The Favourite
In the court of Queen Anne, a frail monarch and two rival cousins compete for power, affection and the run of the palace.
The palace is not a backdrop; it is a third antagonist. We built a household that amplifies every footstep, every whisper, every clipped courtly consonant — a baroque panopticon in which the characters cannot say anything without the architecture overhearing it.
Heels on parquet. A cough eight rooms away.
Taffeta, candlewick, a sleeping monarch's laboured breath.
Iron, bone, the base notes of a court built on meat.
Seventeen small animals. The queen's seventeen children.
The film is built from these components. Each stem below is a narrative thread — the work is in how they are woven, and where they are withheld.
Custom impulse responses drawn from Hatfield House and Hampton Court extend every vocal transient far beyond the frame. Dialogue is not just heard by its addressee — it is heard by the building, and the building keeps a ledger.
- — Palace IRs
- — Extended vocal tails
- — Architectural surveillance
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