The Last Kingdom producers discuss ending the series right

The Last Kingdom season 5
The Last Kingdom season 5 /
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The Last Kingdom season 5
The Last Kingdom season 5 /

Production designer Dominic Hyman teases Uhtred “finally retaking Bebbanburg” in The Last Kingdom season 5

How would you describe your role of production designer on The Last Kingdom?

As production designer on The Last Kingdom, my initial responsibility is to read the scripts and
to understand the scope of the production from the very beginning, and to help the producers
and the writers, and of course the directors, design a show that is deliverable and manageable
within the constraints of the budget. But also to create a world that the show can inhabit that
is believable and exciting for the audience.

Describe season five of The Last Kingdom.

There’s a great sense of journey in season five. I think this sort of continuous move north is
the main thrust of the story, and, of course, leading to Uhtred’s final birthright moment, him
finally retaking Bebbanburg and being restored as the Lord of Bebbanburg. I think that’s the
journey. But there are several new environments that we have created this season, as we
have traveled north, and it’s been really fun to do. We had Macclesfield, and of course we
had York, or Jorvic, or Eoferwic, which was a major story point and a significant environment
where many aspects of this season’s stories play out. And then finally Bebbanburg, which is
the point of the pyramid in story terms. It’s been very interesting. All the old favourites played,
Winchester briefly in the first block [of filming], Aegelesburg, obviously. What will happen to
Aegelesburg and to Mercia? And of course, in the background of all of that, Edward’s ambition
to unify England and bring all of these states together.

Desribe the historical accuracy of The Last Kingdom.

10th century England, obviously there’s not a huge amount of documented evidence of
architecture from that period, especially being that the majority of it was built in wood.
Aspects of stone architecture do survive, especially in ecclesiastical architecture, which was
built in stone. That’s where money was spent in the 10th century. The church is rich. But
settlements, towns, and the like, were predominantly timber. Eoferwich is, of course, an
exception to that, because it’s built on Roman foundations. I think the important thing with
historical accuracy is to do as much research as you can about anything that exists, or
references that exist. We have a fantastic historical advisor who I work absolutely hand in glove with, who I check everything with, both from an architectural point of view, and from a
set dressing point of view, all manner of design questions. And I think going through that
rigorous process then allows you, at a certain point, to put all that away, put all of that aside,
and then just think about the story. Of course, one was thinking about story anyway, but just
think about the story having done the research, and then do it and make it work for the story.

Describe the look of the show.

The look of the show is consciously understated, but set within an historical context that is
real, then hopefully, at times, flourishes design-wise, that allows it to be captivating for the
audience, and for the actors to play their parts in. But always set within a feet-in-the-ground,
earthed-ness. We avoid fantasy as best we can at all times, and just try and keep the show
very much of its time.

Which is your favourite set?

I think this season my favourite set for sure was Eoferwich, in that to be able to layer up so
many historical elements, so many periods, so many styles together into what is hopefully a
believable environment was most satisfying and fun. Because there were so many scenes shot
in Eoferwich, but there were so many different areas and aspects to it, you don’t feel like
you’re constantly shooting in the same place. There are plenty of different looks. I think the
texture is always exciting. That was great.

What were the ambitions of season five?

I think the wonderful thing about this show, and my time on it, has been that it has not
diminished in its ambition, it’s increased. And every season, I come back, and it seems that
we’re pushing harder and harder for more excitement, more interest, more texture.
Everything about the show, for me, gets stronger each season, and I feel very supported by
everyone about pushing that ambition, creatively, in the story, in the action, in the drama.
The show just keeps giving and is always exciting from a design point of view.