Issue link: https://digital.copcomm.com/i/1332040
was fortunate to have an extended research and development phase, as the wealth of knowledge gathered during this period informed every subsequent design decision. What distinguishes the Production Design in The Luminaries from a similar production filmed in the UK or US, is each of these environments was created from scratch rather than filmed in existing locations. In this sense, the 'world' relied heavily on the practical, technical and aesthetic craft of the design elements. Creating period drama in New Zealand posed certain challenges due to the absence of prop and decoration houses similar to those in the UK and US. Each environment was carefully curated by scouring auction houses, antique dealers and collectors, both in New Zealand, Australia, the UK and US. Meticulously detailed environments became the living, breathing spaces for the characters' performance to unfold. There was a palpable sense of magic as the sets were painstakingly painted and decorated and the world of The Luminaries began to come alive. I sought to seamlessly blend historical naturalism with a sense of modernity in the design and decoration. It was important to underscore the sense of mystery and intrigue that unfolds, as journeys across land and sea bring about a similar tale of love, loss, adventure and turmoil, as the characters' previous lives are left behind. In collaboration with director Claire McCarthy and cinematographer Denson Baker, we sought to create cohesive and transformative images for each character and environment. I have often been asked about the importance of historical accuracy in approaching Production Design for a historical period. It is significant in terms of the architecture and period-specific details. An emotionally resonant connection with the past is important and this was achieved by accentuating the connection to the present. However, we are creating cinema and not documentary and it is important to allow a departure from what may be 'accurate' for dramatic purposes. Authentic representation need not be accurate. The notion of 'authenticity' was foremost and was driven by the narrative. Although this story takes place in the 1860s, I was committed to a visual style that held true to the visceral and heightened tone of the show. It was important to present Hokitika in a way that was authentic to the West Coast and the New Zealand climate; at times treacherous, enshrouded in mist and often muddy. The production wanted to create a visceral atmosphere to portray the dust, decay, muck and ash, all part of the harsh quotidian existence of the A. THE HOUSE OF MANY WISHES. CONCEPT ILLUSTRATION BY FILIPPO VALSECCHI. B. THE HOUSE OF MANY WISHES. INTERIOR STAGE SET. SALOON DETAILS. SET PHOTO. C. THE HOUSE OF MANY WISHES. ATRIUM. SET PHOTO. A C B