The Wonderful Story of Henry Sugar with Guy Trevellyan (MA Producing)

When we spoke to MA Producing Graduate Guy Trevellyan back in 2022, he had just wrapped on Wes Anderson’s The French Dispatch, joining the crew as the UK Assistant for the film’s post production.

Since then, Guy has collaborated with Wes Anderson on Asteroid City, and all four of the Netflix ‘Roald Dahl Shorts’, including the Oscar-winning The Wonderful Story of Henry Sugar, on which he worked as 3rd Assistant Director.

With additional credits on some of the biggest movies of the last few years – including Barbie, The Little Mermaid, and Indiana Jones, we caught up with Guy to learn more about his last few years in the industry…

The Roald Dahl adaptations were Wes Anderson’s first short films in a decade. Did the short format change the filming process?

These shorts were very unique in style, with their diorama of roll in and out sets, stage hands, and HMU changes in camera. In essence, it was almost theatre on film.

Due to this, our schedule was very much driven by the art department. What we filmed – and when – was determined by which set could be built within a limited space.

From the Assistant Director side of things, we had to test rigs and sets on-camera, and allow enough rehearsal time for changes or alterations from the Art Department. Plus, we needed to prep any make-up changes, allowing all members of the cast and crew to rehearse these changes alongside the animatic.

More and more, Wes Anderson’s films seem interested in the idea of ‘stories within stories’. How has this challenged you as an Assistant Director?

There’s definitely a level of intricacy which comes with adding multiple layers to a story. Often, it means different timelines, new costumes, new cast members, sets, or even locations to film.

As many people already know, Wes Anderson makes an animatic of the storyboard well into pre production. This is an essential tool for everyone to use, and helps us to know exactly what we’re filming.

The ‘stories within stories’ approach has definitely developed my onset skillset: it’s all about being over-prepared for all eventualities. I’ve definitely also learnt a lot from the 2nd Assistant Director, who has to keep track of the schedule and all the different layers happening in each scene!

Go behind-the-scenes of The Wonderful Story of Henry Sugar in this short Netflix video…

Looking back at your wider experience from the last few years, what would you say has been the biggest lesson you’ve learnt?

I remember the first time I walked onto a film/tv set of this calibre, I was so excited to see the magic behind the camera. It can easily become overwhelming, meeting a crew of 400 people at the top of their profession – you have to quickly learn your way around.

As an Assistant Director, you have to know everyone. It’s about communicating between departments and making sure everyone is prepared. The biggest lesson I’ve learnt from that would be respect, composure, and communication.

When you’re working on a film or series, you become very close with the crew – you’re almost a ‘dysfunctional family’ to some degree! Under pressure, things can quickly escalate, or turn into a ‘mad dash’, and in those moments, staying composed and remaining calm can often save situations. It’s especially important when you’re working on a potentially dangerous scene, for example using stunt work or SFX.

And finally, from the four Roald Dahl shorts that you were a part of… do you have a favourite?

I would say The Wonderful Story of Henry Sugar is my favourite! The style of ‘theatre on film’ with the diorama sets and in-camera make-up changes are a wonder to watch – and to work on!

I also loved filming The Swan, which was a very unique short. We shot it entirely outside, using large amounts of diorama. Watching Puppet Maker Andy Gent and his team work on the swan wings was truly magical. The level of prep and level of detail for this gag was very exciting to see.

Watch this trailer for a glimpse into all four of Wes Anderson’s Roald Dahl adaptations…

Wider Credits on The Wonderful Story of Henry Sugar

Of course, Guy Trevellyan was not the only graduate involved with Wes Anderson’s very first Oscar win.

Huge congratulations also go to Marta Baidek (BA Practical Filmmaking) and Gabi Walean (MA Post Production), who worked across the four Roald Dahl shorts respectively as Visual Effects Production Manager, and 2nd Assistant Editor.

The roles that our graduates held on The Wonderful Story of Henry Sugar relates back to a wider point that MetFilm Director, Jonny Persey, made earlier this year: that amongst our graduates, we have seen a significant rise in the numbers of Principal and Head of Department roles across the film & tv board, all with significant acclaim and distribution.

• Guy Trevellyan studied MA Producing at MetFilm School London. This course is also launching in Berlin from September 2024.
• Explore our full range of MA Degrees across London, Berlin, and Leeds at our upcoming MA Virtual Open Event on Wednesday 8 May!