the exterior of the club. Above, left to right: Mr. Conroy's quick Photoshop colour study of the Hideaway exterior became the basis for Ms. Soode's Photoshop concept sketch, following; the exteriors were filmed in East London—it was too difficult logistically to film in the West End. Caroline's help, we could really venture into the mood of the times and employ the brightest pinks, oranges and turquoises all garishly clashing, a world away from the East End at the beginning of the film. We aimed to give a look that captured the vibrancy and dazzle of London in the 1960s, combined with a dark glossiness, whilst staying true to the period and authentic to the story. ADDITIONAL THOUGHTS FROM PATRICK ROLFE | SUPERVISING ART DIRECTOR My first reaction to Tom's call was, "Another film about the Krays?" Reading Brian's script, though, and hearing Tom's vision of the design, I knew this would be something authentic covering a fascinating period of British history. The script was very full and the challenges it presented became evident as the set list materialised: 112 sets (only about ninety made the cut) all in nine weeks' shooting. This was a job of logistics as well as design. As ever, filming a period film in a major city like London meant that the pressure on the location department was intense. A lot of traditional East London locations have been developed beyond recognition, especially since the 2012 Olympics. The film was set up to be location-based with as few constructed sets as possible and the latter were domestic interiors where scale could be cheated and the progress of time was controllable. With a high- speed turnover of sets, the relationships between construction and set dressing was more crucial than ever. Because of the period, there were almost no walk-ins, and scheduling was key. Several small teams were spread over a number of sets simultaneously and trucks were buzzing all over the place; thankfully the right piece ended up in the right place, most of the