Issue link: https://digital.copcomm.com/i/1544119
up and handled, colors debated, typefaces scrutinized, point sizes argued over. Nothing escaped her attention and nothing was left to chance. Decisions were questioned not out of indecision but out of care for the details. It was exhilarating…and completely addictive. After a few weeks, the design team finally found the ground on which to build this world. Our fearless ambition continued to exert its influence and the design grew accordingly. We began to construct not just the interiors but the exteriors of the two principal properties, giving the film an uneasy, dreamlike quality as though it existed somewhere between reality and invention. The result was a deliberately composite environment; the characters could canter across the moors in a horse-drawn carriage, pass beneath the looming gothic arch and arrive directly into the farmyard of Wuthering Heights as a gale tore through the set. They could feed a horse in the stable block, then step into the kitchen and make a cup of tea by the practical fireplace and then head up to the bedrooms. A fully 360 set—weather, mud and domesticity coexisting in the same breath. It was all slightly mad yet entirely deliberate. And once we started, there really was no turning back, and it fed on the inventiveness of the whole crew. The Wuthering Heights build on a soundstage in F. WUTHERING HEIGHTS EXTERIOR. SET PHOTO. G. WUTHERING HEIGHTS EXTERIOR WALL. SET PHOTO. C D E F G