Issue link: https://digital.copcomm.com/i/1514626
compromised. This enabled us to bring some strong colors and textures too. High-gloss woodwork, contemporary French wallpaper, tapestries depicting sword fights with the devil, etc., etc.— and of course, the most over-the-top bathroom with its dark vein-like marble panels and the white geometric-tiled floor—all the more interesting for liquid to follow a maze—like path… Prepping the maze was a particularly challenging sequence—for such an impressive house, the one thing it didn't have for real was a maze. However, it did have areas of formal hedging and the film's brilliant set decorator, Charlotte Dirickx, and I set about sourcing some more potted varieties at a scale to create a section of runs and corridors that could be ready in time for filming. We had a great greens team from Palmbrokers that managed to keep the hedging alive through that long hot summer and even somehow encouraged it to gain in height. Smoke and mirrors in filmmaking is always satisfying and the combination of real, constructed elements and a little dusting of CGI seamlessly produced the environment. A. MAZE MAP. GRAPHIC LAYOUT. B. TOY MAZE. BASED ON A BESPOKE MAZE DESIGN BY ADRIAN FISHER. SET PHOTO. C. MINOTAUR SCULPTURE BY NICOLA HICKS. D. BIG WILLY IN PROGRESS. E. BIG WILLY ON HIS PEDESTAL IN THE MAZE. SET PHOTO. A B C D E