Museums have provided exciting locations for movies since the early days of film-making. One of the first talking pictures filmed in Britain, Alfred Hitchcock's 1929 film Blackmail, featured the British Museum as the backdrop for its final chase scene, and today's location managers are still using museums and historic houses as distinctive settings.
This is particularly true for period dramas such as Pride and Prejudice, where filming took place at Chatsworth in Derbyshire and the National Trust-owned Basildon Park, an 18th-century Palladian mansion in Berkshire, and Groombridge Place in Kent. The forthcoming film adaptation of Dan Brown's bestselling book The Da Vinci Code will feature the Louvre and Rosslyn Chapel, Midlothian.
The use of museums and historical houses for films will continue because, despite all the disruption it can cause, filming can provide a boost in business to venues as visitors seek them out for their 'star' quality.
A new movie in pre-production from Walden Media called Amazing Grace is based on the true story of William Wilberforce and his 20-year fight to abolish the slave trade. 'It is likely that Wilberforce House will be featured to reflect a particular aspect of the storyline,' says John Hughes, the project manager of Wilberforce House in Hull.
The city of Hull and historical sites associated with Wilberforce are expecting an increase in tourism visits from the publicity surrounding the film.
'Usually the arrangement can be mutually beneficial as the film gets an authentic, accurate location as a suitable backdrop and the organisation gets a fee which is usually welcomed,' says Joel Holmes, a location manager, whose job includes setting out the details of the proposed filming activity.
Both partners usually sign a formal agreement: 'This will include details of the scenes that we wish to film, the areas in which they will be filmed, temporary alterations, light and camera requirements along with confirmation of our undertaking to reinstate the property to its original condition and make good any damage.'
For Sony Pictures, Rosslyn Chapel is an important part of the filming of The Da Vinci Code. Founded in 1446 by Sir William St Clair, the chapel was approached for The Da Vinci Code because 'it is in the book and because it looks the part,' says its director Stuart Beattie.
But he didn't accept the offer without thinking through the consequences. His concerns were disruption, reputation - and the fee. Rosslyn had to shut down for four days of filming and Beattie says: 'I don't like to deny visitors access, so closing has been a problem.'
Rosslyn has seen an influx of visitors since The Da Vinci Code book became popular. In 2003 there were 38,000 visitors; in 2004 there were 68,000. So far in 2005 there have been 110,000 visitors.
It is likely that numbers will continue to rise after the release of the film. 'We've increased our car park, and already had plans to enlarge the visitor centre, but that won't be until 2007,' says Beattie. 'The chapel won't get any bigger and our visitors are generous with their patience.'
While Rosslyn is experiencing a boom in business, Beattie also warns that people who are coming to see it based on their movie experience could be disappointed. 'The chapel is "dressed" by Hollywood, and will have extras that are not normally here. The visitors who come after the filming will want to see these extras.'
But Beattie doesn't have to worry too much about the film representing Rosslyn in a historically inaccurate manner, since the movie is based on a work of fiction. He says he was fully aware of the plans for the chapel but had no say in the interpretation.
'Rosslyn means different things to different people, and some will disapprove. However, Rosslyn is a historic building, used as a place of worship, as opposed to being a church per se.'
More importantly, Beattie wants people to know that Rosslyn has always been an attractive destination and popular backdrop for authors and artists.
Locations such as the Louvre were taken from the book, but the The Da Vinci Code film-makers could not secure every place they wanted. Westminster Abbey is a crucial location in the book but the film crew was refused permission.
Holmes says there are various reasons for film-makers being prevented from filming: 'The proposed activity could be deemed too intrusive or disruptive. Sometimes it can be too expensive for the production company, or access is too restricted.'
The Da Vinci Code's Westminster Abbey scenes have been shot at Lincoln Cathedral, which was adapted to look more like the abbey. The Dean of Lincoln, the Very Rev Alec Knight, was aware of the disruption that filming could bring.
'There would inevitably be negative reaction to the filming of a book that raised controversial issues for the church,' he says. Overall though, he felt that the experience was positive and enjoyable. 'It was good for staff morale; they enjoyed mixing with the film crew and watching the process.'
Holmes says film crews work hard to prevent damage in historic locations: 'We regularly use wall and floor coverings in locations and even put tennis balls on the feet of lamp stands.'
Harvey Edgington, the broadcast and media liaison manager for the National Trust, has helped to negotiate films and TV shows that take place in locations that are owned by the charity. His most recent effort includes looking after filming at Basildon Park for Working Title's production of Pride and Prejudice.
Basildon Park was used as the setting for Netherfield, the home of Mr Bingley in Jane Austen's novel. It was also used as the location for the first meeting between Elizabeth Bennet and Mr Darcy and for many of the ballroom scenes.
One of the biggest concerns about filming at Basildon Park was closing to the public. Basildon had to be shut for seven weeks in preparation for the ten-day shoot.
'We had to manage the closure so as not to disappoint visitors and to explain to them why we were allowing the closure for filming,' said Edgington. 'This was remarkably successful as we only received a handful of complaints.'
Edgington feels there can be positive and negatives to films being made at museums and other historic locations, but if handled correctly the payoff can be very rewarding: 'Some of our properties have seen their visitor figures treble.'
The National Trust finds that these opportunities not only benefit the museum or historic location, but the community around it as well. Edgington says that trust properties are part of the wider community, and they gain directly from crews in terms of hotel rooms and food.
'One crew spent £500,000 locally a month,' says Edgington. 'If we can attract that kind of spending by opening our properties to filming we should.'
On the down side, he says that filming can take a long time. 'It is always a 12-hour day, and there can be up to 70 people on a crew, all of whom could potentially have an accident or cause damage.'
A properly managed crew shouldn't cause any problems. 'Some of our staff were extras, to prevent others from resting against walls, and smoking,' recalls Edgington of filming at Basildon Park.
But he admits that sometimes things just seem to slip through the cracks when it comes to filming. 'A crew once asked me about a cherry-picker, which is what the fire brigade use to reach high buildings. I naturally assumed it was for a camera, but on the night it turned out it was for a light, which lit an area of about half a mile, including the houses of local residents.'
Edgington also warns that museums need to make sure that the film-maker's insurance cover is enough for any reasonable damage. 'If a crew does not have public liability or indemnity insurance, then don't let them in.'
Joel Holmes warns that museums and historic locations should not expect a film crew to come in without any disruption or inconvenience. He also says 'they should always be aware that the stars of the films are always the cast and that the museum may ultimately be only a backdrop, albeit a handsome and impressive one.
'It can sometimes come as a disappointment to discover that a great deal of effort went into something that does not appear on screen for very long or is only featured in the background.'
Danica Fisher is a journalism student
A number of organisations help museums promote themselves as film locations:
www.ukfilmcouncil.org.uk
www.filmlondon.org.uk
www.walesscreencommission.co.uk
www.scottishscreen.com
www.niftc.co.uk
Classic museum film locations
The Amberley Working Museum, West Sussex
This 36-acre open-air museum was used as a 'Silicon Valley' mine in the 1985 James Bond caper A View To A Kill, starring Roger Moore.
The British Museum, London
The BM has often been chosen by film-makers, including Alfred Hitchcock who used it for the final chase scene for his 1929 film Blackmail. This is seen as a key film in the history of British cinema, being the first significant sound film produced in the UK. Other films featuring the BM include The Day of the Jackal, Maurice, and Possession.
Guggenheim Museum, New York
In this version of Hamlet released in 2000, Ophelia's breakdown is in the spiralling corridor of the Guggenheim. Woody Allen's classic film Manhattan also features the Guggenheim.
Metropolitan Museum of Modern Art, New York
A frequent venue for movies including the classic 1968 art heist film The Thomas Crown Affair and the 1999 remake starring Pierce Brosnan.
National Gallery, London
Features in the 1986 adaptation of E M Forster's A Room With a View, in a scene with Daniel Day-Lewis. More recently in the romantic comedy Love Actually.
National Museum, Prague, Czech Republic
The grand staircase in the central lobby was used to represent the American embassy in Prague for the 1996 movie Mission Impossible.
Philadelphia Museum of Art
Sylvester Stallone runs up its steps in Rocky, and the interior scenes for the Brian de Palma's 1980 thriller Dressed to Kill were also shot there. The exteriors were filmed at the Met in New York.
Soldiers and Sailors National Military Museum and Memorial, Pittsburgh
This military museum was the venue for the Baltimore Jail scenes in the terrifying Silence of the Lambs, starring Anthony Hopkins.
Tate Modern, London
It's only been open since 2000, but Tate Modern has already featured in Love Actually, Bridget Jones's Diary, Enduring Love and is also being used by Woody Allen for his new film, Match Point.
Topkapi Palace Museum, Istanbul, Turkey
Peter Ustinov won the best supporting actor Oscar for his role in Topkapi in 1964, a light-hearted museum heist. The film was based on Eric Ambler's The Light of the Day, and was distinguished by its 30-minute silent sequence during the theft of a jewelled dagger.
This is particularly true for period dramas such as Pride and Prejudice, where filming took place at Chatsworth in Derbyshire and the National Trust-owned Basildon Park, an 18th-century Palladian mansion in Berkshire, and Groombridge Place in Kent. The forthcoming film adaptation of Dan Brown's bestselling book The Da Vinci Code will feature the Louvre and Rosslyn Chapel, Midlothian.
The use of museums and historical houses for films will continue because, despite all the disruption it can cause, filming can provide a boost in business to venues as visitors seek them out for their 'star' quality.
A new movie in pre-production from Walden Media called Amazing Grace is based on the true story of William Wilberforce and his 20-year fight to abolish the slave trade. 'It is likely that Wilberforce House will be featured to reflect a particular aspect of the storyline,' says John Hughes, the project manager of Wilberforce House in Hull.
The city of Hull and historical sites associated with Wilberforce are expecting an increase in tourism visits from the publicity surrounding the film.
'Usually the arrangement can be mutually beneficial as the film gets an authentic, accurate location as a suitable backdrop and the organisation gets a fee which is usually welcomed,' says Joel Holmes, a location manager, whose job includes setting out the details of the proposed filming activity.
Both partners usually sign a formal agreement: 'This will include details of the scenes that we wish to film, the areas in which they will be filmed, temporary alterations, light and camera requirements along with confirmation of our undertaking to reinstate the property to its original condition and make good any damage.'
For Sony Pictures, Rosslyn Chapel is an important part of the filming of The Da Vinci Code. Founded in 1446 by Sir William St Clair, the chapel was approached for The Da Vinci Code because 'it is in the book and because it looks the part,' says its director Stuart Beattie.
But he didn't accept the offer without thinking through the consequences. His concerns were disruption, reputation - and the fee. Rosslyn had to shut down for four days of filming and Beattie says: 'I don't like to deny visitors access, so closing has been a problem.'
Rosslyn has seen an influx of visitors since The Da Vinci Code book became popular. In 2003 there were 38,000 visitors; in 2004 there were 68,000. So far in 2005 there have been 110,000 visitors.
It is likely that numbers will continue to rise after the release of the film. 'We've increased our car park, and already had plans to enlarge the visitor centre, but that won't be until 2007,' says Beattie. 'The chapel won't get any bigger and our visitors are generous with their patience.'
While Rosslyn is experiencing a boom in business, Beattie also warns that people who are coming to see it based on their movie experience could be disappointed. 'The chapel is "dressed" by Hollywood, and will have extras that are not normally here. The visitors who come after the filming will want to see these extras.'
But Beattie doesn't have to worry too much about the film representing Rosslyn in a historically inaccurate manner, since the movie is based on a work of fiction. He says he was fully aware of the plans for the chapel but had no say in the interpretation.
'Rosslyn means different things to different people, and some will disapprove. However, Rosslyn is a historic building, used as a place of worship, as opposed to being a church per se.'
More importantly, Beattie wants people to know that Rosslyn has always been an attractive destination and popular backdrop for authors and artists.
Locations such as the Louvre were taken from the book, but the The Da Vinci Code film-makers could not secure every place they wanted. Westminster Abbey is a crucial location in the book but the film crew was refused permission.
Holmes says there are various reasons for film-makers being prevented from filming: 'The proposed activity could be deemed too intrusive or disruptive. Sometimes it can be too expensive for the production company, or access is too restricted.'
The Da Vinci Code's Westminster Abbey scenes have been shot at Lincoln Cathedral, which was adapted to look more like the abbey. The Dean of Lincoln, the Very Rev Alec Knight, was aware of the disruption that filming could bring.
'There would inevitably be negative reaction to the filming of a book that raised controversial issues for the church,' he says. Overall though, he felt that the experience was positive and enjoyable. 'It was good for staff morale; they enjoyed mixing with the film crew and watching the process.'
Holmes says film crews work hard to prevent damage in historic locations: 'We regularly use wall and floor coverings in locations and even put tennis balls on the feet of lamp stands.'
Harvey Edgington, the broadcast and media liaison manager for the National Trust, has helped to negotiate films and TV shows that take place in locations that are owned by the charity. His most recent effort includes looking after filming at Basildon Park for Working Title's production of Pride and Prejudice.
Basildon Park was used as the setting for Netherfield, the home of Mr Bingley in Jane Austen's novel. It was also used as the location for the first meeting between Elizabeth Bennet and Mr Darcy and for many of the ballroom scenes.
One of the biggest concerns about filming at Basildon Park was closing to the public. Basildon had to be shut for seven weeks in preparation for the ten-day shoot.
'We had to manage the closure so as not to disappoint visitors and to explain to them why we were allowing the closure for filming,' said Edgington. 'This was remarkably successful as we only received a handful of complaints.'
Edgington feels there can be positive and negatives to films being made at museums and other historic locations, but if handled correctly the payoff can be very rewarding: 'Some of our properties have seen their visitor figures treble.'
The National Trust finds that these opportunities not only benefit the museum or historic location, but the community around it as well. Edgington says that trust properties are part of the wider community, and they gain directly from crews in terms of hotel rooms and food.
'One crew spent £500,000 locally a month,' says Edgington. 'If we can attract that kind of spending by opening our properties to filming we should.'
On the down side, he says that filming can take a long time. 'It is always a 12-hour day, and there can be up to 70 people on a crew, all of whom could potentially have an accident or cause damage.'
A properly managed crew shouldn't cause any problems. 'Some of our staff were extras, to prevent others from resting against walls, and smoking,' recalls Edgington of filming at Basildon Park.
But he admits that sometimes things just seem to slip through the cracks when it comes to filming. 'A crew once asked me about a cherry-picker, which is what the fire brigade use to reach high buildings. I naturally assumed it was for a camera, but on the night it turned out it was for a light, which lit an area of about half a mile, including the houses of local residents.'
Edgington also warns that museums need to make sure that the film-maker's insurance cover is enough for any reasonable damage. 'If a crew does not have public liability or indemnity insurance, then don't let them in.'
Joel Holmes warns that museums and historic locations should not expect a film crew to come in without any disruption or inconvenience. He also says 'they should always be aware that the stars of the films are always the cast and that the museum may ultimately be only a backdrop, albeit a handsome and impressive one.
'It can sometimes come as a disappointment to discover that a great deal of effort went into something that does not appear on screen for very long or is only featured in the background.'
Danica Fisher is a journalism student
A number of organisations help museums promote themselves as film locations:
www.ukfilmcouncil.org.uk
www.filmlondon.org.uk
www.walesscreencommission.co.uk
www.scottishscreen.com
www.niftc.co.uk
Classic museum film locations
The Amberley Working Museum, West Sussex
This 36-acre open-air museum was used as a 'Silicon Valley' mine in the 1985 James Bond caper A View To A Kill, starring Roger Moore.
The British Museum, London
The BM has often been chosen by film-makers, including Alfred Hitchcock who used it for the final chase scene for his 1929 film Blackmail. This is seen as a key film in the history of British cinema, being the first significant sound film produced in the UK. Other films featuring the BM include The Day of the Jackal, Maurice, and Possession.
Guggenheim Museum, New York
In this version of Hamlet released in 2000, Ophelia's breakdown is in the spiralling corridor of the Guggenheim. Woody Allen's classic film Manhattan also features the Guggenheim.
Metropolitan Museum of Modern Art, New York
A frequent venue for movies including the classic 1968 art heist film The Thomas Crown Affair and the 1999 remake starring Pierce Brosnan.
National Gallery, London
Features in the 1986 adaptation of E M Forster's A Room With a View, in a scene with Daniel Day-Lewis. More recently in the romantic comedy Love Actually.
National Museum, Prague, Czech Republic
The grand staircase in the central lobby was used to represent the American embassy in Prague for the 1996 movie Mission Impossible.
Philadelphia Museum of Art
Sylvester Stallone runs up its steps in Rocky, and the interior scenes for the Brian de Palma's 1980 thriller Dressed to Kill were also shot there. The exteriors were filmed at the Met in New York.
Soldiers and Sailors National Military Museum and Memorial, Pittsburgh
This military museum was the venue for the Baltimore Jail scenes in the terrifying Silence of the Lambs, starring Anthony Hopkins.
Tate Modern, London
It's only been open since 2000, but Tate Modern has already featured in Love Actually, Bridget Jones's Diary, Enduring Love and is also being used by Woody Allen for his new film, Match Point.
Topkapi Palace Museum, Istanbul, Turkey
Peter Ustinov won the best supporting actor Oscar for his role in Topkapi in 1964, a light-hearted museum heist. The film was based on Eric Ambler's The Light of the Day, and was distinguished by its 30-minute silent sequence during the theft of a jewelled dagger.