Issue link: https://digital.copcomm.com/i/1542693
layered and embedded the set so that it appeared to hold decades of history even though it was weeks old. When we studied the sun path on the backlot at Elstree Studios, the best position for the house had the backyard looking into trees. The front of the house faced the Stratford-Upon-Avon streetscape we had built in the town of Weobley. We then travelled the Tudor facades to the studio so that the views out of the doors and windows were correct. Beyond the streetscape was a line of trucks and containers. And beyond them a second line. Our A-frame attic sat amongst the trucks and then off to the side was the Globe, tucked into another far corner. The arrangement of the trucks reminded me of a travelling circus or a wagon train. The trucks surrounded the sets, insulating them from the rest of the studio. Our key grip Tomasz often had soup bubbling in the back of his truck. Lukasz and his operator Stan had a hot plate in a tent and they made steak and salad for lunch. There was a big dog that lounged on the back tray of a truck, enjoying the sun. Chloe referred to it as a village. I have been on happy sets but I have never felt such cohesion and community. The final day of the shoot was at "the new house," a location in Surrey outside of London. Over three thousand plants had been dug in to create a traditional knot garden. We had five days to prepare and dress the garden, in the most appalling autumn weather. Three gardens were created for Hamnet, each with their own story and relationship to Agnes. The gardens were her domain. The Henley Street garden was installed in a matter of weeks. It had to look embedded and established. We had an old knotted pear tree and a tall Beech amongst the herbs and cobbles. Much of the film has the garden in summery bloom but we also needed autumn and winter. It had to be tended and also neglected. As the weeks went by, the leaves started to turn and drop. On the last day in the garden, a storm raged and rain pelted. The garden gave us the seasons. As everyone walked away on the last day of the shoot, they carried armfuls of plants. It is a pleasure knowing that the Hamnet plants live on in people's gardens, including mine. ADG I. THE HENLEY STREET GARDEN - LIKE ALL THE NATURE IN THE FILM - WAS A CHARACTER. THIS GARDEN WAS BUILT ON THE BACKLOT AT ELSTREE STUDIOS AND THROUGH THE COURSE OF THE SHOOT PRESENTED AS SUMMER, AUTUMN AND WINTER. Fiona Crombie, Production Designer Tim Blake, Super vising Art Director Victoria Allwood, Alex Bowens, Katie Money, Art Directors Lilya McGinley, Emily Norris, Assistant Art Directors Darren Tubby (Sr), Bethany Doughty, Sara Kuna, Nick Ramsay, Jess Robertson, Nadina Narain (Jr), Draughtpersons Katren Wood, Concept Artist Lisa Williams (Lead), Annie Neilson, Lucie Wolfe (Ass't), Graphic Artists Alice Felton, Set Decorator F G H I