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WUTHERED MAKEUP TESTS

Below are the original test photos for the face cut! This was very early on in the development of the makeup, testing how me and Paige wanted it to work.

Here is Erin with the full face removal make up on for the first time!

And here’s how it looked behind the scenes on set

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MORE WUTHERED STILLS

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WUTHERED COSTUME CONCEPT ART

Initial designs for Alison and Bonnie, showing off their signature colours and differing styles

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OFFICE BEFORE

OFFICE AFTER

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WUTHERED FLOOR PLANS

Pictured below are floor plans and sketches for the office set. The first was created before we had the office space, with the blocking of my initial ideas for layout. The second is my more detailed plan for props after choosing our set!

Here is an initial floorplan for the doctors office. This was our most unpredictable set, so this was used mostly to block and plan how we would shoot in a built room.

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WUTHERED

The making of!

PREP

The hardest thing to pull of for Wuthered was a cohesive vision. It’s out there and weird, set in a strange parallel world, so we wanted to reflect that through the production design. This was tricky to pull off but in a lot of ways I feel we achieved it! The colours really pop, which was something I was really invested in, and the cinematography fits with the scenery really well, which is also something I agonised over with our DOP. The vision is there!

Wuthered had a LOT of prep and research attached to it to achieve the style we all wanted for the film. I have attached my pintrest board along with my Mila notes (which also included my look book) so you can see all the detail!

https://app.milanote.com/1SP5J01y3vE8rC/design-concepts?p=lIDYtGjsE3Q

Props

Wuthered had many locations, so it was key for me to find fitting props for all of the sets that matched the emotion of each scene. For example, the isolated coldness of the audition room, the simple pleasures of Alison’s house and the unsettling tension of the doctor’s office. Alison’s emotions are the key to this film, in my opinion, so I wanted everything to fit her view of this world. It was a lot of fun to try and tell her story through the style and the props, coordinating her allies and enemies through our colour system.

I sourced props from Titan Props (mostly stuff for the office), charity shopped for odds and ends I could decorate with and created many a strange concoction for the doctors scenes.

Our goldmine was the warehouse we were initially just going to use to film the ending sequence in. It was FULL of old office supplies, pieces of furniture and random objects that the lovely people at Hidden Door let us borrow at our leisure, so I basically had a my own prop house! It was absolutely amazing to trawl through the many many rooms and halls and pick the best pieces for Mr Mann’s office. I wanted his place to be a slightly run down, dusty and dingy room a few classy objects here and there to give the veneer of professionalism, so the state of the warehouse objects weren’t a problem at all. I’ve included some before and after pictures of the office in another post so you can see the transformation and pieces we scvanaged from the warehouse, with the added bonus of an epic water cooler from Titan.

Below is just one example of the treasure trove of rooms in the warehouse.

Costume and Makeup

Costume was a huge part of this film for me as I really wanted to show each characters personality through their choice of style. As it’s a short film, you don’t really get to know anyone particularly well, with the exception of Alison, and with the stylised aesthetics of the film the purposeful clothing choices for each character really worked.

I did many costume sessions with our actors to plan the best outfits for each of them. Alison needed shapeless, comfy clothes that would swallow her up, modest and light. Bonnie needed tight, bright clothes, leather and high heeled boots (style over comfort!). Mr Mann needed simple suits that reflected his blue colour scheme as well as his feelings towards Alison. The panel needed to be clean and clinical, matching and corporate.

My three favourite little moments of costume design that might be missed are:

- Mr Mann’s ties. They change as the story goes on to symbolise his slow corruption into how the panel think. In his first scene he is wearing a flowery tie with both blue and pink colouring the fabric. In his next scene, as he convinces Alison to say yes to the panel he is wearing another flowery tie, but this time it has various shades of blue with a complete absence of pink. In his final scene the tie is a monochrome dark blue, mirroring the clinical style of the panel and symbolising his complete corruption.

- Bonnie and Alison mirror each others outfits. Their first outfits both consist of turtle neck shirts, the differences being Alison’s comfy cardigan and Bonnie’s leather skirt. Their next outfits are both button up shirts, red and pink reflections. Their last outfits are the exact same, the hospital gown. This gives them an unconscious link throughout the whole film which I love!

- The pink gloves and face mask for the doctor. This is the most obvious point here, but it’s just a tiny touch I think adds a lot.

We had a lovely makeup artist on set for Bonnie, but I did a lot of the minor makeup touches (seen below!). For example, I did the makeup for Alison as it featured a lot of potential continuity moments for her mascara, as the actor Olivia was amazing at crying on command but this meant we had to reset a lot! I also did Mr Mann’s makeup, which consisted of extremely cakey foundation that did not match his skin tone to give him a much more fake and plasticky look. He’s someone who is trying too hard, putting up fronts, so I wanted to reflect that through makeup . As well as this I had a spray bottle full of fake sweat (made from glycerin and water) that i coated Mr Mann in between scenes to make it look like he was constantly sweating. This was just a fun story element I wanted to make him extra gross, and slimey!

Building sets

After compromising on the office set build (using a blank slate empty room instead of building a whole new one) it just left me with the doctor’s office. To create this room I drilled wooden planks together to create a place to hang some white sheets from. This served as the backdrop into a strange white void beyond the room that made it feel like it was an uncanny place where anything could happen. I then layered white reflective fabric across the floor to bounce light, and make the whole thing more eerie. Then I drilled more wood to create a place to hang plastic sheets, making the whole thing feel a little more medical while clearly framing the room off from the void. I had a lot of fun working out this set up and creating this strange liminal space!

THE SHOOT

Almost everything was set up before the shoot, so everything went pretty smoothly on the Art Department side!

Below I have just featured some shots of surfaces I spent a lot of time on that you don’t really see in the final film, as well as some different angles of set ups.

I would also like to mention that all the graphic design was done by Hayley and Sophie, and they added so much to the films atmosphere and world building.

Pictured here is the table for the interview and Alison’s living room table. For the interview table I wanted to display all the potential actresses spread out before them like a feast, showing the panels predatory nature. Alison’s living room table was full of activity (In my eyes she often falls asleep on her couch, drawing or studying her scripts or planning ideas. This is why it is covered in blankets and pillows!) showcasing her busy mind. Art and pencils and scripts and notes and tea and crumbs.

I’ve also included a full picture of the doctors pink “massage” table - which juxtaposes the blue surgical table post face swap. It features pink mixtures I created from shower gels, shampoos and dye, as well as some ominous equipment definitely not used for skincare!

Some more pictures of the sets!

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Guttin’ Quines Stills

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POSTER DESIGN

I had a lot of fun designing the posters for Guttin’ Quines!

Even though I drew this digitally, I wanted it to be in the style of the oil paintings we had seen in the fisheries museum. This would give it a much more authentic feel than other mediums that could be too modern for the aesthetics of the film.

I also wanted to capture the two mains characters their relationship though my art, so I drew them linked together by this basket of fish. This symbolises how this profession is bringing them together and creating a link, as well as the heavy burden they both have to carry (though it’s feels just a little lighter when they carry it together)

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FLOOR PLANS FOR GUTTIN’ QUINES

Pictured here are some of my floor plans for the harbour. They may seem messy, but i have a system of shapes and colours. Certain shapes are for certain props, levels and positions, for instance the thatched patterns are for stacks of baskets.

I made sure to brief my art department on the different meanings before we set out!

Here I have taken screenshots from our test shoot to visualise how the harbour will look. This was a benefit to using the same location, as I already knew the size and look of the space we were dealing with.

And here is one of my plans for how we would pad out the basket props!

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GUTTIN QUINES

The making of!

PREP

Guttin' Quines required much research into costume and setting to make our film realistic. I really wanted to make the viewers feel like they were a part of the bustling harbour, and make our intended audience reminisce about their grandparents. I wanted to honour their history and try my best to make everything as believable as possible. It was a difficult task, but I like to think I pulled it off with the help of my fantastic art department.

Below, I have linked my Milanote page and my initial research Pinterest board to give a clearer idea of my historical undertaking.

Production Design - Milanote

Pinterest

PROPS

We were very lucky to still have the support of the Scottish Fisheries Museum in Pittingweem, so I had access to all the previous props used on our test shoot. I knew we needed more, however, so I contacted Titan Props to start collecting more barrels, baskets and general seafaring equipment. They had quite a large selection of items, including many meters of rope, netting, and fabric, which really helped to texture the scenes.

I contacted many breweries in Edinburgh to see if there were any barrels they could loan us for our shoot. I made the most successful contact with Port of Leith Distillery, but unfortunately, this came too late for us to plan a means of transport for the barrels so we had to abandon this idea. Luckily, Titan Props had 4 barrels we could take from them, and with the moving van Alana provided for us, we were able to collect them with the rest of the props. This meant I had to be extra contemplative with the barrels as we had so few. I didn't want the harbor to look empty, as we wanted it to look as bustling as possible, so I had to carefully plan where to place them in order to utilise them to their full extent.

As well as the larger props on the harbour that were there to dress the set, I wanted several practical props that extras could use to give life to the scene. These consisted of:

Wool and knitting needles

Wool spindle

Picnic basket

Empty jars

1920s bike (personal favourite)

Antique books

Washing line with wooden pegs

Sewing needle and thread

These props, though simply in the background, gave so much to the background of our set and helped push these feelings of a busy day at the harbour. I had read that these women would never have had their hands still, always working and sewing and crafting, so I wanted to reflect that in my work. It was a lot of fun working with Duncan to plan all of these separate little acts and how they would play into the scene.

Another thing I had to think about were the gutting knives. I obviously couldn’t use the real, wickedly sharp knives that would have been used back in the day, so I had to come up with an alternate option that still worked on screen. What I found were curved butter knives with wooden handles, blunt enough to be completely safe and old-fashioned enough to blend in to the scenes. A perfect combination!

In terms of crafting, I had to make a lot (and I mean a lot) of cardboard and tinfoil fish. These were used as padding for our trough and for the baskets, as we couldn't get enough fish to fill them completely. I also utilised the fake fish I made for the test shoot, along with hordes of fake fish toys that would give extra height and depth to our real fish. Below is one of hundreds of my tinfoil fish!

COSTUME

For costume, I used my research to scour charity shops and vintage stores to find the perfect layering for each outfit. I bought many cardigans, skirts, jumpers, shirts and scarves, anything that would keep our actors warm and look period accurate. It was all about layering, as I knew our actors would be facing harsh cold and wanted them to be as comfortable as possible on set. I had so many pieces of costume by the end of the shoot that I probably could have opened my own shop!

As well as shopping for clothes, I visited Alana's local theatre to borrow some of their costume supply. I also used some of the same outfit pieces from the Scottish Fisheries Museum that I had used in the test shoot, but we had changed our minds about the kind of time period this film would be set in between then and the shoot, so the initial costumes did have some reworkings. We felt they were too Victorian when what we were trying to represent was slightly more modern, with their shiny aprons and sturdy woven cardigans.

I now had the freedom to properly age the clothes I had bought, as we could not get any of the original rental outfits dirty. Again, I wanted to make my designs as accurate as possible to the time (nothing would have been pristine, every piece of clothing would be well worn and patched up). I spent an evening at Alana's with the rest of my art department, staining, ripping and seam unpicking, adding more reality to each item. I had previously researched where the most patching and tearing would have taken place (elbows, wrists, stretched neckline) to make my ageing as believable as I could. I also researched how to achieve staining most realistically, and followed charts like the one below, which helped me pick out the most useful mediums!

I used mostly flour, paprika, cinnamon, coffee and sesame oil on my costume pieces.

We had multiple costume fittings, and I spent many days piecing every outfit together before the shoots with the help of our costume assistant, Hope. Having everything planned out beforehand was a huge help, as we usually started filming very quickly after the extras arrived on set, so having all the costumes packaged together and ready to go made everything super speedy.

I also made so many cloots I actually lost count! I found myself sewing even more of them on the shoot as they were the first things to get absolutely demolished by the fish. They were a made simply with a bed sheet and black thread, so I became extremely adept to sewing them on the go.

SHOOTING

THE HARBOUR

The first three days of shooting were on the harbour. These were definitely the trickiest, as the weather conditions and the location proved to be more of a challenge than i expected.

On the first day we set up all of our important props and made a plan for shooting the next morning. I laid everything out, taking pictures to make the early morning shoot to come easier and quicker by knowing where everything should go ahead of time. It was a very large space to fill, so most of my decision making was about how to make the harbour feeling bustling and busy. There had to be a perfect balance between spreading the props out so no piece of the harbour felt bare, and cramping bits together to give the feel of this hectic space.

The first day didn’t quite go the way we wanted it, with the harbour manager disrupting hours of our shoot time, construction bleeding into the sound and the initial plan for the trough falling through. The tarp that was supposed to hold the fish was just not working for any of the shots, as you could see it peeking over the sides even though I had nailed it down. It just didn’t look good or accurate, which was my mistake in believing the tarp would do a good enough job on its own without support from the bottom. Becuase of these factors we ended up scrapping the first day, which felt like a huge blow at the time, but it made us much more efficient and conscious on all of our other days, making us work at 200% and getting the best out of all of us.

The following days went much smoother. Ben, one of my art department assistants, helped me find discarded pieces of wood around the village and we drilled it to the top of the trough to create a strong platform the fish could lay on easier. It looked much better than before and we were confident it would last the whole shoot. We had to problem solve extremely quickly, and it’s given me some valuable experience I will never forget!

The trickiest part of everything for me was laying the fish out between every shot. Because we didn’t have quite as many real fish as we were hoping for it meant we have to change their positioning often so they filled out the entirety of the frame. This meant I was constantly moving these ice cold, dead and smelly fish around for hours, running back and forth between the monitor to double and triple check there was no empty space on the trough. It got even more gross when it came to adding fake guts to the fish! I chose the best looking ones to place near the actors and filled their gutted bellies with fake organs, created by our SFX artist page, oil and fake blood. It was a very difficult, messy, but fun endeavour and I’m happy to have experienced something so challenging to help me move forward in my career path!

Everything else about the harbour was easy in comparison. I set extras up with their props, made sure the actors were dressed and changed the scenery around depending on the day in the script. I had to take a lot of continuity photos for this reason, as sometimes we had to go back and forth between story days on the same shooting day, but this was all stuff I had done before. Despite the cold, I thoroughly enjoyed the shoot and revelled in the challenge!

Below I have included some early shots of the harbour, before we started shooting, with the trough made for us by the wonderful guys at Men’s Shed!

Here’s a bonus photo of some fake fish guts made by me and Morven. These had to be brighter than the more realistic fish guts created by Paige, as they were being used to stain the aprons of the fish gutters to make them more realistically messy. It was made with soy sauce, fake blood and modge podge, filled with fake bones made of clay and cut up twine to represent flesh.

THE CHURCH

The church was our easiest set by a mile, as there was not much for me to change at all about the scenery. I always feel like dressing sets like this too much takes the viewer out of the story, as it will have been this simple back in the day, clear of any bells and whistles. I provided the actors with candles, books and a donation basket, but didn’t tamper with their surroundings too much at all.

I mostly focused on costume on these days as Hope wasn’t with me, so I had to dress and maintain all the extras myself. As I had planned the costumes ahead of time this wasn’t too much of a task, with the exception of a woman who came to the shoot with bright pink hair and nails. I had to quickly come up with a solution to this and dig through my costume bag for accessories. Luckily I had a pair of silk gloves and a black shawl on hand, so these sorted the situation out pretty quick!

I was happy for some quieter and less cold shoot days after the harbour, so I really enjoyed our time at this church location.

THE COTTAGE

The cottage set was a super fun set for me to work on as I got to play with all sorts of props to build this scene.

We had already scouted the location ahead of time so I knew what we were working with when we arrived on the shoot day. The room is used year round as an exhibition, showcasing the homes blacksmiths would have lived in circa 1940s-50s. This was excellent for me, as a majority of the props were already there for me to play with, as well as wallpapered walls, furniture and flooring that would fit our aesthetic. I researched the different props they already had on display to gauge whether I had to remove them or not (the radio, lamps, magazines etc) and started to think about what I could replace them with.

We struck gold with our location, however, as they had hundreds and hundreds of period accurate props in their attic that I could play with. I spent quite a few hours up their picking and choosing what worked best for the scene and the best props for the job! They had oil lamps, an authentic metal washing board, a tin bath, wedding fabric - basically everything I could dream for dressing this set. I was completely spoiled for choice! I spent our day at the cottage first removing all of the out of time objects and replacing them, setting up the shot to frame Jeanie in homely comforts. Our characters weren’t rich by any means, but they would have had a comfortable life with a few precious knick-knacks, and these would have reminded her of her life with Robert, so I wanted to reflect this in our frames. I even got my hands on a framed antique photo of a sheep farm that would have been Jeanies keepsake from home. Every prop in the frame has a purpose either as something practical Jeanie would have really used, or a keepsake from Robert.

We ended up cutting a few of our cottage shots, which was a shame for me as you could see a lot more of the production design in the missing scenes, but it works a lot better for the story, so unfortunately they had to go!

A little note about the potatoes: I spent a silly amount of time painstakingly dressing them with mud and dirt so they really looked like they had been plucked straight from the ground. They were a pain to peel, but they looked great!

Below is a shot of the cottage in its original form, before I removed the objects that didn’t belong.

I don’t have a lot of photos of it post makeover as it was an extremely busy day, but I hope the work I did can be seen well in the final product!

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Lola's Room - Proposal of Intentions

Featured in my pitch

Witchcraft, fantasy and the occult have always been fascinations of mine, so I have been longing to work for a film like this for quite a while. The research that goes into production design is one of my favourite parts, and to be able to read, learn and create my lifelong interests along with this fantastic team is a privilege.

Production design is a huge part of this film and the atmosphere we want to create. Both the set and the props will tell the stories of these two girls and their journey through adolescence, as well as showcase their witchy rituals. I want this film to feel both realistic, a messy teenage bedroom, and liminal, strange books and lit candles. I plan to source props from the crew and from our friends, as well as hunt in charity shops for decor that fits early-2000s aesthetic. Me and Abbie (Art Dep) plan to make a lot of prints and posters to cover the walls and make the place feel lived in, cherished and loved. We also plan to do a photoshoot with the actors in lots of different location and outfits to make the impression they have been best friends for a long time. This will help to solidify to theme of female friendships and love that weave through Lola’s Room. The contrast between the average objects you can find in a teenage girls room, like makeup and hair products, and the occult, spellwork ingredients and tarot cards, is something I have really enjoyed planning. The two go hand in hand, balancing each other out and highlighting the fine line between girlhood and fantasy. I've taken the most inspiration from The Virgin Suicides (1999), The Craft (1996) and The Love Witch (2016).

I can’t wait to make this film look and feel as stunning as possible!

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LOLA’S ROOM

Wall closeups

The posters consist of family photos, holiday photos, friend photos, art made by me/abbie/friends, a few photos from the public domain, band posters made by me/abbie, posters of our friends made into fake celebrities, dried flowers, stickers, beads, tickets and cut out stars

It felt really great to have 99% of everything on the way made by me, abbie or our friends as there’s such a lovely sense of community and love that resonates from shared photos and art that I think echos in the film!

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ROADKILL

Makeup Artist

I was very excited to be asked to join the team of Roadkill as a their makeup artist! This isn't something I had had much experience of in the past, just doing bruises and SFX type makeup at Halloween, but it is always something I have been interested in. I thought this would be the perfect opportunity to hone the few skills I had and do something semi-professionally.

My main task was to make they look exhausted and depressed to emphasis the toll not only this situation is having on both the characters, but their whole lives. They have been living in this turbulent relationship together, near breaking point before the accident even happened, and their faces have gone gaunt and haggard from stress. The accident has just bough this on tenfold!

Below I have linked the Pinterest board I used for references during the shoot:

I was on set for all 3 shoot days, helping out here and there. Keeping on top of the makeup was fun but stressed me out quite a lot as I kept trying to recreate the same look everyday for continuity. Eventually I had to accept that I couldn’t make it 100% accurate and some scenes called for less makeup with if there was more intense lighting, so I had to constantly make changes.

It was really interesting to learn more about colour theory through this shoot, and to see how lighting effected the look of the makeup through shadows or bright lights etc.

It was a really really fun shoot and I hope I can get involved with makeup again! I really enjoyed doing it.

Some pictures from the first day, mostly eye bags and red rims. I constructed this look with eye shadow, as it’s a really simple medium to work with. My method was a very light red base to imply the area is swollen, a darker red with some brown to add shadows and depth to the eye, a touch of purple directly under the eyeliner to look as sleepless as possible, a red/purple/brown mix following the shape of the face to create pronounced eyebags and a brighter red in the corners of the eye to create the illusion they are irritated as if the characters have been rubbing at them (either to dry tears or to drive away exhaustion). I repeated this each day and added more/took away as required.

I was also in charge of the dirt under Louis’ fingers, to imply to the audience that he did the burying. I did this with makeup too, black and brown under the nails (although I did cover Louis’ hands in soil for one of the more intensely lit shots)

Some BTS pictures!

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BTS on Mr Ballonhead Man

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Mr Balloonhead Man

Art Department

I was very excited to be offered an art department role on Mr Balloonhead Man, as I thought this would be a tricky but rewarding project to be apart of. I had never done anything like this before, and the challenge of putting together the puppet-like costume was a task I took head on.

Lili (HOD production design) and I had many many ideas and tests for how Mr Ballonhead Man was going to work. We bounced around plans to make it a Talking Heads-esque suit or something with american football shoulder pads, anything with a wide base so we could balance the balloon on top of a rig of some kind. There was a lot of concern about how the balloon would stay attached and upright, so we had to think of a working system of attachment for the rig that would be safe for the actor. It was a system of trail and error, but we had so much fun trying to figure it out!

In terms of the set, I helped Lili plan out the apartment and what kind of props we wanted to be there. The idea was to have all sharp corners covered in padding, as Mr Balloonhead is deathly afraid of falling and popping, so we ordered a bunch of washing up sponges online to line any dangerous angles. We also discussed the sorts of objects he would own in his apartment to show off his personality, like adventure books and maps to show he dreams of travel and excitement or lots of family photos to show he reminisces on the safety of his past. It was a challenge, but a lot of fun trying to navigate Mr Ballonhead’s personality and how we wanted to show it in the setting.

Linked is the pintrest board me and Lili shared for set inspiration:

Pictured here is my initial planning document after our first group meeting:

The colour of balloon and the costume was figured out not long after our first plans. We figured a blue balloon would work best (both because of the colour connotations with blue and because it was the the writers original vision) and that the costume had to somehow hide the face of the person as well as the entire constriction. The suit idea was (unfortunately) not viable and we instead went for a long trench coat that could cover the actor entirely and a thick scarf to comfortably sit over their face during filming.

Below is a quick concept art sketch I drew for our costume meetings!

Timeline of planning, with pictures

Our first attempt - using our producer Saskia as a stand in, we began with the basics to try and craft a clear vision. This costume consisted of single coat hanger that the balloon was attached to balanced on Saskia’s head. It was not very comfortable for her, so we needed to think of ways to pad the head area for extended use

A couple of meetings later, with our first breakthrough of attaching multiple hangers together and sticking them to a helmet. This gave a solid structure a big coat could rest upon, giving the illusion of shoulders, and fixes the padding problem to make the whole rig a lot more comfortable on the actors head

Our first attempt with the actual actor, Lev, with the finished rig. We wanted to test how secure the costume would be when actually worn by the intended person, and to see which adjustments could be made. We also bought along various potential wardrobe pieces, but we learnt we needed something a lot bigger and a lot lighter that Lev could comfortably act in. As Lev’s arms had to go through the sleeves of the jacket (which were held up by the hangers sitting on their head) we needed something large with a bit of give, otherwise their arms were just stuck stiffly above them.

Lili and I go shopping for the perfect coat, which we found in a charity shop. It was huge and made of thin, light and breathable material. Perfect for Mr Balloonhead! We also found the perfect scarf that was wide enough to cover Lev’s face.

Dress rehearsals with the actor before the shooting took place. We had the whole outfit together at this point and just wanted to see if there were any last minute changes to be made to make Lev’s job easier.

Shoot days

Most of my time on set was spent making sure Lev was comfortable and checking for continuity errors. I was on everyday of the shoot, so by the end I had a very clear image of what the costume should look like, how the material hangs, how long Lev could be in the rig ETC. It was very important to stay on top of costume continuity for this shoot, as Mr Balloonhead Man is so prominent in every scene that any outfit changes would be very noticeable. As much of the film took place outside I didn’t have to worry much about any prop continuity, but I kept my eye on them all anyway - especially for the hardware store were we had to change stands around to fit cameras in small spaces! I took Lev out of the costume between every scene change, and sometimes between takes as it could be quite taxing on their neck. My number one priority was their well-being, so I became an expect at undoing the rig at lightning speed and then putting it all back on again.

I cant talk highly enough about my time on set. It was such a great atmosphere and I had loads of fun crafting the costume, as stressful as it was at first to try and figure out the rigging from scratch! I would love to try and make even more complicated characters in the future, and I think this film really have me a want to get stuck into much more creative and out there concepts.

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BTS on Lola's Room

Constructing the set before shoot - Putting up the wallpaper and choosing the best positions for the posters (plus magazine making!)

Some pictures of different areas of the set - I wanted a kind of In Media Res effect with the props, with clothes and makeup brushes strewn around the room to insinuate that we caught them right in the middle of a frantic rush to get ready for the party.