Issue link: https://digital.copcomm.com/i/1433736
7 4 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 2 1 that adults would enjoy watching as well. We took our lead fi rst from Grimm's Hansel and Gretel story and then went further back to the Baltic region during the time when the fable has its origins— the Great Famine of the th century. Grielda's endless hunger for eating children, borne from the Great Famine, led her to create a new traveling living space, one that could blend in with modern times and that could lure, trick and trap children. She hid her candy cottage within it and traveled the world eating children until Natascha cursed her to one thousand years of sleep. This backstory, not part of the novel on which the movie is based, would help lend a sophistication to the design elements. For Grielda's apartment, I had initially designed a much larger space that dwarfed the children and was inspired by German and Flemish design. In the end, it was decided to have something a little closer in history to Alex's apartment in ew York and we landed on one with early American Victorian bones, with the more ancient elements that tell Grielda's story coming through the oldest part of the apartment—her murals. Evidence of the European origins of the story remained within the dressing—wood utensils, decor and Fastnacht masks from the Black Forest area in Germany, toys, furniture, wallpapers and fabrics from all over Europe. The apartment renews itself at will, and newer appliances in the kitchen are a fi rst clue as to when Grielda may have disappeared. A. GRIZELDA'S APARTMENT FURNITURE LAYOUT DRAWN IN CAD BY SARAH COLFORD. B. GRIZELDA'S APARTMENT. FOMECORE MODEL BY JEFF SMITH. C. GRIZELDA'S APARTMENT. LIVING ROOM. SET PHOTO. D. GRIZELDA'S APARTMENT. DINING ROOM. SET PHOTO. B C D A