Issue link: https://digital.copcomm.com/i/1531774
B L I T Z | P E R S P E C T I V E 3 7 The children, for instance, had to evacuate at a real train station onto a real steam train. It just simply would not do for Steve to tile and extend or imagine a set that would come later. This came not from a mistrust of the digital effects, but rather knowing that the story was centered around a young boy. Anything we could do to help George truly experience his journey would certainly come through in the final film. Hanway House, Clifford Lane and Backlot Steve grew up in London and had very clear ideas of what the terraced house and East End neighborhood should feel like. First and foremost, they are very small! We wanted to keep the size as real as possible, so it took careful planning to make sure the ground plan would function for the scenes and there was just enough room for camera. Steve wanted the life in this house to be rich, layered— full of pattern and density. At all costs, we had to avoid the place having a museum feeling, an 'olde time' mustiness. The lives being lived here were rich and full. Anna Pinnock and her team were more than up to the task. Anna worked with Graphic Designers, Jools Faiers and Erica Dorn, to recreate art deco patterns from vintage scraps— pulling away layers of yellowing and age as they did so. The front room was primarily Gerald's domain, from his piano to the communist poster art from his sign-writing days. A. GEORGE RETURNS HOME TO HANWAY HOUSE. ILLUSTRATION DONE WITH 3D STUDIO MAX MODEL AND OVERPAINTING IN PHOTOSHOP.