In department head interviews for her satirical thriller Saltburn, Emerald Fennell heard a lot about beauty. This, of course, made sense, given the film’s setting within high-society England of the mid-2000s, a stunning world of entirely unrelatable luxury. But it wasn’t until Fennell spoke with Academy Award nominee Suzie Davies that she knew she’d found her production designer. While a certain expressionistic beauty does play a major role in the aesthetic of Saltburn, what Fennell and Davies were in sync about from the start was accentuating the imperfections within a seemingly perfect world.
Fennell says the task for Davies was about “the pursuit of the human” within ornate, historic spaces. This, the designer accomplished by filling frames of the eccentric and sprawling, titular manor, where the majority of the story takes place, with “cigarette butts and wotsits and iPod nanos, as well as all the beautiful marquetry and perfect wallpaper.” This approach to production design adds depth and authenticity to the world of Saltburn, allowing audiences to connect with the characters on a more intimate level. By embracing imperfections, Davies brings a sense of realism to the extravagant and unattainable world.
Layering Details
To bring the world of Saltburn to life, Davies draws inspiration from various artistic references. From historical influences such as Caravaggio and the pre-Raphaelites, to contemporary and modern art, she incorporates a wide range of visual elements. The process of worldbuilding in Saltburn involves a constant layering up of detail, where myriad, very detailed stories are told within each frame. This attention to detail adds richness and complexity to the narrative and enhances the overall viewing experience. It is through this collaboration between Fennell and Davies that the world of Saltburn becomes truly immersive.
Creating the sets for Saltburn involved a careful balance between meticulous craftsmanship and whimsical playfulness. Davies reveals that one of her favorite sets was the enormous maze outside Felix’s family estate. The development of the maze required finding the right balance between romantic and sinister elements. Working with famed maze designer Adrian Fisher, they created a practical maze that could be navigated, with multiple paths leading to the center. The inclusion of the maze adds an additional layer of intrigue and symbolism to the story, reflecting the complexities of the characters’ journeys.
Saltburn marks Emerald Fennell’s sophomore feature, following the success of Promising Young Woman, for which she won an Oscar. The film generated significant buzz after its world premiere at the Telluride Film Festival. Fennell directed from her own script and collaborated with a talented ensemble cast, including Rosamund Pike, Richard E. Grant, and Alison Oliver. The combination of Fennell’s unique storytelling and Davies’ meticulous production design promises to deliver a captivating cinematic experience.
In their conversation, Fennell and Davies discuss the importance of fostering a supportive and inclusive work environment. Davies highlights the significance of having more female department heads on set, which contributed to a lovely atmosphere during production. This collaborative spirit allowed for the exploration of different perspectives and added depth to the storytelling process. Graphic designer Katie Buckley also receives recognition for her standout work on the film, including the hand-painted stop-motion opening title credits.
The art of imperfection is at the heart of Saltburn’s production design. Suzie Davies’ meticulous attention to detail, combined with the collaborative efforts of the entire team, create a lived-in world that feels authentic and relatable. By embracing imperfections and layering details, the film transcends its opulent setting and delves into the intricacies of the human experience. Saltburn is not just a visual feast; it is a testament to the power of craftsmanship and storytelling in creating a truly immersive cinematic experience.