Issue link: https://digital.copcomm.com/i/1438629
room's silk damask wallpaper. It took fourteen trials of the soup to get to the consistency seen in the film. e carefully duplicated a pearl necklace that Diana wears by creating an edible version made of chocolate and pearlescent candy; and it's used to great effect where risten has to swallow the necklace. At the director's request, every food item was edible and kept at the right temperature so that the lead actress had the freedom to improvise. For that reason, everything also had to have multiple replacements kept on standby. During many scenes, food was being prepared in front of the camera, as well as off camera, with many of the dishes being handed to the kitchen staff actors half completed so they could complete them on camera. Overall, the production had ten weeks of scouting and twelve weeks preproduction for a 34-day shoot. Our story takes place over three days, but we knew that we had a great deal to cover in terms of the rt epartment. There were comple ashbacks to various points in Diana's life and three young actresses played Diana growing up through the 1970s. There were a great many driving scenes to be split between Germany and the UK which involved changing trac and road signs and including period vehicles. Perhaps the most challenging problem the production needed to solve was for the hunting scene at Sandringham. The script called for hundreds of lie pheasants to y up from the tree line during the climactic hunting scene near the end of the film. The budget didnt allow us to rely on isual effects and ablo needed the moment to feel real. You can't train pheasants, and further complicating this requirement was the fact that we were shooting in the wintertime out of the breeding season. All the pheasants available to us were either older breeding stock or simply unhatched eggs. To solve our problem, the props team, led by Jan Rott and animal wrangler Aurelia Hornung, set up their own temporary breeding farm very early in preproduction to enable the birds to reach maturity at exactly the right time for the staged hunt. n the day of filming, the birds were kept in special boxes with a trap door and the boes were camouaged at the forests edge. We released the birds in groups and the filming crew had only seconds to capture the footage needed. Some three hundred pheasants were released into the wild by the end of our two days at that location, and it's nice to think that our birds now live happily in the protected park. In many ways, this was a very special and unique Production Design experience for me, and working so closely with Pablo, Claire and our tight crew leaves me with nothing but fond memories. ADG Guy Hendrix Dyas, Production Designer Ralf Schreck, Super vising Art Director Stefan Speth (Ger.), Anthony Neale (UK), Art Directors Maren Schal, Iris Paschedag (Ger.), Tom Ribot, Alistair Osbourne, Paul Couturier (UK), Assistant Art Directors Anna Jarocka, Set Designer Katja Fischer, Model Maker Henning Brehm, Graphic Artist Yesim Zolan, Set Decorator C D