So you feel this slight awkwardness and hopefully, feel that he’s come to this house that could be quite terrible.” “Even if the drone shots had been magnificent, it could have veered into ‘Downton Abbey’ territory. “Both Emerald and I felt very keenly that you need to live Oliver’s experience in painful detail,” Boydell told IndieWire. A lot of the time, this meant avoiding the lushness of the Saltburn estate and emphasizing exactly what makes the characters pathetic or small - and therefore human. Boydell’s challenge was to sculpt coverage and performance so that the audience feels Oliver’s world constantly shifting to accommodate Felix’s whims. Luckily, by her own admission, editor Victoria Boydell never wants to do something so boring as being tonally even all the way through a film. What we see, and the order in which we see it, always matters to a film, but the editing of “Saltburn” is an essential partner in the film’s dance between comedy, romance, thriller, and even a bit of horror. In the videos below, watch how editor Victoria Boydell, Fennell, and production designer Suzie Davies found ways to blend the film’s tones into a give-and-take between genuine romance, twisted passion, and merciless comedy - and, in the oscillation between high and low, create a film that feels like a true character study even when things in the English countryside are going absolutely buck-wild. “You can make it funny and evil and baroque because you have this sort of tacit understanding, hopefully, with the audience that this is a look into this doll’s house.” It is the film’s ability to hold grand compositions in balance with mundane details, the human touches reflected by the too-polished paneled walls and cavernous windows of Saltburn, that allows Fennell to build a sweeping romance that’s dark and twisted, funny and surprising. That’s the human thing,” Fennell told IndieWire. “You can have a kind of Caravaggio-esque mise-en-scene in the world’s most beautiful room, but it can be lit by a shitty karaoke machine. While the low-rise jeans and middle parts of the late ‘90s are making a return, nothing from 15 years ago is ever cool the film’s music, costumes, set design, and color palette take all that’s unfashionable and blows them up into the arch, dramatic ingredients for Oliver’s schemes to stay a fixture at Saltburn. But that’s what makes writer/director Emerald Fennell‘s “ Saltburn” so startling: There’s never a risk of “Downton Abbey”-ifying the English country house at which Oliver Quick (Barry Keoghan) spends a golden summer holiday with his new Oxford bestie Felix Catton (Jacob Elordi).įennell captures the power and the grandeur of her characters’ desires (and the accompanying dangerously possessive obsession) while constantly roasting them, too. Gothic stories generally evoke the faded elegance of the Interwar years in “Atonement” and “Rebecca” or the dark forces hiding behind 19th-century exteriors in “Crimson Peak” or “Jane Eyre.” It’s quite another thing entirely to build a Gothic romance out of Pringles cans, LiveStrong bracelets, and other unfashionable debris of the ‘00s.
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