Issue link: https://digital.copcomm.com/i/1542693
basement, and for the extended period of time we needed. This helped me come to the conclusion that this could be the project where I build a house in an immersive landscape like I had always wanted to. "Tasked to build an isolated American timber frame house in the UK should be something utterly within our powers and resources. This house is also scripted to have a basement. Not a problem. That obviously transitions to a set on a stage. This is still all bread- and-butter stuff for us, right?" (Adam Makin, Supervising Art Director) On one of the scouts to look at possible sites, I remember Yorgos saying, 'Why don't we build the basement under the house for real?' I smiled back, 'Because I didn't think anyone would let us.' 'Come on,' he said, 'Look at the benefits for the film.' That changed everything. "Just needed to find somewhere to build it. A perfect location to service the freedom needed for shooting and performance, and look convincingly like it lives in Georgia, USA. Finding this location, as you can imagine, was not a walk in the park, as we literally kind of hoped it would be." (Adam Makin, Supervising Art Director) B. TEDDY'S HOUSE FINISHED EXTERIOR. SET BUILD ON LOCATION. SET PHOTO. C. TEDDY'S HOUSE. INITIAL CONCEPT SKETCH BY JAMES PRICE. B C