Issue link: https://digital.copcomm.com/i/1514626
Oliver's parents' house, aggressively boring, had a similar palette yet in pastel tones. We wanted to sense the innocent desire Oliver's mum has for big stately National Trust, heritage properties—they probably have a coffee book table of Saltburn in this house. The tight topiary hedging insignificant in comparison to the backdrop of Saltburn but nevertheless this house was cleaned to within an inch of its life inside and out; the stripes on the small lawn, the sprinkler fan in the front garden, were all important. Again, we felt a 'potpourri' aroma was probably from M&S! One of my favorite sets was Elspeth's bedroom, which was shot toward the end of our schedule. Much of the narration takes place from this room yet the creative team wanted to be ambiguous with where this began, so the crew made a couple of the privacy screens in different color rubber sheeting to see which became the more obtuse, finally going with the skin tone, so one is never quite sure where they are as Oliver starts his sick tale: It could be an police interview room, maybe an office, maybe a hospital corridor until it is revealed showing Elspeth slowly dying in her bedroom. During this final sequence, things start to become even more unhinged…if that's even possible. As it's all getting a little crazy and dark, we upped the red—red on red on red—Oliver was about to tear her heart out and eat it—but considered, premeditated and mannered. A. OLIVER'S BEDROOM PREVIS. CREATED WITHIN LOCATION. ILLUSTRATION. B. SALTBURN CAST IN THE LIBRARY LIVING ROOM. PRODUCTION STILL. C. ELSPETH'S BEDROOM. PREVIS. CREATED IN A LONDON LOCATION. D. DINNER AT SALTBURN. PRODUCTION STILL. A B