How a Medieval Manor Turned Into “Saltburn’s” Real Star.

Production designer Suzie Davies says she was determined to find a setting for the movie that could be used as a single filming location that had never been seen on screen when she went location scouting. Above all, though, the choice was made based on factors other than simple math. Davies tells ELLE DECOR that “Saltburn is about desire, obsession, and sweat.” “Although the environment is lovely and romantic, there is worry lurking beneath the surface.[Drayton House filming]. Taste, touch, and smell the film was our goal, says Davies. The Drayton House was ideal. Using what was already there, Fennell created an eerie Saltburn universe while filming on the premises. When Quick first arrives, an obtrusive butler answers the door, setting an ominous tone with foreboding exterior images. Davies acknowledges adding to the outside of the house; the largest addition being a hedged labyrinth. She adds, “The crew placed four enormous classical minotaur sculptures on each corner of the maze for an added eerie presence. The maze is nearly entirely fictional.”

Inside, the filmmakers enjoyed a little fun because of an uncommon chance. In general, period rooms used for filming cannot be altered due to English heritage rules. However, because it’s a private residence, the owners allowed Fennell and Davies to repaint and alter the interior design as needed. I would not be allowed to get anywhere near it at a National Trust or English heritage site! Davies observes. The bedrooms of Felix and Oliver, for instance, are real spaces in the house that have been altered to produce a more dramatic impression. According to Davies, “We painted them, turned them over, and reinstalled the tapestries.” “We converted a bathroom into a dressing room and a bedroom into a bathroom.” Spatial planning was employed by the crew to evoke a sense of unease. The furnishings in the living room, where we initially meet the Catton family, is quite small. There are one hundred roomy rooms, yet at one point the Catton family sits in the smallest room and watches TV. Another scene shows an ashtray by Lalique filled to the brim with cigarette butts. “You frequently get the impression that you can’t touch or sit on objects when you see properties like these in movies. You are kind of in awe of the artwork, furnishings, and linens, and it feels prim and proper,” adds Davies. “We wanted our characters to feel completely alive and present in this film.”