![]() ![]() Plus, “We did a lot of work up against hard surfaces, so we’ve got to be able to protect the actors because that’s essentially a stone floor. “You’re working with actors that are wet you’ve got to be very careful about wigs you’ve got to be very careful about costume,” Talbot said, which meant the scene where Daphne and Simon run through the rain and proceed to resume their marital activities in the gazebo was particularly difficult. The biggest challenge, however, was the rain. ![]() (Robinson’s biggest challenge was what to do with the men’s boots, which were cumbersome and did not allow for easy trouser removal.) “Anyone who’s been in a corset will know that doesn’t happen very often,” she said, and was something she and the actors had to take into consideration when choreographing the scenes. ![]() That’s on top of the entirely incorrect concept of bodice-ripping, which, Talbot explained, doesn’t actually happen since it takes quite a long time to get into and out of Regency-era costumes. No Bonnets, Bold Gowns: The Costumes of Shondaland's Period Drama 'Bridgerton' Are "the Opposite of Jane Austen" The curators at Castle Howard had to be in the room wherever we were filming, and so I’m sure that they had a very interesting time working on Bridgerton too.” There were often lots of very expensive original items surrounding us. We were working with sometimes original four-poster beds that we had to be quite careful with. And also a lot of the beds were quite narrow, so if we ever had a lot of scenes where people were rolling off each other, which we did, we had to position them really carefully otherwise it would be very easy to roll off straight onto the floor. “We’d have to be very careful about how we positioned him so that he wasn’t hanging off the end of the bed. “A lot of the time we were working on Regency-size beds, and although that might not seem an issue, Rege is quite tall,” Talbot said. The other scenes were filmed at Castle Howard, a stately historic home in York with era-original furniture and artwork that required extra supervision and presented extra problems for Page. ![]() It seemed like it was blowing up the conventions of that place, by the way, which was until very recently a male-only club,” Robinson revealed. “It was so much fun that that’s what we were shooting there. While Daphne and Simon are in the throes of newlywed bliss during the “Wildest Dreams” montage, a lot of the scenes were filmed early in production - and the first scene of that sequence took place on the very first day of production in one of London’s most staid institutions: the library at the Reform Club, a private gentleman’s club with members that include prime ministers, authors, academics, politicians and other great thinkers.įor context: Housed in the library where Dynevor and Page were pressed against shelves is one of Shakespeare’s First Folios. Rehearsals are key to her job, she said, “because there’s nothing worse than having to decide in the moment what your boundaries are.” Her process for every sex scene on the show included phone conversations with the creative team and the actors, rehearsals in advance as well as day-of, and facilitating conversations about what the actors felt comfortable doing. She’s been working as an advocate and intimacy coordinator since 2015 in film, TV and theater. “I don’t think I’ve ever spent as many days on set as I have on Bridgerton,” Talbot told THR. The most mature moment comes when the duo begins to christen every room of their new estate, a sex montage featuring the couple having sex in the library, in the gazebo, in the rain, on a stone patio, against a statue, all set to an orchestral version of Taylor Swift’s 2015 single “Wildest Dreams.”Īnd while the sequence only lasts for about three minutes (no jokes about the Duke’s prowess, promise), the preparation and production took months of collaboration among series showrunner Chris Van Dusen, episode six (and pilot) director Julie Anne Robinson, intimacy coordinator Lizzy Talbot and stars Dynevor and Page. ![]()
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