The office for Elizabeth Karlsen and Stephen Woolley’s Number 9 Films, which produced current critical fave “Carol” as well as such previous efforts as “Made in Dagenham” and “Breakfast on Pluto,” is in a 19th-century “mews” — a row of buildings that used to be stables in a cobbled cul-de-sac in central London. It reflects the personalities of the couple, who are “dyed in the wool independent producers,” she says, adding that she prefers it to the “dead corporate space” of some modern offices.

The office, Karlsen says, has a lot of “texture” and “character,” with a high ceiling crossed by rough wooden beams, large arched windows and white-washed brick walls.

Since Karlsen and Woolley haven’t been there long, most of their possessions are still in boxes. “It’s very much an office in transition,” says Karlsen, who describes it as an “Aladdin’s Cave” — full of scripts, storyboards, props, costumes, posters, festival badges and tickets dating back almost 30 years.

Among Karlsen’s favorite objects are the original posters for “The Crying Game,” which was one of their early hits. At that time, when they were raising finance for the film in Cannes, it was called “The Soldier’s Wife,” but Stanley Kubrick called Woolley and persuaded him the title wouldn’t work. There’s also the menu from the
Governors Ball when “The Crying Game” was competing for Oscars.

Other treasured items include the tickets for the Cannes premiere of “Carol” this year. Karlsen’s also kept a can of ham that was part of the set decoration on “Carol” in the scene when Carol and Therese have dinner together for the first time.