Issue link: https://digital.copcomm.com/i/1544119
4 6 P E R S P E C T I V E M A R C H / A P R I L 2 0 2 6 North London took approximately sixteen weeks from technical drawings to pigs moving into the yard. Every space was brought to life using either traditional materials in unconventional ways or modern materials deployed in period contexts. The Art Department leaned into architectural tropes of compression and release: a low kitchen ceiling built at six foot, four inches, just enough to force Jacob's 6-feet, 5-inch stature to duck slightly—never quite fitting into this environment ("she's not for you") before moving dramatically into the triple-height parlor. That expansion gave us the opportunity to build a "brutal-esque" fireplace and paint a vast doom-laden mural across the open expanse above the panels. The earlier note from Emerald about pulling back never really landed. Working with the genius that is DP Linus Sandgren genuinely allowed me to push the design further than I might otherwise have dared. His ability to light the sets was extraordinary—not in a showy way but in the confidence with which he embraced what was in front of him. He always worked with the design as given, never asking for it to be simplified or redesigned to make his life easier. As a result, tradition—or how we would usually make a movie—went straight out the window, every department began to rethink its methods in pursuit of this film's visual language. The lighting department was no exception. The crew worked with a full 360-degree translight combined with a ceiling silk punctured with carefully positioned apertures for lighting and SFX rain rigs. It was complex and unconventional at times but allowed the spaces to coexist from the outset. A. WUTHERING HEIGHTS KITCHEN. SET PHOTO. B. & C. WUTHERING HEIGHTS PARLOR. SET PHOTOS. D. THRUSHCROSS GRANGE. STAGE PLAN. E. GRANGE GARDEN. DIGITAL MODEL. F. GRANGE GARDEN FACADE ELEVATION. A B C