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The Production
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| Karl DeVos |
DeVos was brought on board to shoot the picture from the beginning, and found lighting the locations and sets ajoy and a frustration, equally. Many of the interiors wanted a rich, glowing warmth, typical of an era that was mostly lit by candle and gas light. But a great deal of Dr. Jekyll and Mr. Hyde takes place in the very cold blue-black of night. DeVos has created, with light and shadow, the perfect nightmare London for the film.
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| Utterson (Carl Randolph) and Poole (James Nalitz) |
With friend and fellow filmmaker Tom Brandau on board as Associate Producer, principal photography began in July, 2000. The first scenes shot were the ones that took place in the Carew family mansion. Finding a location for this fairy-tale setting as envisioned by the writers could have been impossible. They dreamed of the Carews living in a house that, for all intents, amounts to a palace; a monument to the patriarchy that ruled England until the social
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| Alena Wright (Annie) on location |
and political changes brought about by World War One ended their power. The producers were grateful that the Walter's Arts Gallery in Baltimore was game enough to let them use portions of the building that stood for the Carew mansion and Jekyll's townhouse. After completing these scenes and the hospital scenes, the unit moved to the Redfield Arts studios.
Over ninety percent of the interiors were then shot on sets designed by Redfield and built by a fabulous team of carpenters, dressers, scenic artists and prop makers, under the supervision of Associate Producer Thomas E. Cole.
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| Jekyll at work in the lab |
Twelve sets were completed, from the interior of the Carew crypt and churchyard to Jekyll's laboratory. Principal photography ended before Christmas of 2000. In the new year, the production team moved on to complete the photography of the models and miniatures.
Editor Sean Paul Murphy began the task of assembling the footage as composer Nalin Taneja made it a point to check in periodically and view rough cuts of the scenes.
The musicians went into the studio to record Taneja's score in July of 2001, nearly one year from the start of principal photography.
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