Issue link: https://digital.copcomm.com/i/1544119
tremendous glass ceiling. The Crystal Palace, built in Victorian London, but which was sadly destroyed by fire, was a big inspiration, and so were the greenhouses from Victorian England. Kew Gardens, which with all its plants, would have been a perfect place for this scene to play out. Set walls were built to hide all the industrial walls, and the crew built a pink counter to hide the huge, arced control console that was impossible to budge. There was something very Chitty Chitty Bang Bang about the finished room and its expressionistic visual style. Incredible flowers and plants were arranged on view around the set pieces, all resting on a hand-painted pink and blue tartan floor. Marci from locations kept up the great work and found a wonderful location with groin vault arched ceilings. This became a sandwich bar. Only in Budapest! The greatest find by locations was the Hungarian Government Treasury, designed by the great Hungarian architect, Odon Lechner. We shot one of the floors for a couple of days, and I can honestly say that no film had the pleasure of shooting there before. We were able to shoot on one of the floors and use its elevator. The details evident in this beautiful building really inspired the visual appearance for the lobby of Aurora's building entrance, and also the floor outside both her apartment and the neighbor's apartment. Aurora's apartment is the sweet to the sour of the neighbor's apartment, and it is a mixture of Art Deco, Art Nouveau and Gothic Revival. These timeless details really helped create the whimsical world. The most talked about and cherished items from the film would seem to be the taxidermy chicken light, with a light bulb growing from it posterior, and the leather hippopotamus Aurora rides around the apartment, so her feet will not touch the floorboards, both courtesy of property master Gabor Kovacs and his props team. Dust Bunny is whimsical and tender, the film explores trauma and recovery through its beautifully realized images and characters, while delivering a surprisingly fun, dark urban fairy tale. ADG F. AURORA'S BLANKET. COSTUME DESIGNER OLIVIER BERIOT WORKED WITH PROPERTY MASTER GABOR KOVAKS. G. AURORA (SOPHIE SLOAN) WITH DUST BUNNY CREATURE DESIGNED BY JON WAYSHAK. H. INTRIGUING NEIGHBOR'S APARTMENT. FILM STILL. I. CHICKEN LIGHT.BUILT BY PROPS WITH A TAXADERMY CHICKEN AND LIGHT BULB. Jeremy Reed, Production Designer Adorján Portik, Super vising Art Director Sándor Jani, Zoltán Virányi-Fontan, Miklos Selmeczy (Standby), Art Directors Anna Rózsa, Gyöngyi Barta, Nóra Andrássy, Claudia Godean, Bernadett Redenczki, Adrienn Antal Fógel, Assistant Art Directors Gergely Fodor, Jonathan McGonnell, Ricardo Contreras, Concept Artists Zoltán Réczey (Lead), Lili Hor vath, Lilla Molnár, Laura Csóka, Graphic Artists Dorka Kiss, Kata Kiss, Set Decorators G F H I