Behind the Scenes at Downton Abbey (4 page)

Now, the show runs like clockwork, and the process of translating scripts into action follows a precise structure. Each series is split into five ‘blocks’ – the first representing episodes one and two; the second, episodes three and four, and so on, with the fifth devoted to the longer Christmas special. Each of these blocks are overseen by individual directors and each takes about five weeks to shoot. Before filming begins, however, David Evans, as lead director for series four, oversees the rehearsals for each block.

Once shooting begins, it is full-on. ‘It’s a bit like steering an ocean liner,’ he says. ‘You need to think clearly, because the decisions you make at nine o’clock are still being felt at 3 p.m. So, you might say, “Is it really five camera set-ups?” and you might not be able to shoot the scene that way.’

For a typical scene that is shot, for example, in the library at Highclere, vans packed with light fittings and other equipment are parked by the imposing front doors, but positioned so that they are not visible through the castle’s windows.

A couple of minutes’ walk from the house, a flurry of activity is underway at the ‘base’ of trailers parked bumper-to-bumper, housing make-up, wardrobe, dressing rooms and the production office. The cast often jump into a car standing by to drive them the short distance to the set, to spare their costumes and hairstyles from a brisk wind or splash of country mud.

Shooting a scene begins with the cast, still clutching their scripts, being herded on set by the first assistant director for a line run – quite literally a run-through of their lines. This offers a chance for the actors and director to establish how the scene should work.

‘They are always looking to find some little detail they haven’t been able to do before,’ says Evans. ‘Actors generally don’t come onto the set with the lines off pat and they are not too set in their ways as to how they will do the scene.’ The aim is for there to be a sense of creativity, after all. ‘I try and learn my lines quite far in advance,’ notes Lily James (Rose). ‘But some people learn them on the morning in the make-up trailer because they want the scene to be fresh.’

However, the show’s script supervisor is always ready to prompt the actors when they are rehearsing on set – in addition to making sure that the script flows without any continuity issues between scenes, and writing daily notes to keep the show’s editor informed of decisions that are made while filming.

The actors build on the director’s notes to develop their performances. Ed Speleers, for instance, explains how Evans helped him tap into something that is crucial to his character, Jimmy – ‘simply, that the footman is bored. He’s always thinking about what’s going on outside the house. That’s why he’s so interested in the girls. At the end of the day, he’s just a young bloke who wants to have some fun. Before you know it, you’re there.’

The scene is then blocked out, which means establishing the actors’ various positions on the set, followed by a ‘crew show’ for members of the costume, make-up and art department who are on hand to check everything looks right from their perspective. ‘Everybody troops into the room and stands round the edges as they talk out the entire thing, almost like it’s a little play for the various departments,’ says Evans.

The actors then disappear, to be made completely ready for camera in terms of make-up and costumes, while the focus shifts to the director of photography, Nigel Willoughby, overseer of the show’s cinematography. ‘I’m in charge of the look and the camerawork essentially – so, the lighting, and how we stage scenes,’ he explains. Together with the director, he and his two camera operators discuss how the scene will be filmed, and what camera set-ups would work best. Since its start,
Downton
tends to have two cameras filming together, unless it is a wide shot.

Next, it is time for the director, too, to retreat, and the set then belongs to Willoughby, his chief electrician (known as the ‘gaffer’) and the electricians for the half an hour or so it will take to arrange the lighting exactly as required. The actors are called back to the set for another run-through in front of the cameras before a bell signals for quiet and the first assistant director shouts ‘Shooting!’ Then he tells the camera operator to roll camera and finally the take will be shot.

Watching the action unfold via a TV monitor will likely be executive producer Liz Trubridge. Having produced the show since its start, she spends much of her time overseeing filming. ‘When she’s on set it is an extremely comfortable place,’ says Evans. ‘The person who is basically the guardian of the spirit of
Downton Abbey
on set can be called on if people have questions.’

Indeed, Hugh Bonneville believes it is key that, just as the show enjoys a single authorial voice, it has a similar unity in the way it is run by production company Carnival Films. ‘It’s produced by a team of people, but it’s not ten different producers from five different production companies,’ he explains. ‘It’s one clear vision.’

On a day-to-day level, each producer has different responsibilities in managing their role but they have found a shared rhythm to their work. ‘Producing is the most unspecific of all of the jobs in making a show,’ Neame explains. Every producer works slightly differently; there’s no one way to do it. The nature of the job that you do does depend on the show you’re making.’

Neame, the ‘custodian of
Downton
’, runs the production company, procures the finance from its owners, collaborates with Julian Fellowes on scripts and also approves the casting, editing and post-production work. That leaves Fellowes, who holds the title of executive producer as well as writer, to focus on the scripts, and Trubridge on the ground as the ‘nitty-gritty executive producer, working directly with the directors and actors,’ says Neame. ‘As long as we’ve got a script that we’re happy with, and we’ve chosen the director we’re happy with, I know that Liz will manage all the production side with great creativity, flair and brilliant efficiency.’

Also part of the team are Rupert Ryle-Hodges, who organises the logistics – from when shooting takes place, to how much money is being spent – and Nigel Marchant, who as co-executive producer has a more supervisory role. ‘We are the enablers,’ Trubridge summarises. ‘There isn’t a single day that’s similar, and that’s part of the joy of this job.’ A benefit to having reached a fourth series, she laughs, is that now, ‘as a team, we know the pitfalls – we know what can and will work and what can’t and won’t.’

For all things historical, there is Alastair Bruce, who can often be found on set in the folding chair that bears his affectionate nickname ‘The Oracle’. The author of several books, he was recruited after working with Fellowes on projects such as
The Young Victoria
. On
Downton
, attention to historical detail underpins the stories told on screen, he stresses. ‘Normally, historical advisors are broadly ignored in projects or at the sideline, but because of how important my role is to the delivery of
Downton Abbey
I sit at the front with Liz Trubridge and we work hand-in-hand.’

Bruce’s role, as he sees it, is to help the director to deliver a coherent piece that links to the period – even if the audience is not aware that this is happening. ‘Whereas directors normally try to take Julian’s written words and turn them into a good performance, delivering it to the conscious side of the viewer, I’m the one who’s working in the background trying to make sure that the viewer’s subconscious is also satisfied.’

This means that on set Bruce will be constantly monitoring that whatever action the director wants to shoot fits in with the period and, more specifically, with what would be happening at that time of day in a house of that size. ‘The house is an organism that has a daily structure,’ he explains. ‘The reason why timings are so important is because you cannot run a house like Downton Abbey without closely watching the very specific schedule, so that everybody’s eating at the right hour in order that the house can operate effectively.’