Making Sanditon Season 2
Season 2
short | 03:49 | CC
The cast and crew describe bringing the series back for a second season and how they approached the all-new season.
- [Director] Here we go.
(upbeat music) - We got the call that Sanditon was returning for not one but two series.
It was a reaction of genuine joy and excitement, but also a little bit of a feeling of, "Wow, how are we gonna do this?
Here we go."
We know that something big is on the horizon.
We need to work out how to make it work.
- It's based on an existing fragment of a novel.
We have liberty to interpret where we take those stories, and therefore it's very exciting to work on.
- Sanditon's got a lot bigger.
It's becoming more successful, like Tom's vision is starting to become a reality.
- [Tom] As you can see my dears, Sanditon is fast becoming the most desirable destination on the South Coast.
- It's always exciting to try and reimagine those spaces, and see them with their bright colors, with all the candles, et cetera, in order to make them feel more modern and enjoyable, really, to a television audience.
(upbeat music) - The moment you walk onto that set, it's like you're transfixed.
Every detail, like even the shop windows, the vegetables, everything outside the shop is all real.
It's so easy to be like, "Yeah, I live in this town.
I walk down this high street every day."
- You see the sea, and the sand, and the promenade a bit more, which is just beautiful.
It's like something out of a fairytale.
- When you walk through that promenade, there's obviously some quite big windows.
There's not entire rooms behind them.
We put curtains in windows, we put smoke coming outta chimneys, we build all the roofs, so we can see the sky and we can look up.
It's great fun.
It's like building a theme park almost.
- Oh, whenever I saw the sights the first time I was absolutely blown away.
Even Trafalgar House, where the Parkers live, have kind of been, sort of blown up a little bit.
- [James] A period show, something like this, we do a lot of research, and we read a lot of books, and look at photographs, and look at furniture.
The biggest challenge is then going out and shooting on locations, which occasionally, looks slightly tired and old, and the stonework is worn and it feels lived in.
It's how we present those spaces to still feel contemporary and modern within our early 19th century world.
- The workmanship that's gone into it, you know, right down to door handles.
- And in our house, and there's a little mermaid or symbol and then- - Yes, "Sanditon," isn't it?
Unbelievable.
- [Woman] I've not seen that gown before.
- 'Tis my May Day dress from home.
- Lauren Miller, our wonderful designers, brought in a lot more of a pastel kind of palette and brighter colors for this season.
Charlotte's tones are a bit more muted, in alignment with like who her character is.
- It's about taking those characters as we know them, and developing them, maturing them in some instances, and then really working on the new characters and developing their style.
There's always little tweaks in the shape that you will make just to make it look nicer for today.
Some of the regency fashions are actually quite wild.
- There's a lot of playing with textures on the fabric, and yellow and red on the soldier's jackets.
That was really fun and everything pops a lot on screen.
- It's sort of beautiful, regal waist coats, high wasted trousers with braces, strong and bold fitting tailcoat, that sort of acts in unison with the waist coat to provide what is essentially a male girdle, and then top hats, which I fought tooth and nail to avoid, 'cause I'm just too tall anyway.
- There's something about period dramas and being dressed up with wonderful essays and being surrounded by brilliant locations that immediately gives you quite an easy way into a character, and it's time travel, isn't it?
It's time travel.
It's fun.
(upbeat music fades)
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