- So when we first came to the palace last series,

we wanted to show that it was a house that she'd inherited

and it reflected late Georgian design.

What we've done this time is that we're now beginning

to invest in the Victorian look, as it were.

So we've repapered a lot of the rooms,

you'll notice it's starting to get

a little bit more cluttered as they start

to turn it into their own home.

The bedroom was a big refurbish

where the dour silver and grays have gone

and we did all these button back satin walls

to show that richness and elegance of the period.

- The set is amazing and they've built extra rooms this year

so you sort of need a map to get around now.

It's insane.

So when you come to work and you're like,

"Oh God, I should pinch myself!" (laughing)

- This year we added three new rooms.

There's the amber drawing room,

and then off the ballroom we had enough space

to add a smaller room which became the Italian music room,

and then we've now built a new undercroft

and a servant staircase and extended the servant's quarters.

We knew that the long corridor had to be

about 180 feet long as it is in the palace,

so that was our sort of main artery that we then worked from

so that everything then worked off it.

- Wilhelmina!

Why are you loitering?

- Well, it's absolutely exquisite

and beautifully done and very detailed,

but then of course the best sets are like that.

I love the long corridors, they speak of such richness.

- The set is fantastic.

I think it's the biggest set I've had the opportunity

to shoot and it's got a fantastic reality about it.

That's the best thing about it,

is you can shoot it like a real space

and you can develop the shots everywhere

because the geography is real.

- We started in November and through to August,

so it's a long period,

so a lot of the things we have had made.

Oh, the chandeliers, they're all made in the Czech Republic.

We designed all the carpets based on carpets

of the palace at Harewood House, so those were all handmade.

And the furniture we had carved in Indonesia

and we ran courses with students from Leeds College of Art

and other colleges and we taught them how to gild.

We've used I think something like

four and a half thousand square feet

of gold leaf in this set.

I think we have 43 miles of just timber

just in the set alone.

So we've used a lot of people who have incredible talents.