Issue link: https://digital.copcomm.com/i/1512164
great that Baxter had planned for accidents. The crew all had to work with this annoying unstable floor that made everyone fall over and sounded like slapping welly boots. That was really funny. Baxter's house is our favorite part of the film. The house was built for real; it just didn't have a bathroom and we did forget to make the windows open! Other than that, it was a beautiful place, light filled and made mainly in wood. The craftsmanship in Hungary was totally amazing, walnut wood finishes were hand- painted and out of this world. We had quite an experimental approach to achieving our finishes and textures. We had a beautiful concept of the lounge walls with a rusty splattered texture, but we just couldn't get the paint test right. We tried everything to get the texture, from rice and rubber to birdseed stuck to the walls, even popcorn. (It didn't work this time, but will defiantly be trying the popcorn texture again.) In the end, out of desperation we used the same plaster rustication panels we had used for the exterior of London. They had the most amazing concrete brain texture and to have that inside of a lounge, it was just perfect. Similarly, in the corridors of the asylum set, we finished off the scenic painting with prints from our own feet dipped in instant coffee. E. BAXTER'S LIVING ROOM. CONCEPT ART DONE IN BLENDER BY JONAS BETHGE. F. BAXTER'S DINING ROOM. ALL THE SURFACES WERE DESIGNED TO WIPE CLEAN. SET PHOTO BY ATSUSHI NISHIJIMA. G. BAXTER'S LIVING ROOM. THE PINK FLOOR WAS 20CM DEEP FOAM AND WAS LIKE WALKING ON A MEMORY FOAM MATTRESS. SET PHOTO BY ATSUSHI NISHIJIMA. H. BAXTER'S HALLWAY. SET PHOTO BY ATSUSHI NISHIJIMA. I. BELL'S BEDROOM. EACH QUILTED PANEL HAS A DIFFERENT DESIGN INSPIRED BY 'THE ENDLESS LANDSCAPE,' A VICTORIAN CARD GAME. SET PHOTO BY ATSUSHI NISHIJIMA. E F G H I