‘Blitz’ Built and Destroyed Practical Sets Instead of Relying on CGI: ‘We Wanted It to Feel Like a Bomb Had Exploded’

As a movie reviewer with a penchant for historical epics, I must say that “Blitz” directed by Steve McQueen is a cinematic marvel. The collaboration between McQueen and production designer Adam Stockhausen is nothing short of breathtaking, transporting us to the heart of war-torn London during World War II.


It’s clear that the creation of Steve McQueen’s recent movie “Blitz” would have been impossible without the contributions of production designer Adam Stockhausen.

McQueen required him to assist in portraying the narrative of World War II London under enemy attack, preferably with as much authenticity as possible. He desired the majority of the work to be done on-set, and Stockhausen was the ideal candidate for not only constructing sets but also demolishing them – and indeed, completely demolishing them.

As a cinephile, I deeply appreciate the attention to detail that McQueen brings to his films, particularly when it comes to setting the atmosphere. For him, it’s not just about capturing the aftermath of a heavy bombing with dust particles floating in the air or portraying a gritty environment resulting from coal burning – these elements are stories in themselves. As he puts it, “He’s a storyteller at heart. A simple brick wall isn’t merely a brick wall; there’s a tale hidden behind it. That’s what Adam brings to the table.

Working together is nothing new for them, Stockhausen and McQueen. They collaborated on “12 Years a Slave” and “Widows.” According to McQueen, honesty and straightforwardness are key aspects that Stockhausen brings to the table to help bring his cinematic vision to life in the film featuring Saoirse Ronan as a frantic mother searching for her son George (Elliott Heffernan). McQueen describes Stockhausen as an artist, stating he draws inspiration from him.

Stockhausen and McQueen conversed with EbMaster regarding their narrative approach for the movie, which premiered in cinemas on Friday and will be available on Apple TV+ from November 22.

What was one of the first sets you talked about?

ADAM STOCKHAUSEN: Our focus was on both small details and grand themes. We discussed everything from the minutiae of textures to the choice of wallpaper, aiming to make their life feel tangible and immediate. We sought to create an authentic experience rather than relying on digital enhancements. One of the initial sequences I handled was where George wakes up by the river and embarks on his run through the city, as we believed this might be the most challenging to execute. It was about finding a way to convincingly portray this sequence, ensuring that George’s run conveyed the correct narrative about London and the impending attack. All of it was filmed on location in London, not elsewhere. Initially, we scouted Wapping in East London and piers, but one thing led to another, and soon we were fully immersed in the project.

What was important about the family home and the street they live on?

STEVE MCQUEEN: The tightness and smallness of those houses create a sense of closeness for the three inhabitants: Rita, George, and the grandfather. It’s as if we’re peeking into a nest, and our film follows the journey of a bird leaving its nest and attempting to return home. I found it intriguing to portray this scale, from the confines of their bedroom to the bustling terraced houses outside. George had never ventured beyond his neighborhood. After all, why would he? As we progress, we move from this intimate setting and gradually expand our scope, ultimately reaching St. Paul’s Cathedral and the tube station.

As a movie enthusiast, what intrigued me most about Adam’s portrayal was his masterful handling of scale and history. Every nook and cranny of London seems to hold a tale, and Adam seemed to have tapped into that rich vein of storytelling. The attention to detail in his character development made it all the more believable, immersing us in the world he created.

Another sequence that was fascinating to see was the Café Du Paris with the entertainment and nightlife which later is blitzed, what went into building that?

STOCKHAUSEN: Performing that set was fantastic. It was a genuine occurrence, not just a simulation. It allowed the story to reveal the intensity of life thriving beneath the city streets amidst such devastation, and yet, life persisted. Then it presents us with an 180-degree contrast, total annihilation. The location is authentic, and as we delved deeper into our investigation, the more compelling facts we uncovered. We were only deceitful about the kitchen’s location in relation to the dancefloor.

McQUEEN: The essence of the work lies in its poetic nature. I wasn’t drawn to the spectacle of explosions; instead, I was captivated by the aftermath, the transition from before to after. What makes these scenes so compelling is not only constructing magnificent sets, but also dismantling them. How can we make a set collapse as if a bomb had gone off? That’s art, and it’s challenging. It’s more than just using a hammer or a bulldozer; it’s about strategizing how to shatter this balcony. That’s a discussion. The Cafe de Paris was about limbo, death, and it depicted life before death. The dust particles and flashlights, it’s a beautiful sight, the teamwork was fantastic.

AS A MOVIE LOVER, I CAN TELL YOU: Filming that scene was no walk in the park. The set was literally littered with debris and dirt. We left no stone unturned in our destruction, but it was an arduous task to say the least.

What went into the tube stations and building those, or were they locations?

STOCKHAUSEN: This is our sanctuary, your destination. Amidst the flames, chaos, and horrific events, we’ve managed to reach this point. We couldn’t achieve it at another location due to flooding, so we constructed it instead. However, it’s not only about that part; we also had to establish escalators, connecting passages, and enough infrastructure to create a sense of an entire world beneath.

Rather than submerging it in a tank due to its immense size, we opted to stage it on a dry platform. The setup was reinforced with a massive quantity of scaffolding tubes and steel to withstand the impending force of the colossal amount of water that followed. We carefully waterproofed our creation and held our breaths in anticipation as we poured the water.

McQUEEN: This engineering marvel wasn’t just a mere illusion; we aimed for authenticity. All the daring stunts were skillfully executed by Eliott, ensuring genuine experiences. We desired this production to be tangible and immersive, creating a bond between the audience and the action sequences, as well as evoking strong emotions. It’s cinema, and I am moved by the fact that people are resonating with it because it represents an emotional odyssey through the heart of London.

Adam demonstrated an entirely unique perspective of London that no one has shown before, capturing its authentic essence. The cityscape was remarkably diverse, reflecting various cultures.

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2024-11-07 21:47