Other human traits in the design include a table with a hair curtain and the walls of Catherine’s Thrushcross Grange bedroom, which are made to look exactly like her skin. To accomplish this, Davies printed a picture of Margot Robbie’s arm directly onto pieces of fabric, which were then covered in stretched latex to create wall panels. “In that final top shot [of the film], you can see her veins on the carpet too,” reveals Dirickx. Does the sweat pouring from her walls make more sense now? Not only that, but in one scene, tiny prop leeches suck on the walls as well as on Robbie’s body.
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“The red corridors, red staircase and red library are like the veins, like the heart of the story within [Thrushcross Grange],” Davies says.
Photo: Jaap Buitendijk / Warner Bros. Pictures
Can you spoil a nearly 180-year-old tale? Well, anyway, after Catherine’s first taste of colour and comfort at Thrushcross Grange, she marries Edgar Linton and moves in. You’d think that escaping the prison-like Wuthering Heights (where the ceiling in the kitchen purposefully encroaches upon Jacob Elordi’s six-foot-five frame) would bring her happiness, but her longing for Heathcliff takes hold and doesn’t let go. “Whatever our souls are made of, his and mine are the same,” she famously says. She is a prisoner all over again in her new surroundings, and this is represented in the sets. In the library, a lamb sits encased in glass. At dinner, Catherine absentmindedly sticks her finger into an aspic mould with a fish in it.