Italian
The challenge of recreating the Sistine Chapel for ‘Conclave’
SPOILER ALERT: This article contains spoilers for “Conclave,” now playing in theaters.
A creative solution to filming restrictions
It’s well-known that the Vatican prohibits any filming inside the Sistine Chapel, and this posed a significant challenge for the production team of “Conclave.” Directed by Edward Berger and based on Robert Harris’s thriller, the film stars Ralph Fiennes as Cardinal Lawrence, tasked with overseeing the election of a new pope. Faced with this monumental task, production designer Suzie Davies had to think outside the box to recreate one of the world’s most iconic artistic achievements.
Choosing Cinecitta Studios
Rome’s Cinecitta Studios became the perfect solution for this intricate endeavor. Suzie Davies stumbled upon incomplete flat-packed scenery from a previous production. “It was packed down into flats, which were eight by four feet, and we built them back up,” Davies explains. But the set was far from complete; it required extensive flooring work, repainting, and carpeting.
Davies found the local artisans who had helped build the original set and enlisted their expertise again. “The painting crew was extraordinary, and we put the Sistine Chapel together again in 10 weeks,” she revealed. The result was nothing short of a seamless reconstruction, allowing the production to maintain a high level of authenticity.
The magic of special effects
One of the standout scenes in the film involves an explosion that rocks the Sistine Chapel, causing dust and rubble to fall on the cardinals. This dramatic moment was achieved with a sophisticated special effects rig placed about 60-70 feet high on the studio ceiling. Pistons filled with lightweight rocks and dust mimicked the explosion’s aftermath.
Instead of using stuntmen, the production decided to place the actual cast and background artists underneath the falling rubble. “We had to be careful with the dust so people didn’t inhale it,” Davies noted. Remarkably, the scene was shot in just four takes, secured by a props team that quickly cleaned and reset everything. This level of efficiency and precision was akin to a military operation.
Balancing historical accuracy and creative interpretation
The film doesn’t specify the exact year it is set in, which allowed Davies and Berger to explore the secretive and intriguing world of the conclave over time. They aimed to juxtapose what the audience thinks they know about the Vatican with their own creative interpretations.
Casa Santa Marta, the residence housing the cardinals during the conclave, was one such creation. Davies wanted this world to feel “slightly more sinister and allude to something underhanded going on.” She envisioned it as an almost hermetically sealed prison, albeit a very posh one, complete with modern amenities like phones, smoking, and vaping. These details helped flesh out the backstories of various characters, adding depth to the narrative.
Contrasting characters and their environments
Cardinal Lawrence, portrayed by Fiennes, isn’t as duplicitous as other characters. This was reflected in the design of his living quarters. “It doesn’t cross his mind that he should get a better room. He’s probably on the ground floor, next to the elevators,” Davies elaborated. This contrast was starkly evident when compared to other characters who had more luxurious accommodations, achieved through behind-the-scenes scheming.
Davies discovered through research that many of the rooms in Casa Santa Marta were nearly pristine and underused. This allowed her to focus on specific details, such as the color of the headboards and throws, indicating the varying statuses and personalities of the cardinals.
Collaboration and attention to detail
Davies credits her collaboration with fellow department heads, including cinematographer Stéphane Fontaine and costume designer Lisy Christl, for the film’s visual success. “Those rooms on their own would have been very dull and airless in the wrong direction, had Stéphane not lit them so beautifully, and Lisy dressed those characters in those wonderful costumes.”
The film was a masterclass in balancing opposing themes like light and dark, honesty and lies, gold and silver, contemporary and traditional. This dynamic interplay was evident in both the set designs and the film’s cinematography. The Casa Santa Marta had a visually darker atmosphere with linear patterns and restrained lighting, while the recreated Sistine Chapel was lighter, evoking a sense of freedom.
Conclusion
Conclave is a testament to the commitment and expertise of its production team, who overcame significant challenges to deliver an immersive and authentic cinematic experience. The meticulous attention to detail, combined with innovative use of space and special effects, has set a new standard for historical recreations in film.
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