""The sea is a nightmare to fake with VFX [visual effects]," Stone explains. "So any interaction between the characters and the sea would have cost so much to do. It was a purely pragmatic decision. The only thing we really needed to change was the number of cabins for story purposes, so we had to build the cabins and we designed some of the interior of the ship.""
""You can't shoot on a real yacht with that amount of wealth and then fabricate that in a studio on a really cheap level," Normington adds. "If we had built it entirely we wouldn't have had the scope and the scale we got by using a real yacht. It also gave a sense of real peril being on a boat at a certain height with water below.""
The Woman in Cabin 10 follows journalist Laura Blacklock on a luxury superyacht trip through Norway's fjords where she witnesses a guest fall overboard while hosts insist no one is missing. Much of the film's drama unfolds aboard the Aurora Borealis. Director Simon Stone and production designer Alice Normington chartered a real superyacht and built additional cabins and some interiors on a soundstage to meet story needs. The production avoided extensive sea VFX because realistic interaction with the ocean would have been prohibitively expensive. Using a real yacht provided scale, scope and a tangible sense of peril from height above the water.
Read at Conde Nast Traveler
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