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A Yankee Guide
Penny Dreadful, Showtime's new horror drama about an African explorer (Timothy Dalton, middle) who teams up with a clairvoyant (Eva Green) and a Wild West entertainer (Josh Hartnett, right) to find his missing daughter, gave creator John Logan (co-writer of Skyfall, left) a way to revisit classic literary creations we've all known and loved (and had nightmares about). ''Sir Malcolm, Vanessa, and Ethan are the fictional spine which come into familiar characters like Dr. Frankenstein, the Creature, Dorian Gray, and vampires,'' Logan says.
Hartnett plays an American outsider by design. ''He's the eyes into this world,'' says Logan. ''I wanted the audience to be led into a world that was so bizarre and unfamiliar that they would feel completely unsettled — not only because it's a different country but [also because] it's a different time that deals with the supernatural.''
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The monsters on Penny do their fair share of killing, so a team of expert prosthetic technicians came aboard to, um, lend a hand. Fortunately, production designer Jonathan McKinstry had no problem stomaching the bloodshed. ''I worked on HBO's Band of Brothers, and there were a lot of dead bodies on that.''
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The streets of Dublin doubled beautifully for Victorian London. ''It hasn't been modernized in quite the same way, and traffic was easy to control,'' says McKinstry. ''We weren't completely trapped on a backlot.''
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Setting the Scene
A turn-of-the-century torture tub? Close! Look for monsters to come and go — and be created — on eerie set pieces like this one.
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Signs of the Times
An entire print shop was formed at Ardmore Studios to make vintage signs for the set. ''Signage played such a huge part in everyday life in Victorian London,'' explains McKinstry. ''Buildings were covered with them, so we made sure we represented them wherever possible.''
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The prosthetics lab could easily be mistaken for a morgue because on any given day, a visitor could find a fake dead body — or a pile of innards — lying on one of the tables. ''Everything needed to feel real,'' says McKinstry. ''John didn't want to hold back on the gory part.''