Greta Gerwig & 'Little Women' Crew Mix Modern and Classical
,” a new look at Louisa May Alcott’s much-loved 19th-century classic. Eager to pay tribute to her artisan colleagues, Gerwig says, “It was a joy for me to work with all these people. It’s a movie that’s impossible to create without world-class artists. They killed themselves for me!”“We shot on film, which was critical to having the film look like we wanted. Yorick made every scene look like source lighting.
In preproduction, there were a lot of films we used as reference. We were looking for period filmmaking that didn’t feel precious, with an active camera. We looked at Truffaut, with “Two English Girls” and “Jules and Jim.” For scale: “Heaven’s Gate” and Altman’s “McCabe & Mrs. Miller.” [Bergman’s] “Fanny and Alexander” has a great quality of childhood being gone. I love Vincente Minnelli, with bright colors as a window into childhood.
I loved all the details. As a young woman, Jo is wearing a red dress. As a grown-up, she’s wearing a red handkerchief around her neck. Jacqueline had Jo and Laurie trade clothes. So near the end, you see Jo wearing a waistcoat that you saw him wear eight years earlier.”“Nick [who worked with Gerwig on ‘Lady Bird’] was editing in New York but would come to Massachusetts on the weekend.
We have a rhythm of working together; it’s like we’re hearing the same invisible orchestra. He’s relentless, which is a good quality in an editor. The story is so intricate that it was a beast to shoot, but when we started editing, the heart of every scene was there. But it took a lot of calibration and time. One change in one scene could affect everything else.
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