A new horror film steeped in Welsh folklore has been forced to shift its filming location to North Yorkshire due to strict smoking regulations in Wales. The film, *Rabbit Trap*, directed by Bryn Chainey and featuring Dev Patel and Rosy McEwen, delves into the life of a London couple who encounter mythical fairies known as the Tylwyth Teg. The decision to film outside Wales raises significant questions about the balance between public health regulations and the creative freedoms of filmmakers.
Smoking Ban Forces Relocation
The filming of *Rabbit Trap* was initially set to take place in Wales, where the narrative unfolds. However, the Welsh government’s stringent smoking ban on film sets severely hampered the production, compelling the team to seek a more lenient environment across the border. Chainey lamented that the ban was “the nail in the coffin” for their plans, as the protagonists, Darcy and Daphne, are depicted as chain smokers — a detail pivotal to the film’s plot and character development.
The director expressed frustration over the situation, stating, “Both characters are chain smokers. It gives the audience a visual hint at the anxiety they’re not talking about.” The film also features a scene where the couple reconnects over smoking cannabis in the bath, a moment that would have required significant alteration had they stayed in Wales.
The Folklore Connection
Set against the backdrop of Welsh folklore, *Rabbit Trap* explores the couple’s journey as they navigate the enchanting yet treacherous world of the Tylwyth Teg. These fairies, known for their captivating music and mischievous nature, play a crucial role in the couple’s transformation. Chainey aimed to portray these creatures as representations of the “inner child locked away in all of us,” drawing viewers into a narrative that celebrates the beauty and chaos of life through music and magic.
Chainey, who has Welsh heritage, was particularly eager to connect with his roots through this project, which was filmed in a remote cottage setting. The production team initially scoured Wales for an ideal filming location, searching for a site that was both secluded and accessible. However, after securing a location in South Wales, they faced a setback when the owner withdrew at the last minute, forcing them to reassess their options.
A Costly Compromise
The discovery of the smoking ban came as a further blow to an already rocky production timeline. Chainey revealed that adapting their scenes to comply with the ban would have required costly special effects, such as CGI to simulate the appearance of smoking. “That would have looked fake and was out of our budget,” he remarked, underscoring the financial strains that often accompany independent filmmaking.
Ultimately, the team found a suitable alternative in North Yorkshire, where they could recreate the rural Welsh landscape while allowing the characters to smoke as part of their roles. Despite the practical advantages of the English location, Chainey expressed disappointment over missing the opportunity to film in Wales. “Deep down, I am sad it wasn’t possible to shoot in Wales. I still have hope of making films there eventually,” he said wistfully.
Official Response and Future Implications
In response to the filming challenges faced by *Rabbit Trap*, a spokesperson for the Welsh government stated that while creative support was provided, the smoke-free legislation remains firm. They highlighted alternatives, such as specially adapted e-cigarettes, which have been used successfully on various productions. However, the exemption for smoking in England presents a contrasting landscape for filmmakers, raising concerns about whether Wales might lose out on future projects due to its stringent regulations.
The British Film Commission clarified that while England has similar smoking bans, exemptions exist for actors required to smoke as part of their roles, a nuance that significantly impacts filming decisions.
Why it Matters
The relocation of *Rabbit Trap* from Wales to Yorkshire not only underscores the challenges filmmakers face in navigating public health policies but also highlights the potential loss of creative opportunities for Welsh productions. As the industry evolves, it is crucial for policymakers to reconsider the balance between public health and creative freedom to ensure that Wales remains an attractive destination for filmmakers. The impact of this decision may resonate far beyond this single project, signalling to future productions that the path of least resistance may lie elsewhere.
