{"id":28007,"date":"2019-05-30T15:40:50","date_gmt":"2019-05-30T22:40:50","guid":{"rendered":"http:\/\/locationmanagers.org\/?p=28007"},"modified":"2023-04-26T11:36:03","modified_gmt":"2023-04-26T18:36:03","slug":"flying-down-to-whitehall","status":"publish","type":"post","link":"https:\/\/locationmanagers.org\/es\/flying-down-to-whitehall\/","title":{"rendered":"Flying Down to Whitehall"},"content":{"rendered":"

Flying Down\u00a0to Whitehall:
\n<\/span>Historic Locations Bring\u00a0<\/span>British Stories to Life\u00a0<\/span><\/h2>\n
by Jim Collette<\/h5>\n

\u201cVotes for women!\u201d The cry emanated from the Heavens, and a sudden \u201cshower of handbills\u201d descended upon the all-male heads of the House of Commons. A young woman unfurled a banner from the balcony above. \u201cMr. Speaker!\u201d she shouted. \u201cWe have listened too long to the illogical utterances of men who know not what they say! We demand this government\u2014\u201d whereupon the sergeant-at-arms slapped a meaty hand across her mouth and gave a masculine yank. No go. Miss Helen Fox had padlocked herself to the banister. \u201cFor 40 years, we have listened behind this grille. We, the women of England!\u2014\u201c And then\u2014crack<\/i>\u2014the whole thing gave way. Women, police, sergeants-at-arms, and locksmiths tumbled to the gallery floor.<\/p>\n

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A view of the Crowns, situated on cliffs at Botallack, Cornwall. The Crowns tip toe on the edge of the cliff with a position that has made them possibly the most photographed engine houses in the entire World Heritage Site. Photo \u00a9National Trust Images John Millar<\/p><\/div>\n

Almost 100 years later, location manager Harriet Lawrence, LMGI had a script in her hand titled Suffragette<\/i>, written by Abi Morgan and directed by Sarah Gavron. The story of women\u2019s right to vote in the UK, including a rush on the House of Commons by dozens of suffragettes. \u201cAnd it\u2019s brutal,\u201d says Harriet. \u201cThe police actually beat the suffragettes from horseback. It was quite violent.\u201d<\/p>\n

There was only one problem. No one had ever been filmed in the House of Commons. \u201cAnd people asked, \u2018are we going to Parliament?\u2019\u201d With trucks and crew and horses and \u201csilly women\u201d like Miss Helen Fox hanging from balconies? Knowing there were a handful of places that could double for Parliament\u2014Manchester Town Hall, for example, had sufficed in The Iron Lady<\/i> with Meryl Streep as Margaret Thatcher\u2014Harriet boldly replied, \u201cWhy don\u2019t we give it a go?\u201d And the thinking quickly became\u2014Why not? Let\u2019s humor Harriet! Let\u2019s let her go for tea with someone in Parliament! <\/i>And it sort of grew. After a couple of months I began to think, \u2018This might be possible.\u2019<\/p>\n

The landscapes of the United Kingdom are layered with deep time, from buried Roman mosaics to the bluestones of Stonehenge. Monuments to history\u2014whether Neolithic, Tudor, Elizabethan or Art Deco\u2014are everywhere. \u201cWe\u2019re sort of littered with these things,\u201d says location manager Pat Karam, LMGI, who had to straddle 400 years of British nation building when he sandwiched location duties for Mary Queen of Scots<\/i> (2018) between Seasons 2 and 3 of The Crown<\/i>.<\/p>\n

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An aerial view of HatfieldHouse. Photo courtesy of Hatfield House<\/p><\/div>\n

The UK 2013 tax credit was extended to include high-end television, and with the drop in the pound and the turbo-boosting spends of Netflix & Sons, there\u2019s been a flood of US productions. Historic properties are often used and reused, especially within the 20- to 30-mile radius of the M25 motorway encircling greater London. \u201cIf you\u2019ve got a big country pile within striking distance of London, you do very well,\u201d says Pat.<\/p>\n

\u201cIt was very different seven or eight years ago when television was a much smaller beast. Now, the scale has grown exponentially. The Crown<\/i>, for example, is enormous,\u201d with 85 percent shot on location. \u201cIt\u2019s as big as most films I\u2019ve done. But, on a movie, you prep for two or three months, shoot for two or three months \u2026you\u2019ve got one director, one schedule, and every time you finish a day\u2014that\u2019s it! Whereas in TV, we shoot in blocks. So you\u2019ll be filming with one director, prepping with two others\u2014and then we do this charming thing where we shoot two full units of two hundred people running around in different parts of the country at the same time, which can do your head in!\u201d<\/p>\n

\u201cWe\u2019ve never been busier for heritage locations,\u201d says Tom Howard, LMGI, supervising location manager for The Secret Garden<\/i>, with Julie Walters and Colin Firth. \u201cLook at what\u2019s out there\u2014Mary Queen of Scots<\/i>, The Favourite <\/i>\u2026 we\u2019ve got great stories from those periods, we\u2019ve got the assets, we should be making more of this stuff because it\u2019s all here. In many cases, the actor might be standing on the exact spot where the event happened. I remember taking an American director to London and it kind of blew his mind. Within a few steps you can take them through a thousand years of history. He said, \u2018My God, this is older than America. We were just setting off in boats when this was built.\u2019 And you walk them around and they go, \u2018Can I use this?\u2019 \u2018No, that\u2019s not Georgian. I know it looks good but it\u2019s the wrong period. You need to be looking on this side of the street!\u2019\u201d<\/p>\n

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The old engine house of the tin and copper mines at Wheal Coates, Cornwall.<\/p><\/div>\n

On the other hand, \u201cWe\u2019re not obsessed with accuracy,\u201d says Pat. \u201cIt\u2019s not a documentary.\u201d In The Crown<\/i>, the royal family often visits their residence at Sandringham in Norfolk; \u201cit plays a big part of their life.\u201d But Stephen Dawdry, lead director for Season 1, preferred Englefield House, an Elizabethen residence and popular film location outside of London \u201cbecause the feel of it was much better.\u201d<\/p>\n

The peril with that approach? \u201cThere\u2019s a book by Hugo Vickers called The Crown: Truth & Fiction<\/i>. He points out everything we got wrong!\u201d But Pat is quick to point out that UK architecture does not always compartmentalize by time and style. On The Crown<\/i>, \u201cEven though it\u2019s taking place in 1948 and whenever it ends up, the locations tend to be Georgian buildings. Buckingham Palace has elements from the 16, 17 and 1800s, right? Like most of these houses, they weren\u2019t all put up in one go.\u201d<\/p>\n

This is the case with one of Tom\u2019s favorite locations: Eltham Palace, once owned by eccentric textile millionaires, who did a time-tripping Art Deco renovation\u2014with air raid shelter\u2014to what had been a medieval palace. (And, yes, Henry VIII lived there too. \u201cIt\u2019s where he met Anne Boleyn,\u201d adds location manager Jane Soans, LMGI. \u201cAnd why we\u2019re not Catholic.\u201d) The Art Deco interior recently underwent a \u00a31.7 million restoration and will soon be featured in Misbehavior<\/i> (2020) with Keira Knightley and Greg Kinnear as Bob Hope. The story takes place during the 1970 Miss World beauty pageant and, remarkably, it can be more difficult to find a decent mid-century than a King James drawing room in London. \u201cA few years ago,\u201d says Tom, \u201cI had to find a cool seventies house and it took ages to locate because they\u2019re getting knocked down left and right. People buy one of these carbuncles and say, \u2018Now I\u2019ve just got to flatten it and build something glossy and modern.\u2019\u201d For Misbehavior<\/i>, Tom was once again \u201cstruggling\u201d to nail down something with a vintage Los Angeles vibe when he and designer Cristina Casali thought: Why not put them in an Art Deco house that Bob Hope might have fancied?\u00a0<\/span><\/p>\n

Fortunately, Eltham Palace remains unflattened and is now protected by English Heritage, one of two UK \u201ccharities\u201d entrusted with preserving Britain\u2019s past. English Heritage cares for 400 historic monuments like Hadrian\u2019s Wall and is famous for its prominent \u201cLondon Blue Plaques\u201d which say things like Luke Howard: Namer of Clouds Lived Here. The other nonprofit\u2014the National Trust\u2014oversees 250 historical buildings, 500,000 acres of farmland and 700 miles of coastline, including the Giant\u2019s Causeway, White Cliffs of Dover, and \u201call the beaches you see on Poldark<\/i>\u201d boasts Harvey Edgington, Head of Filming and Locations at the Trust Film Office. Fun fact: the two charities share \u201ccustody\u201d of Stonehenge. \u201cWe look after the henge and English Heritage looks after the stones,\u201d Harvey likes to say.<\/p>\n

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Filming Suffragette. Photo: Harriet Lawrence<\/p><\/div>\n

The National Trust has existed for close to 125 years, originally to preserve land in the face of suburban sprawl. \u201cThere was a huge expansion between the wars,\u201d explains Harvey, \u201cdue to an inheritance tax as we tried to pay for the First World War. A lot of people who would have inherited land didn\u2019t come back from the trenches. And those who did, could find better paying jobs in the city.\u201d In the end, many landed families \u201cfound themselves in a perilous state.\u201d The solution: not pay the massive tax and leave the property to the National Trust for future generations to enjoy. Their film office fields 100 to 250 inquiries a month. \u201cSome of these we head off at the pass,\u201d says Harvey. \u201cWe were asked to do Transformers<\/i> at Stonehenge and they wanted tanks and explosions. \u2018This is a UNESCO World Heritage Site\u2014it\u2019s not going to happen!\u2019 The producers probably knew this \u2018deep down,\u2019\u201d he chuckles, but \u201cthey like to ask.\u201d Still, out of all of those inquiries, \u201cI\u2019d say 70 percent of them get converted\u201d\u2014a remarkable success rate.<\/p>\n

Like most UK location managers, Tom Howard has worked with both organizations, but enjoys the one-on-one from dealing direct. \u201cYou can talk to the owner of the picture on the wall, and say, \u2018lovely picture of your great-great-grandfather, but it\u2019s the wrong period. Mind if we take it down?\u2019 And they\u2019ll say, \u2018Yeah, fine, we take it down all the time.\u2019\u201d Still, he sometimes meets \u201clocal resistance,\u201d which results in conversations like: \u201cBeautiful room, but can we pick that rug up?\u201d Absolutely no way! \u201cOh, can we walk on the rug?\u201d No! So, actually, we can\u2019t shoot in this room, is that what you\u2019re trying to say?<\/p>\n

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Hatfield House interior<\/p><\/div>\n

\u201cSome houses have been fire bombed, stood through two civil wars, the Dissolution of the Monasteries \u2026 and they\u2019re still standing, so, you can\u2019t really do an awful lot of damage,\u201d admits Tom. The owner of one residence turned to Tom and said, \u201cWell, it\u2019s still here after seven hundred years so barring the odd scratch, I don\u2019t think it\u2019s going to fall down after you\u2019ve been here.\u201d \u201cOf course,\u201d Tom is quick to add, \u201cthere are things that are irreparable, you do have to look after it. You give everybody a list and say, \u2018These are the house rules. Don\u2019t put your hot cup of tea on that table and if it\u2019s got a cover on it, don\u2019t take the cover off!\u2019\u201d Tom has found that most crews are quite respectful and \u201cvery good these days at looking after delicate locations.\u201d<\/p>\n

\u201cThere\u2019s the odd accident, just as in day-to-day life,\u201d concurs Pat. \u201cBut we never take our eye off the ball. And the crews tend to behave impeccably.\u201d<\/p>\n

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Hatfield House interior<\/p><\/div>\n

One of the crown jewels of historic UK estates is Hatfield House, where such cinematic luminaries as King Lear, Victor Frankenstein, Harry Potter and even Paddington have strolled. \u201cIt\u2019s horses for courses,\u201d says Jane. \u201cIf you want something that\u2019s really historic, you need to go to Hatfield.\u201d Unlike a Trust or Heritage property, this Jacobean residence is privately owned. Lord and Lady Salisbury live in the east wing, sharing the property with the 15th-century \u201cOld Palace,\u201d where Henry VIII\u2019s children once cavorted. Location manager Adam Richards, LMGI had already used Hatfield for Sherlock Holmes<\/i> (2011) and Anna Karenina<\/i> (2012) when he brought director Yorgos Lanthimos there for The Favourite<\/i>.<\/p>\n

\u201cThere are a finite amount of locations that would have suited this production,\u201d says Adam, \u201cof which Hatfield is a fine example.\u201d Just 21 miles north of London, the house and its expansive, well-lit rooms perfectly suited the director\u2019s penchant for wide shots and natural lighting. \u201cIt sparked his imagination and proved ideal for the film.\u201d Adam\u2019s location team and the crew \u201cwere absolutely phenomenal,\u201d says Sarah Cardall-Spawforth, senior operations manager at Hatfield House. \u201cThe detail that they went into and the care that they took in looking after all of the historical items was out of this world.\u201d<\/p>\n

Hatfield generally closes in September and reopens in April. In the case of The Favourite<\/i>, which began filming in February, \u201cwe delayed opening for a few weeks to enable them to finish.\u201d Nevertheless, the public \u201cexpects us to be there,\u201d says Sarah. Hatfield is typically open Wednesday through Sunday, so there were a few weeks when the crew would prep on Sunday and strike on Tuesday to have the house open by Wednesday. Filming wrapped in May with reshoots in August. \u201cIt was probably the longest production we had in a continual cycle,\u201d Sarah calculates, and involved a flying squad of furniture movers. \u201cIt was a big jigsaw puzzle. We didn\u2019t want to take everything out of the house if we could help it, and then it\u2019s a battle to get everything reinstated so we can actually be open to the public.\u201d<\/p>\n

\u201cThe house was a key player in the film,\u201d adds Adam. \u201cBut when filming in any historic property, protecting the fabric of the building is uppermost in your mind. A lot of paintings had to be removed or covered, and rooms emptied of furniture, which was a logistical headache. It was a case of moving furniture from one room to another as we progressed through the house, generally shooting in one room at a time.\u201d<\/p>\n

\u201cThe great thing about The Favourite<\/i>,\u201d remembers Sarah, \u201cwas that they asked before they did anything, and if they weren\u2019t sure, they asked again. I\u2019ve worked with several productions where questions weren\u2019t asked, and then I hop around the corner for a cup of tea and come back and\u2014What are you doing? We want to see Hatfield House standing for hundreds of years to come.\u201d<\/p>\n

But for locations within or near the production hub of London, convenience can have its downside. Red tape, for one. \u201cWe\u2019ve got 20 burroughs,\u201d says Pat, \u201cand they\u2019ve all got their own film officer and their own individual rules.\u201d Cost, for another. \u201cHatfield House is about 15,000 pounds (roughly $20k) a day now to shoot. But if you go outside that region\u2014within a 100 miles\u2014you can halve that cost or quarter it with a house that hasn\u2019t been used before.\u201d<\/p>\n

And that is often the Holy Grail of location managers. The new. Undiscovered. Unseen.<\/p>\n

\u201cIt could be that little house you pass on the green,\u201d suggests Tom, \u201cand you stop and think, \u2018That would make a lovely cottage for the shepherd\u2014we just need to get rid of that garden and the road in front of it.\u2019 And you turn up and go, \u2018You\u2019ll be the perfect location for\u2019\u2014whatever\u2014and you\u2019re dealing with people holding forth in a very old house that is sort of falling apart around them and could do with the money to keep it going.\u201d\u00a0<\/span><\/p>\n

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The Personal History of David Copperfield, filming at Kings Lynn Norfolk.\u00a0Photo: Harriet Lawrence\/LMGI<\/i><\/p><\/div>\n

Adds Harriet, \u201cProducers are hoping you will find Scotland or the moon within the M25, the vast moat around London, and you can\u2019t always do that.\u201d On The Personal History of David Copperfield<\/i>, Harriet was given the freedom to get out her \u201cBig Book of Country Houses\u201d and find \u201ca completely different look.\u201d Her search took her to the harbor at King\u2019s Lynn in Norfolk, the Angel Inn at Bury St. Edmonds in Suffolk (where Charles Dickens set part of The Pickwick Papers<\/i>), and the narrow, cobbled streets of Hull, East Yorkshire, that \u201cdidn\u2019t get bombed in the war,\u201d she says. \u201cFinding those kinds of streets in London is very hard these days\u2014there is a handful used time and time again. What we found by going up to Hull was enormous variety \u2026 and the council was fantastically helpful because they\u2019re not London, they\u2019re not over filmed. London wouldn\u2019t have been able to give us seven simultaneous road closures and the freedom to dress all those streets.\u201d<\/p>\n

While Copperfield<\/i> has been called a veiled autobiography of Dickens, and The Favourite<\/i> concerns the 18th-century machinations surrounding Queen Anne, heritage sites also find a home in contemporary stories with little to do with Victorian authors or duck racing. The new thriller SAS: Red Notice<\/i> concerns a hijacked Eurostar train. \u201cSurprisingly, Eurostar didn\u2019t want to have anything to do with it,\u201d quips Jane, location manager for the film, which stars Sam Heughan as SAS operative Tom Buckingham. Much of the film was shot in Hungary, but Jane was able to utilize Englefield House, which had been on her radar since the start of her career.<\/p>\n

\u201cMy very first job as location manager,\u201d she recalls, \u201cwe needed a deer park. It was supposed to be Richmond Park, which is a Royal Park and you\u2019re not allowed to chase the deer around. Someone said, \u2018Try Englefield, they\u2019ve got deer.\u2019 And Englefield said, \u2018Yeah, you can chase our deer. We don\u2019t care. We\u2019ll help you chase them.\u2019\u201d<\/p>\n

Jane, whose favorite charge is \u201cputting British stories on the screen,\u201d was duly impressed\u2014especially with the original painting of Englefield by John Constable. \u201cThe house is stuffed full of the most beautiful paintings, and to have your own Constable hanging on the wall was just incredible!\u201d As it turned out, \u201cWe didn\u2019t get anywhere near the house on that occasion,\u201d but Jane made sure to include the estate during the scout for SAS: Red Notice<\/i>. \u201cAs with any film, you read the script and try to work out what\u2019s going to help tell the story.<\/p>\n

\u201cI also took them to Knebworth, a genuine Tudor, and they were quite taken with the suits of armor,\u201d but eventually, the director settled on Englefield. However, \u201cThey did want the suits of armor! So we put suits of armor in the hall. It was a fantastic place to work, very film-friendly. It\u2019s a large estate, so we could use drones to follow motorbikes through the park and all that kind of business, whereas if you were trying to do that in the middle of a Royal Park or the National Trust, you\u2019d have great difficulty. It was a very quick turnaround.\u201d<\/p>\n

Like World War Z<\/i>, Heritage locations in Britain are not exclusive to\u2014as Pat would say, \u201cPosh people in big houses.\u201d Location manager Sue Quinn, LMGI, whose five-star vitae includes both Fantastic Beasts<\/i> and the majority of the Harry Potter<\/i> movies, was given the challenge of a lifetime by no less than Tom Cruise. She was at a production meeting with director Doug Liman for the sci-fi cult fave Edge of Tomorrow<\/i>\u2014the kind of meeting \u201cwhere you sit with your head down while they get on with stuff,\u201d describes Sue. When in walked Cruise with writer Christopher McQuarrie. \u201cAnd Tom turns round and says, \u2018I had this idea that we should land a helicopter in Trafalgar Square to start the movie. What do you think, Sue?\u2019 I went bright red from head to toe. And producer Tim Lewis, who knows me terribly well, looked over the table and said, \u2018That\u2019ll be okay, won\u2019t it Sue?\u2019 Because he knows how hard it would be, and \u2026 Jesus, where to begin on that one?\u201d<\/p>\n

Whitehall is the main thoroughfare from Trafalgar Square toward Parliament Square\u2014an epicenter of UK history, since the days of Henry VIII\u2019s court. The Prime Minister\u2019s residence, Scotland Yard, the National Gallery, the suffragette-bashing Houses of Parliament\u2014they\u2019re all there. \u201cSecurity is on high alert,\u201d says Sue, \u201cand it\u2019s not built to land helicopters.\u201d Her journey began at the mayor\u2019s office. Three months later, Sue and her crew had permission to stop the bells from ringing at
\nSt Martin-in-the-Fields, close the National Gallery for two hours, redirect traffic from 57 bus routes, keep the Queen\u2019s Life Guard from parading, all the while flying Tom Cruise in on a Royal Air Force HCI Puma helicopter around Big Ben (\u201cthat was not visual effects\u2014that was for real\u201d), over Westminster Abbey, down Whitehall and onto Trafalgar Square without chopping the head off Nelson\u2019s Column. And, for good measure, there was a second helicopter filming the whole thing. Sums up Sue, \u201cI have never been refused anywhere to film, and there\u2019s never a problem that can\u2019t be got over.\u201d<\/p>\n

And that brings us back to Suffragette<\/i>, and those same Houses of Parliament that Tom Cruise flew over en route to saving the world. \u201cYou do not move in that place without their say-so,\u201d insists Harriet Lawrence, and while they may be well versed in state visits, \u201ca film crew is more feral, really. And I had to tell them it was about rioting suffragettes because you don\u2019t want to be there and have anyone going, \u2018Well, we didn\u2019t think it was going to be that violent!\u2019<\/p>\n

\u201cEventually, we pushed it over the line. I got the contract signed on Friday afternoon, the day before we actually started filming, which was a bit late for comfort and suitably nerve-racking.\u201d Harriet walked away from the signing thrilled. For the first time in history, filming would be allowed in the Houses of Parliament! And then the call came. \u201cOne of my contacts said, \u2018You know that painting we said we owned in the main room that you\u2019re going to film in? We don\u2019t own it, actually. So could you just not look that way?\u2019\u201d Back-and-forth it went. Harriet: \u201cYou\u2019ll have to take it off the wall.\u201d British Parliament: \u201cWe can\u2019t touch it without the owner\u2019s permission!\u201d Harriet: \u201cWell, you\u2019re going to have to do something because you\u2019ve now signed a contract that says x, y, z!\u201d She laughs now. \u201cYou know how it is where you think you\u2019ve cleared all the hurdles, and then someone plants a great big jump right in front of you?\u201d In the end, \u201cI don\u2019t know who or what they mobilized, but they managed to find who actually owned it, and get in contact.\u201d The next day, filming began. For four days, 200 rioting suffragettes rushed the House of Commons in a sign-wielding tumult that had not been seen for nearly 100 years.<\/p>\n

\u201cIt was a long, drawn-out process,\u201d Harriet says. \u201cBut I think they enjoyed it. And, eventually, I enjoyed it. I think. A few months later.\u201d<\/p>\n

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Managing English Heritage: Adele Cooper<\/h3>\n

by Jim Collette<\/b><\/h5>\n

Adele Cooper spent years in theatre management before moving into work in locations. She is the filming manager for English Heritage, with over 400 significant sites in the UK.\u00a0<\/span><\/p>\n

What\u2019s a typical day like for you?<\/b><\/p>\n

One of the things I love most about my job is the variety. I share my time between our London office and exploring the English Heritage portfolio, assessing how we can best facilitate filming. We also spend a lot of time out on the ground overseeing shoots, and building relationships with our site teams and the production companies we work with. All income generated by filming goes back into the preservation of the historic monuments.<\/p>\n

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Taboo set build at Tilbury Fort. Photo: Tom Howard\/LMGI<\/p><\/div>\n

How do you work with location managers and scouts to find suitable locations?<\/b><\/p>\n

We work closely throughout the process from the initial enquiry to finishing a shoot. Building mutual trust is important. When someone shares a brief or expresses an interest in a property, they need to feel confident that we know our portfolio inside out and that we will show them the best options. I have a wonderful team who are experts when it comes to our portfolio.<\/p>\n

It\u2019s brilliant working with someone like Adam Richards, LMGI, because he fully understands our processes and ensures our sites are treated with the utmost care. The working relationship we have with him was a big contributing factor in allowing Victoria & Abdul<\/i> to be the first feature to ever film inside Osborne House<\/b> with the Royal Collection.\u00a0<\/span><\/p>\n

We also work with regional film offices such as Film London to ensure that our portfolio is accessible. Regional support and expertise can be an incredibly valuable resource to production companies considering where to work in the UK.\u00a0<\/span><\/p>\n

What are your most popular locations?<\/b><\/p>\n

\u2022 Tilbury Fort<\/b>, a brilliant site with interiors and controllable water ways, as well as a large area of hard standing (a hard-surfaced car park area) ideal for set builds, situated on the edge of East London in Essex.<\/p>\n

\u2022 Eltham Palace<\/b>, a mansion house with unique Art Deco interiors, as well as a medieval hall; South London\u00a0<\/span><\/p>\n

\u2022 Audley End House and Gardens<\/b>, a Jacobean stately home with a variety of interiors from a full-service wing to a great hall, as well as stunning grounds, including an active orchard; Saffron Walden, Essex\u00a0<\/span><\/p>\n

\u2022 Dover Castle<\/b>, an impressive hilltop fortification with interiors spanning from the medieval up to World War II secret wartime tunnels; Dover, South East England\u00a0<\/span><\/p>\n

And the biggest production challenge you have faced?<\/b><\/p>\n

Filming at Tintagel Castle<\/b> in Cornwall requires a steep climb of over 100 uneven stone stairs to reach the top of the island. For The Kid Who Would Be King,<\/i> we helicoptered kit across to the island. But on the first prep day, a storm hit Cornwall with 80+ mph winds and we had to evacuate the island and wait it out. Luckily, we had worked with the location team to factor additional time into the schedule in case of adverse weather, and everything was tightly locked down so no kit was lost or damaged. English Heritage is in the process of constructing a bridge to join the island to the mainland so it should be a bit less of a climb for any future crews!\u00a0<\/span><\/p>\n

What productions have used English Heritage locations recently?<\/b><\/p>\n

We have really enjoyed working with Pat Karam, LMGI and his team over the last couple of years for The Crown<\/i>, and recently on Mary Queen of Scots<\/i> at Harmondsworth Barn<\/b>. Trust<\/i>, the TV series, filmed with us for several months at Audley End House and Gardens. Tom Howard, LMGI brought the Ridley Scott series Taboo<\/i> to Tilbury Fort. Stan & Ollie<\/i> filmed a couple of scenes at Eltham Palace.<\/p>\n

What films or series have prompted the biggest increase in visitation?<\/b><\/p>\n

We saw a significant spike in visitors the summer season following the release of Victoria & Abdul<\/i>. We also had a costume exhibition from the film, which visitors really enjoyed. Peterloo <\/i>has also brought lots of Mike Leigh fans to visit Tilbury Fort which has been wonderful!<\/p>\n

I was also told that UK crews were generally respectful of historic properties\u2026<\/b><\/p>\n

I\u2019m pleased to say we have worked with some incredibly respectful crews. One example that springs to mind is when we were working on Darkest Hour<\/i> with Adam Richards at Brodsworth Hall<\/b>. The scene involved Gary Oldman sitting on the edge of one of our beds. The bed frame is historic and can\u2019t bear any weight, so the crew built a freestanding support frame that allowed Gary to appear as though he sat on the bed itself. It was so well executed; it looked brilliant and meant that the beautiful bed could be captured on screen.<\/p>\n<\/span>","protected":false},"excerpt":{"rendered":"

Flying Down\u00a0to Whitehall: Historic Locations Bring\u00a0British Stories to Life\u00a0 by Jim Collette \u201cVotes for women!\u201d The cry emanated from the Heavens, and a sudden \u201cshower of handbills\u201d descended upon the all-male heads of the House of Commons. 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