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"We want to take the audience back to a time when a touch was an extremely dangerous and provocative and erotic thing."For Isabelle and Stephen, that touch of skin on skin lets the genie out of the bottle.Their affair is incendiary, entirely based around explosive passion.

Similarly, for "after", when Wraysford is a battle-scarred captain in the infantry, staring down the barrel of the battle that will produce the worst single-day casualties in British military history, the producers worked hard on ensuring the soldiers' uniforms looked the part.

Hobnail boots came from Poland, leather-capped officers' wristwatches were fashioned by the props department, and woollen shirts by the dozen were "pre-distressed".

Plus, Horsford adds, some streets in Hungary are time capsules.

"It's doubled for [old world] France many times," she says – most recently for the Guy de Maupassant adaptation Bel Ami, starring Robert Pattinson, out in March.

It is summer 2011, and in a wood on the edge of Budapest, it is day 33 of the 43-day shoot for Birdsong.

The crew on this BBC/Working Title adaptation of Sebastian Faulks' bestseller set in and around the First World War are working hard to recreate the France of both the narrative strands on which screenwriter Abi Morgan (The Hour, The Iron Lady) has focused: drowsy Amiens in 1910, and the horror of the Western Front in 1916.

Morgan opted early on to leave out the novel's third element, a near-contemporary depiction of Wraysford's granddaughter.

k"The modern-day stuff was a brilliant framing device," acknowledges the writer, who is currently attracting fresh acclaim for her script for artist-turned-director Steve Mc Queen's Oscar-tipped film Shame (reviewed in main paper).

A callow English textile manufacturer, Stephen Wraysford, played by Eddie Redmayne (My Week with Marilyn), distractedly whittles wood as the river gurgles by.

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