Top 10 Behind the Scenes Facts About Saltburn

Emerald Fennell, acclaimed for acting in “Call the Midwife” and “The Crown,” both writes and directs this psychological thriller exploring desire and obsession among the British elite. Fennell drew inspiration from the striking image of “someone licking the bottom of the bathtub,” a visual she chose to share with viewers (if you know, you know). This peculiar mental picture, along with a specific sentence that would ultimately be uttered by her imagined character [“I wasn’t in love with him”], evolved into the complex persona of Oliver. After plotting the screenplay for years, Fennell wrote it in utmost secrecy, allowing no previews of it until she deemed it ready. She also shared that she wanted to subvert and twist the genre - and if you’ve seen the movie, we’ll let you judge if she succeeded.

As any movie buff will know, a film’s aspect ratio is more than just a technical detail. It shapes how the movie looks and feels and impacts the story, style, and how we connect with it. At a press conference, cinematographer Linus Sandgren likened “Saltburn”’s 4:3 (also known as 1.33:1) aspect ratio to that used in German expressionism and silent films and that the movie was infused with an almost surreal “looking glass” or “doll house” vibe. The narrow frame is meant to emphasize a visual perspective where viewers are not directly immersed, but rather have a detached onlooker stance, similar to appreciating a piece of art. It also helped that the aspect ratio helped them fit the rooms in all their grandeur into the frame.

Dating back to the 1300s, the real-life English manor used in the film is the main backdrop for much of the story. Fennell wanted to set her tale in a unique location, believing it would feel more real if nobody knew much about it. So, the creative team, including production designer Suzie Davies, found a private manor in Northamptonshire, reportedly Drayton House. Everyone involved was apparently required to keep the location’s details a secret while filming, and the owners reportedly granted production exclusive use of their home and some creative freedom with necessary alterations. Rosamund Pike, who plays Felix’s mother, Lady Elspeth Catton, fully immersed herself in the lifestyle, living at the location during filming. Since the story centers on Oxford University students (Fennell’s alma mater), different university colleges also became filming spots.

Bookworms, especially those drawn to Gothic tales, might catch subtle nods to other books woven into the movie’s themes. Much like L. P. Hartley’s “The Go-Between,” “Saltburn” delves into class dynamics, secrets, and coming-of-age within the luxurious confines of a wealthy family’s estate. Inspiration taken from Anthony Burgess’ “A Clockwork Orange,” Emily Brontë’s “Wuthering Heights,” and Daphne du Maurier’s “Rebecca” add darker elements, contributing to an unsettling tone. Apparently, Jacob Elordi was encouraged to read Evelyn Waugh’s “Brideshead Revisited” to help him step into his character’s mindset. These are just a few examples of the titles that contribute to the foundations of this black comedy thriller. Film enthusiasts and art appreciators will also notice nods to other famous works throughout the narrative.

The mid-2000s Facebook-dominated era guided costume designer Sophie Canale to a 2007 fashion flashback. Rediscovering Abercrombie, Hollister, and style icons like Kate Moss, she curated cast wardrobes, ensuring each character’s attire was a perfect fit. Felix’s laid-back style, inspired partly by Princes William and Harry, featured brands that give away his upper-class background. Oliver’s look evolved from a caricature of an Oxford student to align more with how he sees his wealthier peers dress. Felix’s cousin Farleigh’s attention-grabbing wardrobe supposedly took the longest to piece together; his look mirrors his uniqueness. Also, Lady Elspeth’s outfits are (excuse the pun) to die for! The former model’s wardrobe, featuring vintage pieces, elegantly traced her career’s timeline with a relaxed boho undertone.

Although Fennell’s script is sublime, some of the film’s most unforgettable, albeit disturbing, scenes were improvised by the cast. One such instance is the graveyard incident; Fennell supposedly dropped a hint on how she thought the character would act at this moment, and Barry Keoghan took it the rest of the way. The closed set, leaving only three crew members, empowered Keoghan to push boundaries. Another moment that had us itching to look away is the bathtub scene. Reportedly, Keoghan came up with his character’s, erm, elongated interaction with the bathtub to really hammer home the intensity of his fixations. On a lighter note, Pike shared that Fennell let them ad-lib some of the chit-chat, providing some topical context to the timeframe.

Foley artists rank among the most creatively inventive individuals, and for this project, thinking beyond conventional boundaries to come up with the sound effects needed was more than a prerequisite. For instance, how would you recreate the sound of someone rubbing their face on the bottom of a bathtub? Did you think of “raw octopus sliding against oil?” Because “Saltburn’s” sound team did— well, they mixed it in with the sounds Keoghan was already making. Their eight-limbed companion made additional contributions to some of the more, erm, lustful scenes in the movie. It also played a role in Lady Elspeth Catton’s final moments. We don’t know about you, but we may never be able to look at octopuses the same way. So, with that mental image, let's just move on.

However wild Oliver’s party might’ve looked, it sounds like the more outrageous moments unfolded off-camera. The actors noted a second real-life party going on at the premises, essentially causing reality and fiction to blur during this two-day bash. Influencer and party extra Luiza Cordery shed light on the shoot, making it sound incredibly trippy and unbelievably awesome. She posted photos from her high-life experience and luxurious indulgence, including one of her hotel room. Cordery also shared the crew’s efforts in organizing extravagant dinners that wove thematic connections to the movie’s plot. She jokingly concluded that she and her pals “managed to leave unscathed.” If you want to know what she means, watch the movie.

Keoghan didn’t go full Method with his acting, but he did work on keeping the accent and appearance in check. Perhaps most impressively, he also did his homework to truly understand Oliver and what makes him tick. While prepping for the role, Keoghan kept five different notebooks, each delving into a different portrayal of the character. Oliver undergoes a significant transformation from the moment we first meet him to the final scene, so naturally, the character’s aspirations, mindset, and even how he carries himself change. Keoghan made notes on all of this to ensure he knew the character inside out. He also revealed that since the film wasn’t shot in a linear timeline, they helped him maintain consistency in Oliver’s journey.

In the final scene, Oliver jubilantly dances through the Saltburn estate to Sophie Ellis-Bextor’s “Murder on the Dancefloor.” Originally, the plan was for Oliver to walk through the mansion, but that didn’t strike the right chord for Fennell. She aimed for audiences to somewhat overlook Oliver’s disturbing tendencies and root for him anyway. The scene, choreographed by Polly Bennett, was captured in a long take in contrast to the tour Felix offered earlier in the movie. The creative choice for Oliver to dance in the buff subtly asserts his dominance in his new home. Despite the daunting prospect, Keoghan agreed it was a fitting choice. Notably, they shot the sequence 11 times until Fennell felt satisfied that Oliver exuded enough “evil joie de vivre” to draw audiences to his side.

Have you seen “Saltburn?” Or have our behind-the-scenes tidbits piqued your interest? Let us know in the comments.