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Peter Kay raises the game with the new Warburtons commercial – Pride and Breadjudice!

Warburtons hilarious new commercial hit our screens on prime time saturday night television with the extended showing of the their latest “film” starring Peter Kay in a bodice-ripping send-up of all things cinema.

Designed by Art Departments Clare Clarkson in the summer she had this to say about the experience “Phew! Thank God Warburtons is now out! Keeping that a secret has been nearly impossible! Peter Kay is a comic genius and a complete professional. He’s also charming and kept us all laughing on the shoot with his on set pranks – on offering to help me move a sofa I pointed out he couldn’t assist me as I was ’The Help’ but he could sit on it while I carry it, something that anyone who has watched his antics on Children In Need in the past will be familiar with!!”

A joy to work says Clare and ably directed by Declan Lowney it has had over a million hits of YouTube.


Agent Provocateur – ‘Oops!’ directed by Anton Corbijn

Art Departments Production Designer John Bramble was reunited this year with the acclaimed director and photographer Anton Corbijn.

It was twelve years ago that John last worked with Anton on the music video for Coldplay’s “Talk” the last single taken from the album X & Y.  Stylishly shot in black and white in the studio, with a B movie feel Coldplay land a retro 1950’s space ship on a alien planet, that is also home to a 30ft tall tin robot!

John was nominated for the Best Production Design/Art Direction award at that years MTV Music Video Awards, along with Art Departments Art Director Mark Scruton.

Black Label’s Dominic Freeman produced this short film for Agent Provocateur with Jules Fennell.  Anton was given the freedom to come up with the script and idea which is always nice and Set Decorator Derek Scriminger, who worked with John on Antons Coldplay video was hired to assist John along with Art Departments Romain Hemeray and Propmasters Simon Clifft and Nick Cosens.

Shooting over two days in June with two very scantily clad models at the former Wapping Hydraulic Power Station – a fine example of victorian industrial heritage, blessed with pure symmetry, and grand scale…the building that is!!!

The “Oops!” soundtrack/music – came from Massive Attack – “Pray for Rain” whom coincidentally John worked on director Walter Sterns uber music video “Angel” also by Massive Attack.


Sally Potter’s The Party

When Art Departments Rebecca Alleway was offered the position as Art Director on Sally Potter’s most recent film The Party which premiered in competition at the Berlin Film Festival she seized the opportunity – here is what she had to say about her experience with this stellar cast -:

“Sally Potters team called and I was interviewed by Sally who I was going to work with closely.  Idea’s for the set came from the work shops with the actors and making character boards and as the characters intellectual neurosis evolved, the sets evolved.

The challenges were also the very thing that made the project interesting.  Sally wasn’t sure whether she wanted to shoot in black and white or colour so I had to make sure that the textures, walls, fabrics and furniture worked in both.  This was a long process – making up different colour boards, photographing furniture and collecting fabrics. We had to see what worked together.  I tested every piece of furniture to see how it looked in black and white, for example, the grainy textures worked better.

Every “colour board” was camera tested until we all decided which one worked the best.


Sally wrote the script and had a very clear vision of how she wanted to shoot the film. The process was very involved and hugely rewarding, discussing her characters in depth and how the film was going to evolve throughout shooting.

Alexey Rodionov the DOP and I had to make sure the colour tones both worked in colour and in black and white on camera. Skin tones were a large consideration when the final colours were decided.  Alexey also wanted to light the set with just practicals, so the lighting in each area was plotted out very carefully in pre-production.

The house and garden were built at West London Studios, so I could float walls and provide Alexey with the flexibilty to shoot the angles he wanted.  Making the house and the garden environment as real as possible, with ageing and layers of dressing were really important to Sally.

It was incredibly inspiring working with Sally and the actors.  It was very much like a working on a theatre production, in this intense and close environment.

We shot the film in sequence, from each characters point of view, so everyday was incredibly busy on set as the story evolved.”