WEBVTT - Locating ‘Bridgerton’ 0:00:00.080 --> 0:00:03.960 Bridgeton. The Official Podcast is a partnership between Shondaland Audio 0:00:04.040 --> 0:00:12.080 and iHeartRadio. You have to wear blue shoes, little plastic 0:00:12.200 --> 0:00:15.680 things that you put over your shoes so you don't 0:00:15.680 --> 0:00:18.279 get dirt or mud or anything through any of their 0:00:18.360 --> 0:00:21.040 castles and such that we filmed in. By the end, 0:00:21.280 --> 0:00:24.560 people just like do I have to wear these? And like, yes, 0:00:25.120 --> 0:00:31.360 Prince Charles lives here, Prince Charles's house, Like please be 0:00:31.480 --> 0:00:36.720 respectful of the gold on the ceilings and the expensive 0:00:36.760 --> 0:00:44.040 marble and such. Welcome to Bridgeton the Official Podcast. I'm 0:00:44.080 --> 0:00:48.120 Gabrielle Collins and I'm Annabelle Hood And on this episode 0:00:48.159 --> 0:00:51.280 we're going to talk about how many London tourist attractions 0:00:51.280 --> 0:00:54.200 I got into for free because that's where Bridgeton was filming. 0:00:54.480 --> 0:00:57.680 We're jumping head first into Bridgeton with a spotlight on 0:00:57.720 --> 0:01:02.680 the production design team. We're going to talk about locations, castles, 0:01:03.200 --> 0:01:08.960 royal palaces, gardens, manor houses, the room where Philip passed out. 0:01:09.600 --> 0:01:12.400 We're entering Bridgerton through a few of the long serving 0:01:12.400 --> 0:01:16.440 homes of the English aristocracy, and our nineteenth century expert 0:01:16.440 --> 0:01:19.440 Hannah Gregg will explain the abiding flow chart of gentry 0:01:19.720 --> 0:01:23.040 and how in this world one could distinguish who's who 0:01:23.080 --> 0:01:27.560 by a home and its gilded appointments. We're also talking 0:01:27.600 --> 0:01:30.760 with the phenomenal gold Arocheville, who treated us to a 0:01:30.840 --> 0:01:35.720 Queen Charlotte that we've never encountered before. And we're joined 0:01:35.720 --> 0:01:39.759 by the Lambent Adua and do our Lady of Persimmon 0:01:39.840 --> 0:01:44.240 and Burgundy, Lady Danbury, And of course we're talking to 0:01:44.280 --> 0:01:47.800 production designer Will Hughes Jones. He's going to give us 0:01:47.800 --> 0:01:51.360 a peek at how his team snatched up these highly coveted, 0:01:51.920 --> 0:01:57.120 very protected locales for Bridgerton. The setting for Bridgerton is 0:01:57.160 --> 0:02:00.760 the plinth of this society, the corner stone of a 0:02:00.840 --> 0:02:05.520 society based on matchmaking and inheritance. The surroundings have to 0:02:05.560 --> 0:02:10.000 support that support this More is Not Enough world that 0:02:10.120 --> 0:02:14.840 straddles fantasy and the free spending eighteen teams. Some of 0:02:14.840 --> 0:02:17.760 the locations used in Bridgerton were dressed up just a little, 0:02:18.320 --> 0:02:22.040 and some, including a handful of not so royal buildings, 0:02:22.080 --> 0:02:26.800 were completely transformed. We want to relish the hard work 0:02:26.840 --> 0:02:29.960 that made it all happen. I felt like going into 0:02:30.000 --> 0:02:33.560 the royal grounds of Bridgerton would allow us to get 0:02:33.800 --> 0:02:38.400 right into what locked us into the world, Presentation Day 0:02:39.639 --> 0:02:46.600 and the balls. One of my favorite moments is Lady 0:02:46.680 --> 0:02:51.799 Danbury's bowl. It's like a promise. The season's opening bowl 0:02:52.000 --> 0:02:56.800 at danbry House is a most highly sort off to invitation. Indeed, 0:02:57.680 --> 0:03:02.320 for every Darling debutante from Park Lane to Regent Street 0:03:02.720 --> 0:03:07.280 will be on display. When we see that ball, it's 0:03:07.320 --> 0:03:09.880 like we're being promised. This is what the show is. 0:03:10.280 --> 0:03:12.360 This is how beautiful the show is going to be. 0:03:13.040 --> 0:03:16.040 Hopefully there's a ball every episode, and one of the 0:03:16.080 --> 0:03:19.920 episodes there was about six balls all in one. It's amazing. 0:03:20.000 --> 0:03:23.480 Oh yes, Stanbury's ball. That's the first time we see 0:03:23.520 --> 0:03:27.240 everyone coming out to party after the presentation Day events. 0:03:27.520 --> 0:03:30.480 But where we filmed that was actually bath assembly halls, 0:03:30.720 --> 0:03:36.240 which are very very famous assembly halls during the regency time. 0:03:36.600 --> 0:03:39.960 We used it and we pretended it was Lady Dunbury's house. Yeah, 0:03:40.000 --> 0:03:45.120 I was thinking. Episode one is like this coveted invitation 0:03:45.400 --> 0:03:49.680 into this world. We're swept into the carriage and after 0:03:49.760 --> 0:03:55.080 this magnificent hall to meet the Queen Wilton House, Wilton House, 0:03:55.800 --> 0:04:00.200 which reminds me, dear listeners, allow me to reenter us. 0:04:00.240 --> 0:04:04.240 You to will Hughes Jones, the production designer. What's not 0:04:04.280 --> 0:04:07.360 to like being asked to create a regency world but 0:04:07.520 --> 0:04:10.120 heightened and over the top. You know nothing we've seen before. 0:04:10.760 --> 0:04:13.480 Will is a wizard of period design. He gave us 0:04:13.480 --> 0:04:16.680 the physical world of films like Jane Ear, The Musketeers 0:04:16.720 --> 0:04:20.440 and the television series The Spanish Princess. Chris van Dusen, 0:04:20.600 --> 0:04:23.560 the showrunner, if you remember, told Will to dream up 0:04:23.680 --> 0:04:28.760 ridiculously lush regency surroundings. I wanted the series to look 0:04:28.760 --> 0:04:34.160 like the most gorgeous, rich, aspirational English garden anybody's ever seen, 0:04:34.520 --> 0:04:37.400 and Will took that idea and he ran with it. 0:04:38.240 --> 0:04:40.680 Will spend some time with me to talk about getting 0:04:40.680 --> 0:04:43.800 the vision of Bridgeton out of Chris van Duson's head 0:04:44.240 --> 0:04:48.680 and into the planning stages. It was a really exciting 0:04:48.880 --> 0:04:51.680 process in the early stages getting to the point where 0:04:51.680 --> 0:04:54.840 we actually started building this world. I came on board 0:04:55.040 --> 0:04:58.960 at the beginning were in February twenty nineteen. I had 0:04:58.960 --> 0:05:02.880 this very strange interview with the Lovely World of Shondaland 0:05:03.000 --> 0:05:04.920 sitting at a desk, and I was sitting at home 0:05:04.960 --> 0:05:08.159 in my kitchen, and we talked about a lot of things. 0:05:08.440 --> 0:05:10.839 I very quickly knew that this was a show that 0:05:10.880 --> 0:05:13.560 I wanted to do, and when I was lucky enough 0:05:13.560 --> 0:05:17.360 to be offered the job, I obviously very excitedly had 0:05:17.440 --> 0:05:20.680 lots of initial conversations with Chris about the look and 0:05:20.720 --> 0:05:24.560 the feel, and it became very clear to me that 0:05:24.600 --> 0:05:27.520 this was not a show that I'd ever seen before 0:05:27.760 --> 0:05:30.280 or had come across, which was even more exciting to me. 0:05:31.080 --> 0:05:34.640 We had so many locations, and they're all these incredible 0:05:34.680 --> 0:05:40.040 manor houses and castles, and Will and his team come 0:05:40.080 --> 0:05:42.360 in and they dressed them to be in the Bridgeting 0:05:42.400 --> 0:05:45.720 colors or to be in the Queen's colors, and you think, 0:05:45.880 --> 0:05:50.240 this is such an incredible place. This is amazing because 0:05:50.279 --> 0:05:52.599 they've brought in all the furniture, they've brought in all 0:05:52.640 --> 0:05:55.400 the paintings, and then if you ever go back as 0:05:55.440 --> 0:05:59.240 a tourist and see those places, you think, hang on, 0:05:59.240 --> 0:06:03.960 this doesn't look like Bridgeton set at all. In the beginning, 0:06:04.480 --> 0:06:07.839 Will and team went on a cross country scouting adventure 0:06:07.880 --> 0:06:11.679 to decide where they were going to base Bridgerton, because 0:06:11.720 --> 0:06:14.720 the whole thing, obviously is set in country houses and 0:06:14.920 --> 0:06:18.400 the biggest palaces in the country. They are scattered all 0:06:18.400 --> 0:06:20.599 throughout the country. But as well as that, we needed 0:06:20.600 --> 0:06:23.320 a very big space to build in. So we had 0:06:23.360 --> 0:06:26.320 this seventy two hours where we started in London. We 0:06:26.320 --> 0:06:28.640 looked around London. We then got on a train and 0:06:28.680 --> 0:06:30.640 we went all the way to Liverpool, the other side 0:06:30.680 --> 0:06:34.679 of the country. We went flying around Liverpool in vans 0:06:34.760 --> 0:06:38.360 and little minibuses, looking at probably about eight places. We 0:06:38.480 --> 0:06:41.159 then got in another bus and we went south down 0:06:41.200 --> 0:06:43.440 the side of the country, right down to Bristol and Bath, 0:06:43.560 --> 0:06:46.160 which is on the opposite end of the country from London. 0:06:46.600 --> 0:06:49.640 Did the same thing all over again and lived on 0:06:49.720 --> 0:06:52.520 picnic food and lots of laughs in this bus. And 0:06:52.560 --> 0:06:54.720 we will start looking at each other going what are 0:06:54.760 --> 0:06:57.600 we doing? We're still doing this road movie before we've 0:06:57.600 --> 0:07:03.400 even started shooting. Wow. So many locations were used from 0:07:03.480 --> 0:07:07.880 all over the country, but the Bridgerton world looks so seamless, 0:07:07.920 --> 0:07:12.240 so self contained. All right, Annabelle, help me grasp the 0:07:12.240 --> 0:07:15.800 scope of these locations. Break down the first few scenes 0:07:15.840 --> 0:07:19.440 of episode one. For me, it's a disconcerting thing when 0:07:19.480 --> 0:07:21.760 watching when you've done all the locations and you've filmed 0:07:21.760 --> 0:07:26.880 it yourself. So the Bridgeton House that's in London. Then 0:07:26.920 --> 0:07:29.920 we're in Bath when their carriage is going along the 0:07:30.000 --> 0:07:33.320 Royal Crescent at Bath, as everybody knows. And then when 0:07:33.360 --> 0:07:35.600 they get out of their carriage, they're at Hampton Court, 0:07:35.680 --> 0:07:38.320 which is just outside of London. And then we jump 0:07:38.400 --> 0:07:41.320 to them entering the room and that's at Wiltshire. Oh 0:07:41.360 --> 0:07:44.720 my goodness, Wilton House in Wiltshire. So already within the 0:07:44.800 --> 0:07:48.720 first five minutes we've been in five locations. It looks 0:07:48.880 --> 0:07:53.600 so great on screen that it's just one linear story. Yes, 0:07:53.960 --> 0:07:56.120 and you know, I bet you there are fans who 0:07:56.120 --> 0:07:59.360 are in the UK or who are just geography nerds 0:07:59.400 --> 0:08:02.640 and they know the Yes, I think that. Yeah, the 0:08:02.760 --> 0:08:06.520 Royal Crescent and Bath is very noticeable. Yeah. Yeah, it's 0:08:06.560 --> 0:08:09.440 such a great location. It looks so incredible on camera. 0:08:09.640 --> 0:08:12.760 That's why people film there all the time, is because 0:08:12.760 --> 0:08:16.080 it looks so good and it fits our world perfectly. 0:08:16.360 --> 0:08:19.640 All of the architecture in Bath is just amazing. You're 0:08:19.720 --> 0:08:22.680 traveling four hundred and fifty people around the country. I 0:08:22.680 --> 0:08:24.440 mean I would literally wake up and not know what 0:08:24.600 --> 0:08:29.160 city I was in. Am I in Bath, Bristol, York, Liverpool. 0:08:29.200 --> 0:08:31.720 We even went to Liverpool at one point that was 0:08:31.720 --> 0:08:36.720 Sarada McDermott and she did everything behind the scenes. Yeah, 0:08:36.760 --> 0:08:39.880 Sarada was one of the producers on Bridgerton. Sarada is 0:08:39.880 --> 0:08:41.960 known for her work on movies such as Twenty eight 0:08:42.040 --> 0:08:47.520 Days Later, Tyrannosaur, Tolkien and Fighting with My Family. Bridgerton 0:08:47.720 --> 0:08:51.439 is her first television project. The way that I structured 0:08:51.520 --> 0:08:54.840 the project was that what I wanted to do was 0:08:54.920 --> 0:08:57.880 have the core, so that was going to be the 0:08:57.920 --> 0:09:02.240 studio and that would be thirty and then you would 0:09:02.240 --> 0:09:05.640 go what I call going out, which means that you're 0:09:05.640 --> 0:09:09.120 going into London in the lovely properties in London, like 0:09:09.240 --> 0:09:12.360 we shot in Lancaster House a Lot, which is where 0:09:12.480 --> 0:09:16.240 Prince Charles lives, and then we would go out out 0:09:16.840 --> 0:09:19.400 at out means into the regions and that means a 0:09:19.440 --> 0:09:22.920 four hour drive, so everyone's overnighting when you have all 0:09:22.920 --> 0:09:25.600 the big balls, which of course Chris loves a ball, 0:09:25.840 --> 0:09:30.120 like at least three balls an egg. Another thing about 0:09:30.120 --> 0:09:33.439 the balls, which won't come out on camera, is that 0:09:33.600 --> 0:09:38.160 we did three balls in one building in three days. 0:09:38.720 --> 0:09:41.080 It was just an office building in Bristol that we 0:09:41.240 --> 0:09:45.280 used the Ingineus ball, which is the ball where Daphne 0:09:45.320 --> 0:09:48.120 walks down the big staircase and the walls look like 0:09:48.320 --> 0:09:51.760 a tiffany y surey box. That was in one room. 0:09:52.000 --> 0:09:54.520 It was pretty to nice. Simply must have your first answer, 0:09:55.480 --> 0:09:58.640 you would be an honor, your highness. And then next 0:09:58.679 --> 0:10:00.920 door was the bird Ball, which was a sort of 0:10:01.200 --> 0:10:06.040 rich orange colored walls where Daphne's dancing with all their 0:10:06.120 --> 0:10:09.280 suitors and there's birds everywhere, and how did you find 0:10:09.679 --> 0:10:13.959 eligible bachelors? I must confess I felt more chemistry when 0:10:14.040 --> 0:10:16.520 being fitted at the modiste that was in the room 0:10:16.559 --> 0:10:20.280 next door. And then the room beside that was the 0:10:20.320 --> 0:10:26.280 ball where Daphne and Simon dance, and it's golden and crystals, 0:10:26.280 --> 0:10:28.520 and we must looked like we were enjoying ourselves. As 0:10:28.520 --> 0:10:33.679 difficult as that maybe, yes, quote when Lady Danbury and 0:10:34.320 --> 0:10:37.560 Simon walk into that room, initially we're actually walking down 0:10:37.559 --> 0:10:41.640 a tunnel which we made out of stands and fabric, 0:10:41.800 --> 0:10:45.240 because that was actually the orange ball from the day before. Wow. 0:10:45.360 --> 0:10:47.079 It was the only way we could manage to get 0:10:47.120 --> 0:10:49.120 all balls done in the time that we had allotted 0:10:49.240 --> 0:10:51.280 was to do it all in one place. And then 0:10:51.320 --> 0:10:53.000 the crazy thing about the whole thing is it was 0:10:53.080 --> 0:10:56.560 actually a council building in Bristol. It wasn't a big 0:10:56.559 --> 0:10:59.360 palace or anything, so that was a major transform it. 0:10:59.480 --> 0:11:01.240 It was very much Yeah, it was a sort of 0:11:01.480 --> 0:11:03.800 head scratcher because in order for our schedule to work, 0:11:03.800 --> 0:11:05.880 we knew that we had to do it all in 0:11:05.920 --> 0:11:10.640 one place. It was quite a coup from our location team. 0:11:10.679 --> 0:11:13.720 And then the Trowbridge ball that was just a bit bonkers. 0:11:13.720 --> 0:11:17.520 It was a crazy sort of theatrical ball. And it 0:11:17.600 --> 0:11:20.079 was a big country house in North London with a 0:11:20.160 --> 0:11:25.120 checkerboard floor, Jacobean paneling and very very over the top. 0:11:25.679 --> 0:11:28.920 Some make all her celebrations too provocative and I would 0:11:29.000 --> 0:11:31.800 caution any young lady from getting caught up in the 0:11:31.880 --> 0:11:36.000 sensual nature of the feats. It was a very difficult 0:11:36.000 --> 0:11:37.600 one for us to do because it being a Grade 0:11:37.640 --> 0:11:40.600 one listed property where I think it's the Duke of 0:11:40.640 --> 0:11:43.640 Northumberland lived there. They were very cautious about us doing 0:11:43.679 --> 0:11:47.720 anything in the building, so everything we had was either 0:11:47.800 --> 0:11:51.800 free standing or had like rubber matting underneath it. But 0:11:52.040 --> 0:11:54.920 again on camera you don't see that. It just looks 0:11:54.920 --> 0:11:57.360 like another amazing place that there's a ball happening, to 0:11:57.400 --> 0:12:01.360 be honest, and so I found myself left with one 0:12:01.440 --> 0:12:10.839 question to ask. I need a moment. We'll be right 0:12:10.880 --> 0:12:19.600 back after this short break. Welcome back to Bridgeton the 0:12:19.679 --> 0:12:25.800 official podcast, Annabelle Sarada mentioned that you shot in Lancaster 0:12:26.040 --> 0:12:30.680 House a lot. Yeah, that's where Prince Charles lives. That's 0:12:30.720 --> 0:12:33.839 one of those places where the first time you walk 0:12:33.880 --> 0:12:36.200 in you think, oh my God, like, look at all 0:12:36.200 --> 0:12:39.080 this marble, look at all this gold. But we ended 0:12:39.120 --> 0:12:41.600 up filming there so many times that by the end 0:12:41.800 --> 0:12:45.480 when we watched the show, it's like, hang on that 0:12:45.520 --> 0:12:48.240 door leads to a different bowl on a different day, 0:12:48.760 --> 0:12:51.160 and it's supposed to be a different location, and it's like, 0:12:51.559 --> 0:12:55.360 right behind that door is a completely different set. I mean, 0:12:55.600 --> 0:12:59.400 it props to the actors for being able to be like, Okay, 0:12:59.559 --> 0:13:01.520 now I'm going back to the beginning of the script, 0:13:01.520 --> 0:13:03.040 even though I just filmed the end of the script, 0:13:03.200 --> 0:13:06.040 yeah yesterday kind of thing. So you're sort of all 0:13:06.080 --> 0:13:11.040 over the place. Let's go back to will. We'll discovered 0:13:11.040 --> 0:13:14.640 Wilton House while on the road scouting for locations with 0:13:14.720 --> 0:13:18.400 director of photography jef U. One great moment we had 0:13:18.440 --> 0:13:21.720 with Jeff was we went to this fantastic house Dan 0:13:21.840 --> 0:13:25.560 in Wiltshire called Wilton House, and in the car going 0:13:25.640 --> 0:13:28.600 down there, we were talking about reference films that we like, 0:13:29.360 --> 0:13:32.080 and both Jeff and I were talking about a film 0:13:32.080 --> 0:13:35.680 called Barry Linden, which is a Stanley Kubrick film. And 0:13:36.080 --> 0:13:38.439 we go into this house and then sure enough we're 0:13:38.480 --> 0:13:39.960 standing in this room and Jeff and I look at 0:13:39.960 --> 0:13:42.520 each other and go, this is that room in the 0:13:42.600 --> 0:13:45.520 Kubrick film. And so we then thought, okay, we've got 0:13:45.520 --> 0:13:48.000 to use this room. It's fantastic. And that's the room 0:13:48.000 --> 0:13:51.600 that became the presentation chamber for the Queen's presentation. At 0:13:51.600 --> 0:13:55.319 the beginning. That sent goofed bumps down my spine when 0:13:55.360 --> 0:13:58.200 we were standing in this absolutely stunning room and it 0:13:58.240 --> 0:14:00.920 was as if Chris had written those scenes for that 0:14:01.000 --> 0:14:12.200 room without even knowing it flawless. Should we just have 0:14:12.200 --> 0:14:16.560 a watch party? The first episode? Should we just have 0:14:16.679 --> 0:14:20.640 a watch party? Actually? I love Presentation Day. I love 0:14:20.800 --> 0:14:23.680 any of the scenes with all the Bridgetins in it. 0:14:24.640 --> 0:14:28.760 This moment where Daphanie is walking down seeing the Queen 0:14:28.840 --> 0:14:32.880 at the end of that long aisle is where we 0:14:33.040 --> 0:14:37.200 are swept in. I mean, we've just seen the families 0:14:37.240 --> 0:14:39.880 getting ready and rushing to their carriages and there's all 0:14:39.920 --> 0:14:43.240 this like anticipation and fluttering all over the place. And 0:14:43.280 --> 0:14:46.600 then you get into this hall and you're just like, 0:14:47.760 --> 0:14:51.360 I am in this world now, my first time watching this, 0:14:51.440 --> 0:14:53.600 I don't know what is going on. I'm like, is 0:14:53.600 --> 0:14:55.840 this chick getting married to the duke already? Like? What 0:14:56.000 --> 0:15:00.200 is happening? She's wearing a white dress? Where is she going? Right? No, 0:15:00.280 --> 0:15:02.880 there's something more important. She's going to see the queen. 0:15:03.320 --> 0:15:05.800 That's when you get dressed up. So oh wait, did 0:15:05.800 --> 0:15:07.920 you just say that it's more important than getting married. 0:15:07.920 --> 0:15:16.520 It's going to see the queen. For me personally, it 0:15:16.720 --> 0:15:21.960 is only the queen's eye that matters. Today, a glimmer 0:15:22.000 --> 0:15:30.479 of displeasure and the young ladies value plummets do unthinkable depths. 0:15:31.920 --> 0:15:35.000 At what point in the production process were you filming 0:15:35.040 --> 0:15:38.400 this scene? This was in the very beginning, okay, because 0:15:38.440 --> 0:15:41.880 I know Day one was like a very racy, very 0:15:41.920 --> 0:15:45.960 steamy library scene. Yes, he was probably within the first 0:15:46.040 --> 0:15:49.960 month or two, so not everyone knew each other as 0:15:49.960 --> 0:15:53.320 well as we've finished. It was good because that's the 0:15:53.400 --> 0:15:55.040 deep end. When they say we're going to throw you 0:15:55.040 --> 0:15:57.920 in the deep end. That's what that is. Everyone's away 0:15:57.920 --> 0:16:00.920 from home. We were all in hotels. This was around 0:16:00.960 --> 0:16:04.680 the corner from Stonehenge. Everyone drove past Stonehenge on their 0:16:04.720 --> 0:16:06.720 way to work, being like, why is the traffic going 0:16:06.800 --> 0:16:09.360 so slowly? I just want to get to work. Oh 0:16:09.440 --> 0:16:12.600 it's Stonehenge in the middle of a field. Oh my goodness. Okay, 0:16:12.640 --> 0:16:17.080 So Wilton House is around the corner from Stonehenge. Okay. 0:16:17.080 --> 0:16:19.320 When I was at Stonehenge, I do not remember seeing 0:16:19.440 --> 0:16:23.880 anything that even looked remotely like this. This is about 0:16:23.920 --> 0:16:27.240 probably about a fifteen minute drive away from stonehe Out 0:16:27.240 --> 0:16:30.880 of here, it's still very close. Oh, it's just so secluded. 0:16:31.960 --> 0:16:35.880 Is there like a what is the grocery store? I 0:16:35.880 --> 0:16:42.360 want to say Salisbury Sainsbury Sainsbury's. Yeah. Wilton House is huge. 0:16:42.400 --> 0:16:45.680 It's bigger than it even appears to be in the show. 0:16:46.440 --> 0:16:49.520 We didn't even film in half of this house. The 0:16:49.600 --> 0:16:51.960 other half of the house is still residential and still 0:16:52.000 --> 0:16:54.640 being lived in, so we couldn't go near that side. 0:16:55.040 --> 0:16:57.680 That's how big this place was that an entire film 0:16:57.680 --> 0:17:00.400 crew could be in one half of the house and 0:17:00.480 --> 0:17:03.280 a family could be living and not hearing us in 0:17:03.320 --> 0:17:05.920 the other half. I wouldn't have two hundred film crew 0:17:05.960 --> 0:17:09.040 in my house, but they obviously allowed it. They did, 0:17:09.480 --> 0:17:13.320 and that privilege was not last on actresses Golder, Rochevelle 0:17:13.359 --> 0:17:17.440 and Adua Endol. They played the Queen and Lady Danbury. 0:17:17.840 --> 0:17:20.560 Here's Golder. I was saying that one of my favorite 0:17:20.560 --> 0:17:24.040 places was Wilton House. You know, I loved that because 0:17:24.080 --> 0:17:26.919 it's a young family that lives there and still runs 0:17:26.960 --> 0:17:30.479 it and owns it, and that to me it felt 0:17:30.520 --> 0:17:35.120 like home. Even though it was grand and opulent and yeah, 0:17:35.280 --> 0:17:39.480 felt very out of reach, there was something homely about it. Yeah. 0:17:39.600 --> 0:17:42.880 You know, I'm always sort of thinking, well, I've seen 0:17:42.920 --> 0:17:45.000 all the would you would you from a bit of that, 0:17:45.080 --> 0:17:48.840 But somewhere at the back, does somebody having corn flakes 0:17:48.880 --> 0:17:55.480 and watching the news on the tele in the morning porridge? Yeah? Yeah, right. 0:17:56.160 --> 0:17:59.440 So we used Wilton House as several different locations. We 0:17:59.600 --> 0:18:04.400 used it Rotten Row, we used it as Clivedon, we 0:18:04.520 --> 0:18:08.840 used it as Buckingham Home in several different episodes. Well, 0:18:08.880 --> 0:18:13.560 Wilton House was a perfect choice. The detail and the 0:18:13.680 --> 0:18:16.959 velvety feeling on my eyes. Yeah, I really enjoyed it. 0:18:17.040 --> 0:18:20.399 And it was very hot. It was hot. Wait was 0:18:20.440 --> 0:18:23.320 the air conditioning turned off for sound. That's not actually 0:18:23.440 --> 0:18:27.359 sun streaming through the windows. Those are some very bright lights. 0:18:27.359 --> 0:18:32.119 Oh right, the lights on cherry pickers on cranes basically 0:18:32.680 --> 0:18:36.000 shining through. I think it's either the second or the 0:18:36.040 --> 0:18:39.560 third floor. That room isn't so we've got bright, bright, 0:18:39.640 --> 0:18:43.120 bright lights shining through the windows. And then obviously all 0:18:43.160 --> 0:18:45.680 of our casts and all of our background artists are 0:18:45.800 --> 0:18:52.640 in corsets, dresses and wigs and feather headdresses. And I 0:18:52.800 --> 0:18:56.359 was hot just in my normal twenty first century clothes, 0:18:56.440 --> 0:18:59.120 so I don't know how they were doing right. Layers 0:18:59.160 --> 0:19:04.120 of fair bricks. Yeah, makeup honey, okay, yeah, yeah, That's 0:19:04.480 --> 0:19:07.320 why I constantly need makeup touching because you're just sweating 0:19:07.359 --> 0:19:09.560 it off. There's not enough setting spray in the world 0:19:09.720 --> 0:19:15.400 under those lights. No way. Oh my goodness. Let's get 0:19:15.440 --> 0:19:20.640 back to Danbury House and our conversation with Golder and Agua, 0:19:20.800 --> 0:19:25.000 who played Lady Danbury. Here's Agiwa again. So where I 0:19:25.080 --> 0:19:28.320 grew up, Gabrielle was carter and sheep and two busses 0:19:28.320 --> 0:19:32.480 a week. It was like deep country. Forty five minutes 0:19:32.560 --> 0:19:37.879 northwest of Wilton House is Badminton House, surrounded by countryside 0:19:38.280 --> 0:19:42.840 and it's the home of Lady Danbury's Den of Iniquity scene. 0:19:43.280 --> 0:19:47.240 And what's really cool about it, Badminton House is about 0:19:47.359 --> 0:19:50.439 five miles from where my father lives, from where I 0:19:50.480 --> 0:19:55.119 grew up. Wow, we filmed the Dani of Iniquity scene 0:19:55.400 --> 0:19:59.720 at Badminton House and when we were filming the Deniver Iniquity, 0:20:00.040 --> 0:20:03.119 filmed it in this beautiful ballroom at the back of 0:20:03.160 --> 0:20:05.400 which I took a photograph of me and the director 0:20:05.800 --> 0:20:08.560 standing in front of this painting is a painting of 0:20:08.600 --> 0:20:13.160 Queen Charlotte, and I would love to have grown up 0:20:13.840 --> 0:20:17.040 knowing that she was mixed race. I would love to 0:20:17.119 --> 0:20:20.240 have grown up knowing that she was descended from an 0:20:20.280 --> 0:20:23.600 African woman and Alfonso the third of Portugal, and that 0:20:23.680 --> 0:20:26.440 she was in a massive house five miles up the 0:20:26.520 --> 0:20:29.480 road from where I grew up as a little solitary 0:20:29.520 --> 0:20:31.600 black girl. I would have loved to have known that. 0:20:32.080 --> 0:20:34.840 So there was something really beautiful about filming that scene 0:20:34.840 --> 0:20:38.600 and feeling like I'd sort of gone full circle and 0:20:38.640 --> 0:20:42.479 there I was with mister Ulrick Riley, who is the 0:20:42.520 --> 0:20:46.520 most stunning director, and it was just very lovely for 0:20:46.560 --> 0:20:49.280 me to be doing that and doing something. It's about 0:20:49.520 --> 0:20:52.919 women being in their power and then remembering little me, 0:20:53.720 --> 0:20:57.880 Queen Charlotte and having all these women around and being fabulous. 0:20:57.960 --> 0:21:01.399 And then I drove over to my dad afterwards, and 0:21:01.480 --> 0:21:03.959 I drove past one of my best friend's houses when 0:21:04.000 --> 0:21:06.440 I used to walked from miles up hill to get 0:21:06.480 --> 0:21:08.919 to a house and long than I drove to my 0:21:09.000 --> 0:21:10.919 dad from set, and it was just so nice. It 0:21:11.000 --> 0:21:14.320 was just like, wow, look at my life. Her bazaar 0:21:14.440 --> 0:21:19.560 is that so Golden Rocheval, who plays Queen Charlotte, was 0:21:19.640 --> 0:21:22.800 in this conversation with me and Edua, no big deal. 0:21:22.960 --> 0:21:25.520 It was chill. I asked her if she felt an 0:21:25.600 --> 0:21:30.280 energy from any of these historic locations. Most definitely. They 0:21:30.400 --> 0:21:33.720 live and breathe with us, and we live and breathe 0:21:33.720 --> 0:21:36.640 with them. You know. One of the things that's really 0:21:36.680 --> 0:21:40.160 fascinating about Bridgeton that the places that we filmed in, 0:21:40.480 --> 0:21:44.439 the manor houses that we filmed in, are their own characters. 0:21:44.840 --> 0:21:48.639 We had some beautiful locations, and even Lancaster House for me, 0:21:48.800 --> 0:21:51.600 was a really special place because it's a working place 0:21:51.720 --> 0:21:54.720 for our royal family, do you know what I mean? Yeah, 0:21:54.760 --> 0:21:57.160 And for the dignitaries of the world and I think 0:21:57.400 --> 0:22:01.159 that scene that we were talking about earlier, Curtsy scene, 0:22:01.200 --> 0:22:03.560 I think a week or a couple of weeks before 0:22:03.600 --> 0:22:06.720 we filmed there, the Queen had a dinner party for 0:22:06.760 --> 0:22:11.120 the world dignitaries. And to have that energy and that 0:22:11.600 --> 0:22:19.080 pulse and fizz, living fizz to playoff to absorb, I 0:22:19.119 --> 0:22:22.520 think is really helpful when you're doing something like this, 0:22:22.800 --> 0:22:28.240 really helpful. It gives you extra umph, doesn't it. Golder? Yeah, absolutely, 0:22:28.240 --> 0:22:30.679 in a kind of way in as well, because I 0:22:30.680 --> 0:22:33.000 think we all I mean, I don't know if you 0:22:33.040 --> 0:22:34.960 think this, and I know I'm an old hippie, so 0:22:35.880 --> 0:22:41.720 but I think I really do think that buildings retained energy. Yeah, 0:22:42.040 --> 0:22:44.280 don't you. I feel like the ghosts are in the 0:22:44.320 --> 0:22:47.800 walls of a building, you know, for good or for ill. Yeah, 0:22:48.200 --> 0:22:50.359 we all know those some places You're like, I'm not 0:22:50.440 --> 0:22:52.600 going in there. I went in there once, you will 0:22:52.640 --> 0:22:55.840 never get me in there again. So I do genuinely 0:22:55.880 --> 0:22:58.639 think that, as Golder says, to be in a place 0:22:58.640 --> 0:23:02.480 that is a working royal environment, the energy of that 0:23:02.680 --> 0:23:06.800 building gives you an energy that you can absorb that 0:23:06.880 --> 0:23:11.920 into your embodying of working royal in action. And that's 0:23:11.960 --> 0:23:14.359 really thrilling. You kind of think of the working life 0:23:14.400 --> 0:23:17.520 of the whole building. You know, what keeps the show 0:23:17.960 --> 0:23:21.880 on the road, because those cucumber sandwiches don't cut themselves, 0:23:21.960 --> 0:23:25.439 my friend. You know, yes, you know when we were 0:23:25.480 --> 0:23:28.200 filming some of those locations that I'd be like, oh, 0:23:28.240 --> 0:23:30.320 I'm never in it. Can I'm never looking your kitchen 0:23:30.880 --> 0:23:33.080 going on in it? You know it's fascinating, isn't it. 0:23:37.480 --> 0:23:39.560 When we get back from the break, we'll hang out 0:23:39.560 --> 0:23:42.520 in Hannah's history corner to talk about the class distinctions 0:23:42.560 --> 0:23:47.720 among Bridgerton's high society, and we'll get into more production 0:23:47.760 --> 0:24:02.600 design with Chris van Dusen and Will Hugh's Jones. Welcome 0:24:02.640 --> 0:24:07.520 back to Bridgeton the official podcast. So again every episode 0:24:07.560 --> 0:24:11.880 we're spartlighting the research behind Bridgeton and doctor Hannah Gregg, 0:24:12.000 --> 0:24:15.639 the auntset etiquette advisor and historian for Bridgerton, is just 0:24:15.920 --> 0:24:20.560 the person to take us through well. I mean, in 0:24:21.080 --> 0:24:24.320 Jane Austen novels, we don't often get references to dukes 0:24:24.440 --> 0:24:27.680 or to members of the royal family, or to duchesses 0:24:28.160 --> 0:24:30.840 or people with titles of lady. There's only a handful 0:24:30.880 --> 0:24:34.120 of characters who are ladies such and such we tend 0:24:34.160 --> 0:24:39.080 to have the miss Bingley, the Mister Darcy, the Missus Bennett. 0:24:39.680 --> 0:24:42.760 Those characters tell us that they are not in this 0:24:42.840 --> 0:24:45.879 world of dukes and duchesses and lords and ladies that 0:24:45.920 --> 0:24:49.919 we occupy with Bridgeton. The Jane Austen's world is what 0:24:50.400 --> 0:24:53.720 in English society we would call upper middle class, so 0:24:53.760 --> 0:24:57.240 it gets slightly complicated in terms of gradations. But they 0:24:57.240 --> 0:25:01.719