Issue link: https://digital.copcomm.com/i/1531774
as burn locations—so we wouldn't have to budget and build giant standalone pieces, but rather just plan fire for areas we already had. We used the destroyed Clifford Lane backlot set for the wild fire hose and intercut elements from the street set outside London Bridge tube station where George makes his run. At Clifford Lane, the construction team made several of the houses from steel and plaster rather than wood—with Hayley's effects team plumbing them for gas. For London Bridge, the production went to Chatham Docks. The crew added the tube entrance to an existing facade on one side and directly across built the crumbling warehouse wall. It was a terrific site—with loads of period detail but a fire-safe gravel pad opposite. By combining the two, we were able to safely make the whole street feel like it was burning. Behind all of this, the film actually did use a large number of digital effects. VFX supervisor Andrew Whitehurst and I had just worked together on Indiana Jones, and he did spectacular work here. The fire sets are very carefully extended, and we mixed practical effects and a real location for George's run from the barge. Our thought was that if we fully bedded them in—with lots of real elements—that we would buy ourselves the possibility to use digital effects when and where we really needed them and they would magnify the practical work we were doing. ADG Adam Stockhausen, Production Designer Oliver Van Der Vijver, Super vising Art Director Stephen Swain, Neneh Lucia, Daniel Nussbaumer, Jourdan McKee, Bill Ambrose, Cass Virdee, Art Directors Chapman C.H. Kan, Sam Vincent, Assistant Art Directors Leon Van Der Meer, Kitty Parkinson, Eunice Naddamba, Kira Kemble, Monica Paisley, Chris Straessle, Set Designers Alexios Chr ysikos, Stephen Tappin, Charlie Cobb, Qingling Zhang, Katren Wood, Illustrators Gabriel Hardman, Stor yboard Artist Erica Dorn, Jools Faiers, Laurine Cornuejols, Graphic Artists Anna Pinnock, Set Decorator F E H G