I Genuinely Can't Watch "Saltburn" The Same After Learning These 13 Surprising Facts

LuckyChap Entertainment, the production company Margot founded alongside her husband, Tom Ackerley, and Josey McNamara, produced two of the year's most notable films: Saltburn and Barbie. They also previously produced Promising Young Woman.

"We shot Barbie and Saltburn at the same time, so Margot had two weeks off [after Barbie] and then came to the set," McNamara told Variety. "I don’t think many other people do that."

Emerald told Time that she didn't write the character for the actor, who previously starred in Promising Young Woman. "She read the script as my friend and asked if she could play Poor Dear Pamela," Emerald told the publication. "It needed somebody who would take her seriously. You know, because she is very important, Poor Dear Pamela. She's the human debris."

In the film, Oliver and Felix meet as students at the prestigious university. "I mean, the vomit in the sink is really down to the last chunk, personally inspired. I think it's all kind of in there, isn't it?" Emerald previously told BuzzFeed. "The thing that I like to do is take these timeless places like the Saltburn country house or Oxford, which always seem so timeless and posh, but the actual experience of being there is that everyone's room is disgusting, everything smells weird, and everyone's wearing a Juicy Couture tracksuit. I was there in 2006, 2007, which is when this film was set. So it was incredibly fun to be able to kind of get the sticky floor down to the perfect consistency."

"It’s amazing that you could just be living in the same house as another family and never see them. They’ve got beautiful gardens that I could get lost in and go and read. I mean, I wouldn’t tell Elspeth I was reading a book — I don’t think Elspeth has ever read a book in her life. I think there are not enough pictures. I think she likes magazines," Rosamund, who played Elspeth, Felix's mother, told the Hollywood Reporter. "But me, Rosamund, would definitely go into the gardens and lie in the grass and read books." 

"That scene actually kind of came probably a week before we shot it," Archie told Collider of the party conversation. "I'm sure Emerald was working on it for a long time before that, but it was so needed. It was so needed for Farleigh to kind of gratify himself and say his piece, the thing that he'd been holding on to with these scornful looks the entire film. He just needed to get it out of him and purge himself of it. It was the most fun, collaborative experience I’ve ever had. So great."

"It was the most expensive cue in this movie by miles, but it’s really important, and you can’t even hear it," Emerald told Awards Watch.

"I wanted his demeanor, his pace, his physicality to change. I wanted this evolution to happen, and I wanted to be on top of that, you know, especially with someone like Oliver, whose demeanor does change, and his motives do change. As the story goes on, each notebook had a different tone of voice," Barry told Vogue. "I don’t know if that came across. At the start, he’s quite innocent and sweet, and then, obviously, we know what happens towards the end. But I wanted to find that middle place where it’s dissected. I wanted each thing to be different."

"One of the things [Emerald] said when Elspeth discovers Felix [dead] in the maze was, 'I’ll never show that. You can never see a mother’s grief on film. It’s just too awful. It’s too much,'" Rosamund told Deadline. "So by the time we hear Elspeth, and by the time the others come in, she’s already battened down the hatches and buried the feelings, immediately overridden it and suppressed it. But that doesn’t mean I didn’t have to play it [off camera]."

"The gravesite was sort of like a collaboration with me and Emerald,” Barry told Variety. “On the day, I was like, ‘Can I try something?’ I wanted to see what the next level of obsession was. So I asked for a closed set. I wanted to see where it went. It could have gone completely wrong, but I think it moved the story.”

"It was completely me," she told the Hollywood Reporter when asked if she used a body double for the scenes. "I was absolutely there for two days of Barry doing what he will. I was trying to be a very active acting partner for him. I was trying to respond with my kind of disturbing breath in a way that he would feel like he had an active participant in that scene. If you’re ever a comatose body in a scene, I think it’s your duty to be there for the other actor."

“We’re given a tour of the most beautiful house in England, and we don’t see the house, we see [Felix]. He shows [Oliver] the staterooms first, and it ends in the King’s Bedroom, where the last scene begins, and obviously, [Oliver has] been sleeping there. This is where he lives. It’s an act of marking his territory,” Emerald told Variety. “It’s his place now, and he can do whatever the fuck he wants.”

"A lot of the time, [Barry] was immensely patient because there was a lot of naked dancing. Take number 7 was technically perfect," Emerald told Variety. "You could hear everyone’s overjoyed response, but I had to say ‘sorry’ because it was missing whatever it was that made Oliver that slightly human messiness. So we had to do it a further four times.”