Building a film set

Having to build a set or sets is more likely to be necessary when shooting a period drama. Fairly obvious, but sometimes a set is required even with a documentary. I divide movies into FIVE main categories;

• Documentaries. Cover subjects such as crafts, an event, promotion of a company, sporting activities, weddings, advertising and almost any subject.
• Short stories with a message. Covers very many great amateur winners.
• Musicals. Most difficult for amateurs, for you need more than just one singer and a pianist. And there has to be a story line. Oh dear, wouldn’t it be wonderful!
• Comedies. I’ve seen some excellent amateur winners. They don’t come easy, even for professionals.
• Dramas. My main subject last month was about the crew.

So how do we go about building a set for interiors for period films? Some people have a natural ability and imagination with ideas for creating a make-believe setting. However, the first thing to look for is a location that is suitable, for it may not be necessary to build a set. Interiors and exteriors present their own problems. If you have found a suitable interior, the things to look for are obvious. In my experience, it is mainly a matter of hiding or removing objects that are out of period. Simple things like light switches are obvious targets; then putting in a few props. It is important to make sure that there is nothing that is after the period of the story. Objects such as family heirlooms etc could be from an earlier time. Especially make sure the windows are of the right period. I have often made alterations to

windows. Usually it’s sash windows, where a single pane is put in place of six panes that were common especially in the Georgian period, when large panes of glass were uncommon and expensive. I would usually make the window bars from strips of card, then paint them with shadows to make the mouldings look realistic. They can be glued to a sheet of tracing paper, and lit from behind. This can be very effective, and from a lighting point of view, it is better if the natural outside lighting is dull. Better still, shoot at night time, when the light balance does not need special filters. These are just a few ideas to watch out for.

On the subject of props, I have made spits and fire irons from wood, sanded smooth, painted black and finished off with boot polish. This looks remarkably realistic, like wrought iron. Don’t light a fire behind the wooden bars though! Red and orange cellophane with ingenious flickering lighting behind is effective. For the brickwork at the back, I’ve used a sheet of plaster board. Cut 2x2 inch wide strips of hardboard into 9 inch lengths, then stuck onto the plaster board to look like a brick wall. Make up some brick shades of red and paint the bricks randomly, sprayed black behind the fire to look like soot. Borrowed stage flats from a local players were used to make up a room, and the effect of oak beams was achieved by boxing with planks of wood, rough plastering them and painting with black and brown colour. The whole effect, using borrowed antiques, was very realistic. I’ve enjoyed designing, making models before building the finished set and sometimes wished it was my profession. Though time consuming, I always enjoy the satisfaction of seeing it on the screen or stage.
 
  Jon Woolmer