Issue link: https://digital.copcomm.com/i/1438629
on a complex color story so as to enhance the mood and tone in each scene. Knowing ahead of time Claire's lighting intentions and having photographs from risten Stewarts costume fittings, we were able to visually show Diana feeling completely out of place at Sandringham while allowing the remaining cast to blend into their surroundings. It was our way of underlining each family member's position in the family and each character's true nature. As with all holiday festivities, the Royal family's Christmas reception is a heightened and lavish experience. The Christmas dinner scene wouldn't have been complete without an abundance of delicious delights to eat and drink. Food design and creating the meals at Sandringham was a big portion of my responsibilities on this film. They were scripted in wonderful detail by Steven Knight, who had himself researched the traditional dishes prepared and served by the kitchen staff. ablo and discussed at length how to tackle the dramatic dinner scenes in which Diana struggles not only with her marriage but also her dicult relationship with food and bulimia. Christoph Kappes and Frank Weymann were the food stylist team and they had to create the tantaliing dishes seen in the film. e neer designed a film where e been asked to put so much detail into the food; it was very exciting, and it involved a lot of food science experiments during preproduction. Some of the more challenging creations included a nettle soup that had to have the perfect viscosity so that it would fall from a spoon into the soup bowl perfectly. The vivid green color was matched perfectly to the silk dress worn by Kristen Stewart in that scene. We also matched it to the dining A. ROYAL KITCHEN PANTRY SET. ALL THE FOOD WAS PAINSTAKINGLY PREPARED, DISPLAYED AND EDIBLE TO ALLOW THE ACTRESS TO IMPROVISE. A FRAME FROM THE FILM SHOT BY CLAIRE MATHON. B. KRISTEN STEWART AS DIANA PREPARING FOR A SCENE DURING A LATE NIGHT SHOOT ON LOCATION IN GERMANY. PRODUCTION STILL BY PABLO LARRAIN. C. A FICTIONAL NOVEL ABOUT THE LIFE AND DEATH OF ANNE BOLEYN WAS CREATED AS A PROP AND IS PLACED ANONYMOUSLY IN DIANA'S BED CHAMBER. DIANA BECOMES OBSESSED BY THE EMBLEMATIC QUEEN, LEADING TO GHOSTLY VISIONS. GRAPHIC DESIGN BY HENNING BREHM, PHOTO BY JAN ROTT. D. FRAMED GRAPHICS SIGN WARNING THE STAFF ABOUT EXCESS NOISE. GRAPHIC DESIGN BY HENNING BREHM. B A