"(INAUDIBLE)" "When you read the book, the descriptions of the houses are very, very short." "There's very little said about them." "You get about a paragraph on each one." "But we felt that these houses had to tell you the story of the character and they had to tell you them very quickly." "I have finally secured the purchase of Randalls estate." "Congratulations!" "It is such a fine house and so close to us at Hartfield." "We will be neighbours." "When we were looking for a location to be Hartfield, we looked at lots of photos of lots of different places that we could come and, when I saw the photos of the exteriors of Squerryes, and when Jim saw the photos of the exterior," "we both felt this was it." "I really started to feel, "This is Emma's house."" "I was very keen for Romola to see it, because I knew she would feel like," ""Yes, this is my house."" "The more we were in there, the more we thought," ""How could you have gone anywhere else?"" "It's a beautiful, sort of, red brick, has a width to it, old country manor feel and it tells, historically, the story of Emma and her family having been here for a few hundred years" "and having all the history necessary." "We really wanted this house to be a place where other people wanted to come, for it to be the centre of our little universe." "The name "Hartfield" tells you already the sort of quality that one should feel by being there." "We've worked quite hard at giving each character's home an identity, so that when you go to Hartfield, you recognise it immediately." "Hopefully, I've given it a sort of warm, sunny feel a lot of the time." "Knightley walks over here almost every day and we really wanted to get a sense of what it was that drew all these people here and we really wanted this house to sum up Emma's character." "We were able, in Squerryes, to move from room to room and get a sense of flow and grace." "I was very keen to represent the way she moves through life, which is with grace and ease and flow, as if she's had very little to vex and disturb her, from the first paragraph of the book, until we come to the moment of our story." "Jim is wonderful in using the space." "He really wanted to make it a composite set and give the sense that this is all one space and not cut on the doorway from one place to another place." "So, using the Steadicam, we started half a mile outside in the garden and ended up all the way through into the hallway." "It's a terrific opportunity to make this piece fluid." "We have one shot at the beginning of episode two, where we start upstairs and we come out onto the landing and down the stairs and through the hall and into the yellow drawing room." "I just thought that flow really captured Emma's personality, really." "This is the hallway at Squerryes Court, which is the grandest room, probably, in the house and was a real wow factor for us coming here." "We wanted Hartfield to be a real sort of honeypot, somewhere where people would want to come and be with Emma and the Woodhouses." "We wanted it to have an elegance and a grace, as well as that warmth and a sense of real status." "As you come in here and you look around, it felt like a very welcoming space to come into." "And it does feel like a lived-in family house, rather than a museum." "You look pale, Henry." "It's a great pity that you went to the sea in the autumn and did not come here." "This is our dining room, which you'll see, mainly in night scenes, which is critical as to why I chose the colours on the wall." "This is a photograph of how the dining room looked before we came in and dressed it." "I found some magnificent references - they're actually quite palatial - of colours going back to the late 1700s." "The wallpaper is circa 1790." "What I decided to do was go back a century, so instead of looking at Georgian, I went to approximately late 1700s." "By involving a previous history, you just get so much more choice." "And I was a little braver with the colour, because we wanted depth and richness." "We even went for black furniture with gold edges, which is quite a strong statement." "It is very rare to do a job where you have so long in one character's location." "I think we've done quite well in getting a lot of very high quality scenes and sets within this house." "Because it's not been Tarmacked at the front, it's still the original drive." "The back is very good as well." "And most of the rooms inside are perfect." "The house itself feels absolutely the right kind of scale for Emma's house." "She is one of the most important people in her world." "The only person who has a bigger house than her is Mr Knightley, who lives a mile away." "Mr Knightley's residence, we could only actually choose after we'd chosen Emma's, because it sets the social status for all the other houses." "Donwell, by comparison with Hartfield - we shot down in Loseley House - has a very much more masculine feel." "ADAM SUSCHITZKY:" "Vast cavernous place with dark, wood tones, harder light, giving it a more masculine feel." "It's not wild, it's not Brontë territory, but it's not quite as landscaped and neat and tidy as Emma's." "And then you go into Miss Bates's house, which is the size of this edit suite - which I can tell you is small." "This is a very Elizabethan cottage with low ceilings, enormous fireplaces and very, very small rooms." "You know, tight and cramped." "You wanted to know straight away that you were in the house of someone of reduced circumstances, that they had fallen on hard times." "We used wider lenses, lower down, in order to see the roof in shot and to give that feeling of their poverty." "I know it will snow tonight." "The folly of it!" "Emma runs over the course of a year." "It starts in the autumn, runs through winter, spring and ends in summer." "The dates are roughly identifiable in the book." "In episode two, it's essential for the story that there's a big snowfall on Christmas Eve." "Emma has to share a carriage with Mr Elton." "That all comes about because it starts snowing when they're at Randalls at Christmas Eve." "When we first went to Squerryes, we said, "Gosh, wouldn't it be fantastic" ""to be able to shoot this in the snow for the snow sequence?"" "I kind of thought no more about it and I got a call from George one Friday saying, "Snow is forecast for Monday and Tuesday."" "So we got a camera team out to do the lovely shot that comes up from our resident swan walking on the frozen lake up to Hartfield." "We got all those with real snow." "We chose a particular area of the garden that we could cover with snow, and then we could have the Knightley kids" " John Knightley and his boys - having a snowball fight and Mr Knightley come in too and Emma watching from the window." "We shot the bulk of it on the hottest day of the year, so the actors were all in these big, heavy greatcoats, but surrounded by fake snow." "Brrrr(!" ")" " I think it's about 27 degrees today?" " Yeah, which works fantastically, because we have the reflection from the snow." "We're all baking and everybody's sunburned." " The actors are in heavy, woollen coats." " Christmas in June!" "We decided to use this section of the garden because it's self-contained and it has hedgerows all the way around." "We've put a semi-permeable membrane, then we spray on a cellulose, paper product which has similar characteristics to snow, except that it doesn't melt." "Basically, there's just a big blower that blows this paper material down the tube." "At the end, there's a head that's got a water feed with it and the water goes in at the same time, so you're wetting it down, which is helping it to stick on all the leaves" "and the trees and the ground and everything." "When we actually shot it, it's a perfect match for those big wides that you see." "I think, as a sequence, it's come across." "Yeah, I'm delighted with how it looks." "Come on!" "Ooh!" "CHILD:" "Right on the hat!"