Page 25 - Fujifilm Exposure_46 Glorious 39_ok

early 17th Century. It was remodelled to its current appearance in 1805, with an early Victorian Gothic revival Music Room added over the priory’s reception room in 1845-7.
“The present owner’s Grandfather moved in when he was 18 years old and lived here until he was in his 90’s and did next to nothing to it, so the fact that it has been untouched for 80 years makes it the most amazing treasure - still absolutely correct to the time period we’re working in.”
The condition of the interior of the house made Harriet’s job reasonably easy.
“There are just the most wonderful colours; lots of gold, oak and sage green which was exactly what we had envisaged for the end result, which made all of our lives easier! It was all just sitting here, exactly how we would have worked hard to make it look like and the art and costume department had an absolute field day when they found chests overflowing with 1930’s magazines in the house which they got so much inspiration from.”
Last year Poliakoff, after a decade of acclaimed TV dramas, decided that the time was right to make another film.
“If I was going to go back
I wanted to make a film that I felt could reach a lot of people not just here in Britain, but around the world,” he explains. I’ve tried to combine history and suspense and an emotionally charged story, I thought that was a good ambition to have.” QUENTIN FALK
Glorious 39, in UK cinemas from November 20, was originated on 35mm Fujicolor ETERNA Vivid 160T 8543, ETERNA 250D 8563 and ETERNA 500T 8573
THE DP VIEW
DANNY COHEN BSC
One of the director’s favourite
words is ‘vivid’ to describe how “he wants a scene to look. He was very keen on strong colours. So when it came to picking stocks it wasn’t too difficult. I always think that the more you can do-in camera and the less in the grade the better.
Our biggest visual reference for the film was Hitchcock, which was, of course, a good excuse to watch a lot of his films. You don’t really get better than him in terms of how you want to stage things.
We were thinking in particular of something like North By Northwest with some of those enormous big outdoors scenes. The problem we had was that because of the season and knowing that we were going to have to shoot a big summer picnic scene we had to ask the farmer not to plough.
After all, there’s nothing better than an unploughed field to make you think it’s summer. The only problem was that actually it was freezing and it was very tough on the cast.
We were also lucky because in that part of Norfolk they have evergreen oaks, which proved a very useful summery backcloth to a lot of the exteriors. It’s well known that the summer of 39 was meant to
be quite nice – but I think we managed to get away with it.
”
Photo top: A scene from Glorious 39; above l-r: the stars and some of the sets on Glorious 39 including third and fifth from right, writer-director Stephen Poliakoff in action
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