THE YOUNG VICTORIA PRODUCTION NOTES - Thecia

e gained by getting it right because it affects the subconscious. It's my responsibility to
make sure that in the way the performers interact with one another and in the way they
look at one another that the correct form is observed. That their pronunciation is correct,
that the costume and production details are correct, that the Royal regalia are in the right
place. I am there eagle-eyed to make sure every detail is correct. If we get it right then
the director's story will sing."
Vallée states, "Alastair was very useful to me as he was able to give me an insight into a
world which I didn't know at all. The way these people lived, how they held themselves,
the Royal protocol, how they dressed - these details were all important to bring this world
to life and getting it right helps the actors behave in a certain way. It was important to
re-create the luxury and beauty as accurately as possible to do justice to the story."
O'Sullivan adds, “Julian Fellowes introduced us to Alastair and the film benefited from it
greatly. Alastair was on set a lot and he was not only a great source of information, but a
true cheerleader for the film. He would look at some of Sandy Powell’s costumes and just
get so pleased at the level of detail. I believe he has a time machine because he knows
so much about the period when the film is set. For him to be impressed by our costumes,
our hair and make up and production design is a thrill. He was a god-send."
The costumes and production design was able to benefit from the help and support of
Swarovski Crystals. Crystallized Swarovski elements were include in the Coronation
Sceptre and the Coronation Ring and various jewelry loaned by Swarovski from their
archive collection was used in the production including Victoria’s spectacular tiara.
The accuracy of period was carried through from the locations to the coronation crown.
"The locations are exquisite because they capture not only the period, but also a sense of
the spirit Jean-Marc wants in the film," says Bruce. "For example, Ham House stood in for
Kensington Palace and Ham House is pretty devoid of development since it was lived in.
Victoria's home before she became queen was quite frugal as they didn't have much
money. Everything was a bit run down and lacked color and that's captured here.
Lincoln Cathedral stood in for Westminster Abbey as it's closer to what Westminster
Abbey would have looked like at the time as the Abbey has now been cluttered with all
sorts of stuff since Victoria's reign."
For Buckingham Palace the production chose Blenheim Palace with interiors shot at
Belvoir Castle, Ditchley and Lancaster House. Queen Victoria was the first monarch to
live at Buckingham Palace. For Windsor Castle, Arundel Castle was a perfect fit with
Belvoir Castle providing wonderful grounds for the Windsor Great Park scenes.
Having made a replica of the crown jewels as a child, Bruce was well-placed to determine
the accuracy of the jewels replicated for the film. "I was terribly excited when the crown
arrived for the Coronation scene. They'd got it right to the nth degree, all the details were
in place and it looked fantastic. The black Princess ruby at the front from the battles of the
100 years war and worn by Henry V at Agincourt, the pearl earrings of Elizabeth I hanging
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