Issue link: https://digital.copcomm.com/i/1529668
put these details into the drawings, but getting a large team of carpenters to finesse that just right is tricky. A big thanks must go out to the carpenters, plasterers and painters at Barrandov, who took on all the idiosyncratic particulars we threw at them. Much like the streets of Wisburg, Orlok's castle was not an easy location to find in the real world. We scouted many castles but couldn't find one that would fit our needs. They were beautifully maintained and cleaned up for the crowds of tourists passing through. But we needed our set to have a certain amount of decay and deterioration to reflect the world of the Count. In the end, the production decided to build it ourselves. By building, we could also design the sets to accommodate complex camera moves. In one shot, the acton follows Orlok and Hutter up a spiral staircase, where Orlok disappears from view. The camera continues to follow Hutter through a set of doors and into the great hall, where Count Orlok is finally found standing at the far end of the room. To do this, the crew built the staircase through the stage floor and into the basement and carefully aligned everything so that Jarin could use a crane to (seemingly) get everything in one shot (is there a stitch?). The great hall, library, corridors and tower chamber, where Hutter sleeps at the castle, were all drawn and built under the supervision of my friend, Art Director Hauke Richter. Hauke was also responsible for overseeing the completion of the designs and construction of the Romanian village and inn, Von Franz's attic room, and Knock's estate agency and office. The exterior castle courtyard was shot on locaton at Pernštejn Castle. E. ORLOK'S CASTLE, GREAT HALL. BUILT ON STAGE 6 AT BARRANDOV STUDIOS. SET PHOTO. F. ORLOK'S CASTLE, TOWER CHAMBER. SET PHOTO. G. ORLOK'S CASTLE, CRYPT AND SARCOPHAGUS. BUILT AT BARRANDOV STUDIOS. SET PHOTO. D E F G