A Look At Production Designer Simon Bowles’ Work On CROOKED HOUSE

The aim was to create a feeling that when Charles enters each family apartment in the house both he and the audience see a snapshot of the characters through the rooms contents before actually seeing the resident. Roger and Clemency’s apartment was stark white with up to date late 50s British works of art.”

“Magda’s drawing room was incredibly theatrical with luxurious fringed curtains, ostrich feathers and publicity photos of herself, representing her yearning to return to the stage.”

“Josephine’s bedroom was a girls dream bedroom with a princesses bed, a huge dolls house in which she plays “happy families” and spooky dolls that appear to be watching and listening.”

Aristides private study and bedroom had dark walls with heavy thick curtains, momentos from worldly travels and hints of his cigar smoke still hanging in the air.

“In complete contrast to all the others, I designed Brenda’s drawing room using 1950s American colors and furnishing shoved into the British turn of the century mansion.”

“I felt that the entrance hall and staircase was a very important set in the film. This would set the scene when Charles enters for the first time and showcase the family portraits. I wanted the portrait hierarchy to be visually demonstrated in height order, from the grand children near the ground to Aristides at the very top.”

How does a production designer start on a film of this magnitude? “I relish the start of a movie because I have to become as knowledgeable as possible on the details of the script. Depending on the genre I spend time searching through dusty books in specialist libraries, I meet with professors who specialise on the subject, I travel to the real locations that are scripted, I meet surviving families and friends, I put on cotton gloves to handle original 18th century architect plans, I meet with engineers to discuss the convention and restrictions of space travel, and so on. After absorbing all this factual research I then put it to one side and create our version of the reality, our version that will help take the audience visually to this other place, to be a visual feast, and most importantly help tell the story by working with the narrative.”

“For Crooked House I wanted a visual design theme of contrast, not only between characters but also moments within the film. The contrast between the dangerous, quiet, static interiors of Three Gables and the passionate, blurred, colorful exteriors of central London were key to me. The film is set as a time in Britain’s history after the war when the young people were expressing themselves and restoring fun after the end of the Second World War. We recreated these kinetic dances, coffee shops, jazz clubs and street nightlife over the period where Charles and Sophia fall in love. I chose to push the run-down layered look of London with passionate colors of neon and modern paint colors.”

When deciding on a location, Bowles says, “For Crooked House I cast each location in the same way a director casts the actors; chosing the best characterful look, what they can give to the narative but also how they sit alongside other members of the ensemble. Four properties gave us the full compliment of interior Three Gables locations. As we wanted to travel through the house with Charles, exploring the apartments, we decided to film on location with clever cutting points in corridors and through doorways to join them all together. Instead of building sets on sound stages I built sets into real locations to create the atmosphere and character required.I worked very closely with director Gilles Paquet-Brenner from our first meeting, discussing the look and atmosphere. He was incredibly supportive of my proposed bold contrasts and steered the designs to marry up with his casting.”

These contrasts of color to take the audience on a delicious visual feast of an adventure was best demonstrated in the contrast between flashbacks to Charles in Egypt and Charles meeting with Chief Inspector Taverner (Terence Stamp) in London.”