Issue link: https://digital.copcomm.com/i/1544119
and the crew went on an obsessive hunt for the perfect wobbly glass. Each room shared similar proportioned panels, but the finishes were anything but period-correct. Inside the house became a kind of curated teenage fever dream. Wallcoverings made from high-res images of Margot Robbie's arms printed and buried beneath layers of skin- toned latex. Crystal walls formed of relatively cheap plastic moldings set against a rich blue ombre silk backing. Materials were chosen not for authenticity but for sensation. Hands became a recurring, almost subconscious motif. Every ceiling rose was a cast from the hands of the Art Department—pressed and held—captured mid-gesture. In the library, that motif became less subtle, allowing for a playful and slightly mischievous use of hand puppet art. I had an extraordinary team making the film with me—an Art Department that fully embraced the A. MOOR TREE. CONSTRUCTION DRAWING. B. MOOR TREE IN PROGRESS. SET PHOTO. C. GRANGE LIBRARY AND SECOND FLOOR. STAGE PLAN. D. EDGAR'S BEDROOM. SET PHOTO. E. CATHY'S BEDROOM. SET PHOTO. A B E D C