The Art of Miss Peregrine's Home for Peculiar Children by Leah Gallo

Author:Leah Gallo [Gallo, Leah]
Language: eng
Format: epub
Publisher: Quirk Books
Published: 2016-08-30T00:00:00+00:00

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Shelves in Enoch’s bedroom.

“You won’t really know what all those things are, but you’ll know that it’s something a little bit weird.”

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Property master David Balfour studies one of Enoch’s jarred creatures.

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The special makeup effects department created preserved weasels for Enoch’s jars.

Enoch’s bedroom is also an excellent example of the overlapping skills required for a single set, a perfect blend of art department, production design, set decoration, and props. Balfour took special care with the hundreds of props, personally overseeing the room’s many elements and coordinating closely with Elli Griff, the set decorator. “She put all the elements in place, and we managed to put together the coolest set.”

Burton, too, enjoyed spending time in Enoch’s world. In fact, the first props he wanted Balfour to concentrate on when they started pre-production were the Frankenstein-like dolls. “The dolls are some of my favorite props,” Burton reveals. “They’re an assembly of bits of actual dolls, household items, and real creatures. It was a lot of fun to think up different elements you could add to make something functional. Dermot helped turn them into images that David could work from.” The dolls were also some of Power’s favorite concepts. “They were darkly funny, which really appeals to me, and I did some simple quirky animations to show how they might move or work. Concept design is about finding the narrative in what you are designing so that when you are asked to do something as complex and bonkers as the dolls made from weird, found objects, it’s great fun trying to figure out how they might work and, more importantly, how you can show that as clearly as possible to the audience.”

In addition to the dolls, Enoch’s room is filled with dozens of jarred animals and organs. Each one had to be bought or created. “Enoch’s jars were fun to do,” Balfour remembers. “Duncan employed a prop maker who had worked in taxidermy, so her experience helped a lot. The props department made all of the hearts and organs, but some of the jars are filled with real taxidermy.” There were so many jars that the props department had to employ the help of special makeup effects designer David White (Thor: The Dark World, Guardians of the Galaxy). “We made weasels at one point,” he remembers. “They were flayed weasels that go in a jar. It’s quite a strange job to have all these weasels lined up on lolly sticks, painting them.”

Finlay MacMillan was thoroughly impressed by his character’s room. “You go in and it’s got all those normal things that rooms have. There’s a bed there. But it also has dolls, tools, hearts, snakes, jarred animals. That’s the best bit. It’s hundreds of jarred animals. Enoch needs to keep them preserved so he can use them at some point. He’s got an archive of organs. Props has done such a good job. In between takes, me and Asa and Ella went out and looked at these jars, see what they’re holding.

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