Issue link: https://digital.copcomm.com/i/916056
ENGLAND, HOME Coming over to Weymouth and Swanage, England, and meeting the British team, led by Supervising Art Director Toby Britton, was a welcome diversion, and not having to face any elements or weather was a great relief. The sets and dressing along the pier looked good, and some old sailboats were used to cover some unwanted parts for the camera angles of the still-beautiful Weymouth harbour. The railway museum in Swanage is a fantastic place for period films and the crew working there is great and very helpful. The preparation and filming of Dunkirk in Europe, for me as an Icelandic Art Director, was a welcome and great experience. The Art Department's constant challenge to give the audience a decent look and a greater cinematic experience would have been hard if we hadn't enjoyed the support we got from the people and the places involved in each country. We thrive on how the talented film crews, the public, and the authorities in these places stay open-minded and are willing to support film projects like this one. ADG Nathan Crowley, Production Designer Kevin Ishioka, Eggert Ketilsson, Supervising Art Directors Stéphane Cressend, Gilles Graziano, Charlotte Greene- Gonnot, Alice Leconte Art Directors-France Toby Britton, Oliver Goodier, Art Directors-UK Erik Osusky, Art Director-US Jenne Lee, Ben Nowicki, Marjin Koopenaal, Assistant Art Directors Andrew Birdzell, Carine Demongueres, Luis Hoyos, Martha Johnston, Mary Saisselin, Set Designers Phillis Lehmer, (Supervising), Amanda Riffo, Graphic Designers Richard Bennett, Illustrator Gary Fettis, Set Decorator A. Spitfire sectioned for filming. B. David Packard, scenic painter, by the Spitfire. C. The Spitfire ready to be fired into the IJsselmeer Bay in Holland. D. The upside-down hull set being set into place in the IJsselmeer, Holland. E. The upside-down hull under construction in France. F. The railway set in Swanage, England. G. Mr. Dawson's home. Interior set in Weymouth, England. F G