Issue link: https://digital.copcomm.com/i/1400113
that were layered throughout the sets. Muffin Green was the prop master and Lisa McDiarmid, the tireless stand-by Art Director. What a bunch of gems. Every frame of Cruella is testament to their hard work and care. Cruella was not just another step in my career but rather a vast, bounding leap. Hiring me was a leap of faith for the producers and the leap of faith then carried on down the line. The preproduction was short and it was a quick shoot. Throughout, I stayed true to my initial impulse: Process is key. But, crucially, I also appreciated that so too are the people supporting the process. Without them I would never have made the sumptuous and playful world of Cruella. We had a ball (or three). ADG F. THE BLACK & WHITE BALL AT IPSWICH MANOR. THE FLORAL ARRANGEMENTS WERE A COMBINATION OF PAINTED FERNS, PALMS AND ALL HANDMADE PAPER FLOWERS. G. THE BLACK & WHITE BALL AT IPSWICH MANOR. H. DETAIL FROM THE MARIE ANTOINETTE BALL IN HELLMAN HALL. Fiona Crombie, Production Designer Martin Foley, Super vising Art Director Lydia Fr y, Kevin Timon Hill, Alice Walker, Luke Whitelock, Art Directors Darren Tubby, Set Decoration Art Director Tim Dutton, Hannah Wiessler-Leas, Assistant Art Directors Charlotte Hutchings, Neneh Lucia, Kitty Parkinson, Max Phillips, Lucy Williams, Draughtspersons Katren Wood, Concept Artist Eleanor Lamb, Lauren Wakefield Josie Kealy (Ass't) Guzzie Armitage (Ass't), Graphic Artists Alice Felton, Set Decorator F G H