Issue link: https://digital.copcomm.com/i/1438629
Because the paparazzi had been following us during the entire production, both in Germany and England, we had to resort to a lot of secrecy to achieve our scenes. Still remaining were the missing environments needed to round out Sandringham Estate. We moved into the Bufa Studios in Berlin. Here we made plans to build Diana's suite within Sandringham. The rooms were to be the original chambers of Queen Victoria and are referred to by Diana in the story. Supervising Art Director Ralf Schreck, Assistant Art Director Iris Paschedag and Art Department Set Designer Anna Jarocka worked tirelessly on a design that included a reception area, private saloon, bed chamber and dressing room; an ornate mirrored corridor and bathroom was also conceived. Each chamber was designed to adoin and allow for uid camera motion between the spaces. The sets also had to re ect the aesthetics and scale of the main locations, the classical molding and strange architectural eccentricities were all carefully included. It was a complex jigsaw puzzle. Creating Diana's despair within beautiful surroundings inoled a ery fi ne balance of muted color and natural or artifi cial winter light. ablo, myself and cinematographer Claire Mathon had also concluded that this atmosphere could be enhanced by shooting in vast interior spaces with very limited dressing. Perhaps these areas of the house were B A. EARLY SKETCH FOR DIANA'S SANDRINGHAM SUITE. THESE QUICK SKETCHES HELPED PABLO AND THE TEAM VISUALIZE SCENE STAGING. DRAWN BY GUY H. DYAS B. DIGITAL MODEL SHOWING DIANA'S SANDRINGHAM SUITE. DRAWING BY ANNA JAROCKA. C. CONCEPT ART FOR DIANA'S BATHROOM, SHOWING THE USE OF VIVID COLORS, AS WELL AS THE UNIQUE 1930S CAGE SHOWER, A 'CAGED BIRD.' METAPHOR. ART BY GUY H. DYAS. A C D