nut has drawn great reviews from the press following its opening on the 30th October with many mentions of the design: This from Michael Coveney for ‘What’s On Stage’: “The fractured dialogue is symptomatic of fractured lives, the tangled psychological car crash represented in an extraordinary design by Lisa Marie Hall of girders and tubes, a visible art work representing inner turmoil and confusion”.
Now the hit drama What Remains has aired on BBC1 I have published on this site a look behind-the-scenes of the art, props & construction departments as we built the main sets for the show. I’ve included inspiration references, colour palettes, sketches and models as well as a huge photo-timeline of how we turned just one studio set into five flats in five weeks. Click here to see Behind-The-Design of What Remains.
“….but the real star was the house. The camera’s slow journey through every nook and cranny made the viewer a voyeur, desperate to know every secret contained within the high, elaborately corniced walls. There were lingering shots of the paint-chipped newel posts, faded tiled hallways and emergency light switches” – Ben Lawrence
The first episode of What Remains aired on Sunday 25th August on BBC1 and received many positive reviews, including this one from The Telegraph. Read it in full here.
BBC1 4-part suspense drama WHAT REMAINS begins this Sunday 25th August at 9pm. Directed by Coky Giedroyc and starring David Threlfall alongside a stellar cast, it was a gift of a job to really push Production Design for contemporary crime drama – building big sets at Ealing Studios and Wimbledon Studios, playing with high texture, colour and subverting architectural detail. Set inside a London Victorian house converted into five flats, we built everything in the studio – the staircase, loft and all five flats – shooting all four episodes in 10 weeks. I will be appearing on the BBC TV Blog revealing more about the show’s set design. Can’t show any behind-the-design-scenes photos yet but watch out, it’s going to be big!
I had a fantastic Art Department who all deserve a mention: Art Director Keith Dunne, Set Decorator Jo Berglund, Production Buyer Caitlin Thompson, Construction Manager Russ Daly, Petty Cash Buyer Anne-Marie Minty, Graphic Artist Richard Wells, Character Buyers Dalia Gellert, Fiona Albrow, Ollie Tiong, Clare Porritt, Props Master Martyn Doust, Dressing Props Lisa Rust, Dave Tincombe, Scenic Painter Steve Simpson and Head Carpenter Julian Weaver, Standby Art Director Edd Cross and Standby Props Pat Dunn. Thank you all – couldn’t have done it without you.
“Bein you means not bein me – see, a deficit already – before you even started we running at a loss.”
Elayne thinks she’s alright. Nobody else does.
30 October – 5 December. Book tickets here, £12-20 each
I’m in the initial set & costume concept stage on my second theatre design job, this time at the National Theatre, on the new stage at The Shed, for debbie tucker green’s new play, “nut“. Starring Nadine Marshall and Anthony Welsh, this play will not be what you’re expecting. Getting very inspired by the work of Turner-Prize contender Lynette Yiadom-Boakye, sculptors Alexander Calder & David Smith and fashion designer Martin Margiela…book your ticket now.
Completed work on “Second Coming“, the first independent feature film for writer/director debbie tucker green, and our third project together. Funded by Film4 & BFI & produced by Hillbilly Films, we filmed on location in SW London and at Wimbledon Studios. Starring Idris Elba, Nadine Marshall and Sharlene Whyte, this was a fantastic contemporary drama to design. Watch out for it on the 2014 festival circuit…
Read more here.
65 Days Later….it’s finished and online for all to read. Over the course of writing this diary, it has very much turned into a Handbook for Production Design – real advice put to the test with real experience. I encourage anyone to look back at a job, to remember and evaluate all the good, the bad and the uglies – it’s a liberating experience and teaches you so much about yourself, the way you work and how we can always improve. There is so much to discover about Production Design but I hope for all those studying and just starting out, this is the most honest, explanatory and passionate accounts of one the best jobs in the world! Click here to read it.
**With special thanks to the David Lean Foundation for supporting this project**