Issue link: https://digital.copcomm.com/i/1541514
was insane—which was perfect! The process for designing and hanging the chandelier in this historic location was a very involved cross- departmental collaboration. An engineer was brought in to calculate the max weight. Grips built a structure over the conservatory after removing panels of existing glass. Referencing a crystal Art Deco chandelier, our own version was drawn up and built from scratch. To make it more economical, our vendor had the brilliant idea of using an existing icicle mold to cast all of the breakaway chandelier crystals. SFX was then tasked with the final drop. As the conservatory had various inset garden beds in the middle of the space and the perimeter was lined with vents that opened up to a very old underground heating system, we built a new false "stone" floor over the entire room. This let us use the entire space and also protect the original floor from any damage. Because of lead time and budget, we were only able to construct one chandelier for the sequence so we were all holding our breath behind the monitors when the scene was shot. Thankfully it smashed to smithereens perfectly. One week before we were to start shooting, the production was shut down because of the SAG strike. After some negotiations, we were able to leave the house completely dressed the entire shutdown. The family even spent Christmas in the house dressed for a 1950s party and without the use of a working kitchen. I honestly couldn't believe it, but I'm so thankful that we didn't need to redress the entire house again. Cara Brower, Production Designer Andrew Bennett, Super vising Art Director Andrew Ackland-Snow, Senior Art Director Karl Simon Gustafsson, Illustrator Louise Begbie, Jess Alexander, Graphic Artists Stella Fox, Set Decorator With Hedda, Nia asked the team to be bold and creative and so it was a dream project for me. I also felt so lucky to be surrounded by such a talented Art Department and set dec team. I'm very proud of the design and the final film that Nia created—the score, the costumes, the cinematography. It's really rewarding when all the crafts get to come together and we create a film that we're all very proud of. ADG D E