Michel van der Aa
Yeah, no, it was of course a big adventurer. Working with David was wonderful. He really turned out to be like the perfect collaborator, very open, very flexible, but also sort of pushing me into territories where I haven’t been before. So, it was a lovely — we really became friends, and we’re still in touch after that.1 And that was a great thing. And when he described this garden, we sort of went scouting for a garden like that, and we thought about going to Spain, southern Spain. We thought about the conservatory of the Barbican Centre, so we looked around quite a bit. And then we came across Cornwall, and it was just perfect, the fact that it’s roofed in a way, that there’s this weird sci-fi looking roof on top of it.
And there’s huge rooms there, and there are huge spaces. And it was just the right mesh. Of course shooting there was a bit of a nightmare, because we had to do it in one day, and — they don’t close down, they couldn’t close it down for the audience, because it was their biggest hall, and so we had ushers holding people back during takes and letting them through when we were done. And that was a bit of a logistic thing, but — yeah, in the end, I’m very happy that we did it. And it sort of gives the opera — I think all the parts in the garden a very sort of magical layer.