Sam Bader, production designer of 'The Testament of Ann Lee', discusses the filming locations and sense of family in 'Goldilocks'

With over 12 years of experience working in various art and design departments, Sam Bader's latest project is his most ambitious yet: The Testament of Ann Lee. This historical drama, set in the 18th century and centered around the real-life Shaker leader Ann Lee, is directed by Mona Fastvold and stars Amanda Seyfried. The production, shot across multiple continents, presented numerous challenges, but also became one of the most rewarding projects in Bader's career.

"The project was both immensely challenging and rewarding," Bader reflects. "It pushed me to make a massive leap in my career, and I formed lasting friendships along the way. It was an indie project with a grand vision, and the team was incredibly dedicated to bringing that vision to life. It felt like my job was to serve as a responsible guide for this expansive story," he shares.

Bader recently joined Gold Derbys "Meet the Experts: Spotlight" panel, where he discussed the unique atmosphere on set, the remarkable "Goldilocks" location, and his most notable design solutions. He explains how his team crafted a historically accurate world while maintaining the magic of their location work.

The "Goldilocks" Location and Design Challenges

The primary filming location was Budapest, and Bader describes it as "a total unicorn." The team quickly realized that the location could serve as the backdrop for a significant portion of the film's sets. "Before that, we were exploring various sites that would have required more work to hide modern elements," Bader explains. "But our Hungarian art director, Csaba Lodi, had a stroke of genius and took us to a place with an 1840s-style manor that was perfect for us." This under-utilized location in Hungary provided the perfect setting for a wide range of scenes, from the Lee family home to the textile mill and Shaker meeting house.

"It was incredible. You could be in one room, and suddenly, you'd step into a different time and place, like jumping from Manchester to New York. It was truly remarkable," Bader adds. The location also offered a large field where they built the exterior and interior of the Shaker meeting house, as well as a stone structure used as the dance hall. "The transformation was seamless," he notes.

On the Decision to Avoid Soundstages

Although many productions opt for controlled soundstage environments, Bader emphasizes that The Testament of Ann Lee was always intended to be shot on location. "We wanted to capture the authentic feel that only comes from working outdoors. The architecture in the film, particularly the Shaker settlements, was meant to be in harmony with nature," Bader explains. "Even if soundstages had been an option, we would have preferred to stay true to the real-world locations, which provided a unique texture to the film."

Overcoming the Challenges

Despite the many obstacles, Bader looks back with pride on how the team overcame some of the most difficult challenges during production. One of the standout moments was designing the Shaker meeting house, which needed to reflect the strict compositional harmony that characterized Shaker architecture. "Getting those details right was essential. It had to look as real and authentic as possible," Bader says.

Another notable challenge was the house that needed to be burned down in a dramatic scene. "The Hungarian government wasnt thrilled with the idea of burning a house in the middle of a heatwave, but we found a perfect locationa rock quarry two and a half hours away. It had an exposed rock face and rough, uneven construction, which gave the house a raw, natural look. What was supposed to be a single, isolated house in the woods turned into a larger, more intense scene," Bader recalls. The quarry allowed for extensive set modifications, including reconfiguring tents, adding snow, and creating a labor camp atmosphere.

The Resulting Epic Moment

What started as a small, intimate scene ultimately exploded into a grand, epic sequence. "The scale of the final burn and the surrounding scene grew far beyond our expectations. It became a major historical moment that feels much larger than the film's budget would suggest," Bader says. "Its a perfect example of how we had to adapt and 'MacGyver' our way through these design challenges, making the most of the resources available to us."

Author: Aiden Foster