This article contains an open discussion about the grand finale in the HBO adaptation of the novel Sharp Objects .
In Gillian Flynn's novel Sharp Objects The last moments of the story reveal a great deal of information, as does the HBO adaptation of the book, which runs until the very last second This article goes into more depth about these revelations – we will leave another spoiler warning here, just in case.
Viewers of this story will discover with Camille ( Amy Adams ) in the show's very last scene when she looks in Amma's Eliza Scanlen dollhouse to first find a whole tooth, which is in the facsimile of Adoras ( Patricia Clarkson ) Room rests ̵
Sharp Objects Production Designer John Paino -Who worked with Director Jean-Marc Vallée at Dallas Buyer's Club Wild Abriss and Big Little Lies – next to Vallée, Serienco-Creator Marti Noxon and tooth-sculptor Eliza Scanlen chatted with VF.com about the complicated construction of the floor.
Readers of the novel had no time to guess what Amma Adora's famous ivory inlay floor had reproduced. In fact, when Camille discovers it, she actually rummages Amma's things in search of her teeth. Flynn writes:
I swept the contents of the dollhouse room, room by room, shattering mine
small four-poster bed, Amma's day bed, the lemon yellow love seat.
Once I threw out the big brass canopy of my mother and destroyed her
Make-up table, either Amma or I screamed. Maybe we both did it. The
Floor in my mother's room. The beautiful ivory tiles. Made of humans
Teeth. Fifty-five tiny teeth, cleaned and bleached and shiny of the
Something to write is easy – Vallée wants to give Flynn this particularly cruel detail: "The floor of the room must be made of teeth Come on Who has the twisted mind?" Gillian Flynn – we must bow, we must bend. "But to make the audience register the fact of the tooth floor in just a few seconds? That's a lot harder. For Paino, the challenge began with the life-size version of Adora's ivory floor. Given the scarcity – not to mention the cruelty – of ivory as a decorative item, Paino could not find a historical reference for a whole floor of tusks. He looked at everything from Islamic temples to burlap boxes, but still called the idea of constructing an ivory-colored floor – one that corresponds to Adora's Victorian decor from the 1850s – the most challenging aspect of the entire project.
Paino's Dilemma: "You want it to be somewhat dental-like, you want to see the teeth of walruses, whales, rhinoceros horns, but you did not want it to be dent because it gives a big storyline . "So he ended up with a mix of round, transversal tiles bordered by curved pieces. "[John’s] the one who came up with the rounded ivory floor cut from real tusks," Noxon said, "so the teeth fit right in. He's a sorcerer. All he did was," They're out Unicorn. "
The authors and Vallée carefully provided insights into the large expanse of ground in earlier episodes, making him an organic storyline, Adora's obsessive mania, and Camille Rolle as an unwelcome guest in her own home. "It's a lot to tease that this is a harbinger of things to come and obsession with," explains Paino = ed.
But when it was time To make the dollhouse version of Adora's floor, Paino went through several versions – some that were too "toothy" and some that were not toothy enough – a question he had to consider: how skilful is one Zahnschnitzer actually the young Amma? "I imagined that it was not so flat," says Scanlen. "It would be kinda stiff because the teeth are different sizes, but it looked really professional what the annoying thing is, it looks like it really took the time to smooth the floor, and yes, it did a lot of effort was made, which is somehow scary and sick. [She’s a] Sculptor of the 21st Century. "
After Paino, earlier versions of the dollhouse floor, the scale ran from an almost identical facsimile of Adora Zimmer to a" that was literally just teeth – she just poked teeth at places. "In the end, the show used a mix of both. We see in earlier episodes that Amma has a bottom there that is identical to Adoras, but she slowly replaces it with her own human ivory collection – starting with a section hidden by the tiny bed. Ultimately, Paino and his team had to make their own plaster model for children's teeth to achieve the appearance shown in the exhibition. "No real teeth," he clarified quickly. We've cast and carved them. "
When Paino first asked various professional dollhouse makers to help design Amma's toy, he was told that such a project could be completed in" two or three years. " Manufacturers working at this level manufacture all their products by hand, and Paino's production team had to do the same: "If you want a real Victorian shake on the roof, you'll need to cut all 5,000 or 8,000 pieces – that's very labor intensive . " 19659014] By John Paino; Courtesy of HBO