Exclusive Interview – Fiona Crombie, Production Designer for Hamnet

      Chris Connor speaks with Fiona Crombie, the production designer of Hamnet…

      Adapted from Maggie O’Farrell’s acclaimed 2020 novel, Hamnet has become a prominent contender this awards season, receiving significant praise during the festival circuit. It explores the lesser-known narrative of William Shakespeare, his wife Anne (Agnes in the book/film), and their son, Hamnet. A key challenge for films like this, which attempt to depict a frequently portrayed period in British history, lies in the production design and sets. We met with Fiona Crombie to discuss the distinct challenges posed by the film, recreating the Globe Theatre, and the differences between the scenes set in Stratford and London. Fiona also outlined some of the main contrasts between this film and Yorgos Lanthimos’ The Favourite.

      What was your starting point for Hamnet?

      I received the script in early 2024, and I felt a profound emotional reaction to the material right away. The story's intimacy and its vivid presence on the page captivated me. I compiled images prior to my meeting with Chloé to articulate my ideas, and looking back at those images now, I realize they significantly influenced the film. I explored Tudor architecture, characterized by its heavy beams, along with images of wild forests and open skies. I collected photographs and paintings of children in gardens, laundry hanging out to dry, and ink stains on parchment. By observing my surroundings and thinking about my family, I unearthed numerous intimate details that formed the basis for the immersive design.

      Can you discuss the contrast between the Stratford and London sequences?

      One of our most evocative choices was how we portrayed London. In contrast to Stratford's open fields, abundant nature, and low structures with plenty of sky, we chose to depict a London that felt foreign and constrictive for Agnes. Instead of a broad, sweeping shot of the city, we focused on a long, narrow street flanked by tall brick walls and an enclosed courtyard with a solitary tree. The characters navigate the city closely rather than viewing it from a distance.

      What was it like to create the iconic Globe Theatre?

      I initially felt intimidated! It’s a landmark structure. Early in preproduction, I recognized that our version of the Globe couldn't be a replica of the current building; it needed to be an interpretation reflecting our narrative. The present Globe is a replica of the second theater, constructed after the original burned down. The first Globe is not well documented, but there is a story suggesting that the wood used was stolen or “reclaimed.” I embraced this anecdote. Chloé expressed her desire for the theater to evoke the inside of a tree. Our Globe needed to feel like an extension of the forest. This lack of historical documentation, along with Chloé's guidance and the opportunity to incorporate aged oak beams, allowed me the creative freedom to design a theater that suited our film.

      How does Hamnet compare to other projects you’ve worked on, like The Favourite?

      The Favourite was designed to be visually striking! Its opulence was central to the story. In contrast, Hamnet is a period film centered on an everyday family. I was committed to making the characters relatable and grounded through the design. I aimed for the environments to feel textured and genuine, despite being sets constructed on a backlot. We invested significant effort into adding depth and narrative through intricate design details. My goal was to ensure that the design brought the audience closer to the characters and the story, emphasizing proximity rather than distance.

      What was Chloé Zhao's involvement?

      Chloé provided no strict directives. The images I presented in our first meeting showed that my instincts aligned with hers, making the process one of discovery during pre-production. We continuously added depth and detail to both the story and the design. Chloé is highly intuitive. We maintained constant dialogue throughout, with her deeply involved in selecting textures and colors. She excels in distilling imagery into its clearest form—nothing superfluous or excessive. She served as a crucial reference point for me regarding the design.

      Hamnet offers a unique perspective on this era with its dreamlike elements and rugged settings. Was that a challenge?

      The main challenge for me was geographical. We selected unspoiled forests and remote locations while also constructing large sets in London. There was a week when I realized I had spent 20 hours driving between sites and the studio. However, these locations enriched the film’s texture. The town of Weobley had a distinct character. By erecting a substantial part of the streetscape while incorporating one or two real buildings, we established a grounded setting. Yet, these locations also brought complications—protected buildings and forests. We dressed plants and roots in the forest to enhance its lushness, ensuring that every plant was local to the area. Environmental monitoring was strict throughout the process.

      Did you visit Stratford for inspiration?

      Absolutely! That was the first thing I