Issue link: https://digital.copcomm.com/i/1541514
Slowly I chipped away at vetting houses until we all could agree that we needed to expand our radius if we were going to find the right house. At that point, I had vetted over two hundred houses! I didn't look at all of those in person, of course, but a great deal of them I did. I was also able to bring on Emma Pill—a seasoned location manager who is extremely knowledgeable when it comes to English country estates. She is incredibly passionate about what she does and it was exhilarating getting to work with her. Within a couple of weeks, we scouted Flintham Hall—a quirky stately home about three hours from London. Built in the late 1700s with further portions added over generations, I knew this was our house as soon as I walked in. I immediately sent pictures to Nia and she also thought it was the perfect house—without even stepping foot in the door. The style of the house was unlike anything else I had seen. It looked very European and had very graphic proportions, with an unusual asymmetry and sculptural flourishes. The great room was exactly what Nia had envisioned with the wrap-around balcony overlook. It had also been built by its owner to throw lavish parties. Flintham became our hero location, as it had all the main features that Nia had asked for, as well as owners who were game to let a film crew come and take over. During my search, I had concentrated on houses that had the main staircase, the great room and the lake. I knew that with those key elements in C. THE GREAT ROOM. THE ROOM'S EXISTING FIREPLACE AND CHANDELIERS WERE ACQUIRED FROM THE GREAT EXHIBITION IN LONDON IN 1851. SET PHOTO. D. THE DINING ROOM. CUSTOM FURNISHINGS – SUCH AS THE DINING TABLE AND CABINET SHOWN HERE – WERE BUILT FOR THE FILM. SET PHOTO. D C