{"id":9283,"date":"2019-12-03T16:38:01","date_gmt":"2019-12-04T00:38:01","guid":{"rendered":"http:\/\/www.icgmagazine.com\/web\/?p=9283"},"modified":"2021-05-30T18:08:48","modified_gmt":"2021-05-31T01:08:48","slug":"diamonds-in-the-rough","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/diamonds-in-the-rough\/","title":{"rendered":"Diamonds in the Rough"},"content":{"rendered":"\r\n\r\n\r\n

Guild cinematographer Yorick Le Saux captures the \u201cbig dreams\/big world\u201d of Greta Gerwig\u2019s new version of\u00a0Little Women<\/em>\u00a0\u2013 a radical take on the classic novel.<\/span><\/p>\r\n\r\n\r\n\r\n

By Elle Schneider \u00a0\/\u00a0<\/span>Photos by Wilson Webb, SMPSP<\/span><\/p>\r\n

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Fresh off the Oscar-nominated coming-of-age<\/strong> phenomenon\u00a0Lady Bird<\/em>, Greta Gerwig already knew what she wanted to direct as her next film: a script she had been hired to write years earlier, based on a novel that was formative to her youth.\u00a0Written by Louisa May Alcott, and originally published in two volumes (at the behest of Alcott\u2019s publisher) in 1868 and 1869, Little Women<\/em> is the classic story of the four March sisters \u2013 Jo, Amy, Meg, and Beth, all coming of age in Concord, Massachusetts during this nation\u2019s Civil War. A pinnacle of American literature, Little Women<\/em> had already been adapted for film and television more than a dozen times, so Gerwig knew she needed a fresh approach. That included dividing the story into two distinct periods \u2013 childhood and adulthood \u2013 adding a new angle to the narrative, and putting a sort of \u201crock and roll\u201d spin on the typical women\u2019s period film, with the help of what the writer\/director describes as a \u201cdream team\u201d of collaborators.<\/p>\r\n\r\n\r\n\r\n

That team included Local 600 Director of Photography\u00a0Yorick Le Saux, whose previous work for writer\/directors like Jim Jarmusch, Luca Guadagnino, and Olivier Assayas struck the perfect balance of Gerwig\u2019s intent. \u201cI love [Le Saux\u2019s] total embrace of beauty,\u201d she relates. \u201cSome [DPs] are frightened to make something beautiful because there\u2019s a concern it\u2019s not coming off as critically minded.\u201d And it wasn\u2019t just Le Saux\u2019s stunning photography that captured Gerwig\u2019s attention. \u201cI Am Love<\/em>\u00a0[directed by Guadagnino] is so beautiful you can almost taste it,\u201d she adds. \u201cBut there\u2019s also this restlessness behind the camera \u2013 you always feel movement. I wanted that movement in this story. I wanted to move away from that static, idyllic period film we\u2019re used to, especially when we\u2019re watching young women in a rural setting. The combination of the frenetic looseness of [Assayas\u2019]\u00a0Carlos<\/em>\u00a0with the sweeping beauty of\u00a0I Am Love<\/em> was exactly what I was looking for in\u00a0Little Women.<\/em>\u201d<\/p>\r\n\r\n\r\n\r\n

When the two initially met to discuss the film, Le Saux says they were speaking the same visual language. \u201cI told her I can feel the energy of these four girls, especially in childhood,\u201d he recalls. \u201cAnd that it was important not to be too clean with the framing.\u201d They watched numerous films (including many by Francois Truffaut) to figure out a shooting style that would make each frame come alive, while still feeling true to the period. They narrowed in on lightness of movement, and not trying to make scenes feel overcomposed. This allowed Le Saux to take risks, like shooting wide open on Cooke s4s and embracing highlights, \u201cand that\u2019s what we were expecting every day to happen on set,\u201d he says.\u00a0<\/p>\r\n\r\n\r\n\r\n

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Gerwig says “there’s a restlessness behind the camera,” in Le Saux’s previous films. “You always feel movement,” she adds. “And I wanted that movement in this story.” Above Le Saux shooting three of the March sisters (Emma Watson, Saoirse Ronan, and Florence Pugh) on location at the Bradley Estate, Canton, MA<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Changing audience expectations of a period film<\/strong> also meant a strong collaboration among Gerwig, Le Saux, and other department heads, including Oscar-winning (and six-time Oscar-nominated) Costume Designer Jacqueline Durran, whose period-film credits include\u00a0Darkest Hour<\/em>,\u00a0Mr. Turner<\/em>,\u00a0Atonement<\/em>, and\u00a0Pride and Prejudice<\/em>, and two-time Oscar-nominated Production Designer Jess Gonchor (known for his work with the Coen brothers), especially in such set pieces as the three balls that occur at pivotal points in the story.\u00a0<\/p>\r\n\r\n\r\n\r\n

\u201cI was quite keen for these to be distinct,\u201d says Durran, \u201cas ornate ballroom scenes can often bleed into one another.\u201d The Christmas ball, where Jo March and Theodore \u201cLaurie\u201d Lawrence, the sisters\u2019 charismatic neighbor, meet for the first time, \u201cis Christmas in the country,\u201d Durran adds. \u201cIt\u2019s a local dance without the sophistication of the pastel ball, and the pastel ball doesn\u2019t have the sophistication of the European ball.\u201d\u00a0<\/p>\r\n\r\n\r\n\r\n

For Gerwig to highlight costumes or locations in these scenes often meant eliminating lights that might, for example, be captured in a wide shot. Le Saux says the balls were a \u201cclassic\u201d balancing act of what could be elevated without sacrificing something else to make sure each scene stood out as unique and identifiable.<\/p>\r\n\r\n\r\n\r\n

Gonchor, who originally planned to be a lighting designer, says his background in theater encourages a close relationship with the cinematographer. \u201cAs [soon] as I build a set or go to the location, I\u2019m like, \u2018Where is the light coming from? Where\u2019s the window? What\u2019s the source?\u2019\u201d he shares. To fulfill Gerwig\u2019s plan of slightly \u201cpushed realism,\u201d Gonchor and Le Saux worked together to create motivated, unique light in a world that would only have been lit by fireplace or candlelight, even going so far as to build quarter-inch models of the New York street scenes to plan intricate camera angles and movement. \u201cEven the natural lighting was different between Massachusetts and New York, having taller buildings in New York, and not being able to see the sunlight as much as in Massachusetts,\u201d Gonchor recounts.\u00a0<\/p>\r\n\r\n\r\n\r\n

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Production Designer Jess Gonchor and Le Saux worked together to create motivated, unique light in a world that would only have been lit by fireplace or candlelight,<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Locations and photography intertwined to move\u00a0Little Women<\/em><\/strong>\u00a0beyond what has been seen in other adaptations, both in its depiction of the bustling lower Manhattan publishing world, and the contrasting rural life of Concord. Much of the film was shot on a large property in Massachusetts, where the exterior of the March house could be built on location opposite what would become the stately Lawrence mansion.\u00a0<\/p>\r\n\r\n\r\n\r\n

\u201cIn all the other adaptations, [the characters] could not see one house from the other,\u201d Gonchor observes. Having both homes within eyesight and being able to show that geography on camera gave Le Saux and Gerwig flexibility in shooting exteriors. To have the camera hold on moments for longer periods, allowing scenes to breathe, helps to immerse the audience in the space, instead of chopping the world into separate, isolated locales. Over more than a dozen scouting trips, Gonchor says, \u201cwe spent a lot of time in different periods of light, and went back to [the March] house walking around as it developed.\u201d The property also doubled for several locations, including a crumbling carriage house repurposed for Amy\u2019s Paris painting studio, which allowed Gonchor to create an environment that was more unique than just gilded molding and columns. The space \u201chad beautiful light with all those doors that were for the horses and carriages,” he notes. “Some rooms light better than others, and that one just lit up beautifully.\u201d<\/p>\r\n\r\n\r\n\r\n

The fresh approach to visuals extended into hair, makeup, and wardrobe, conversations in which Le Saux was deeply involved. \u201cSometimes [period pieces are] too dead,\u201d he says. \u201cYou can see a hairdresser was finishing the actress one second before \u2018action.\u2019 We wanted the opposite look \u2013 hair moving in the light because the photographs from that period all show the women with long, messy hair, moving everywhere.\u201d Gerwig\u2019s idea was to remove the barrier between the audience and the characters that often plagues static period films and step into their world, whether through movement, production design, or costume. \u201cWe want to be in that room with those girls and experience things just as they are,\u201d Le Saux describes.\u00a0<\/p>\r\n\r\n\r\n\r\n

Durran searched through Victorian references, photography and painting, for images of bohemians and artists \u2013 people who were out of the ordinary. \u201cThe Alcotts are a radical family,\u201d she says, \u201cand I tried to work out how that would have looked. There are rules about Victorian costume that you\u2019re told everyone followed, but then you wonder whether they did. Louisa May Alcott herself ran long distance! It\u2019s hard to believe she would have worn a corset and all those skirts running a marathon. Starting with the Victorian reference, I then made a leap of imagination to think about how these radical women would have lived.\u201d<\/p>\r\n\r\n\r\n\r\n

Gerwig, Durran, and the actresses discussed in depth how each of their characters would have accepted or rejected period norms. A color palette was also established for each March sister that followed them through the narrative. \u201cThe vibrant red of Jo in her youth is reduced to a red neck scarf when she\u2019s older,\u201d says Gerwig, and \u201cthe deep purple of Meg, when she\u2019s a girl, is then just a lighter, more grayed-out purple.\u201d These colors were determined by a scene in the novel when the girls\u2019 mother, Marmee, gifts them books on Christmas day.<\/p>\r\n\r\n\r\n\r\n

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Varying looks for past and present timelines were created, with Gerwig describing childhood scenes as “swirly and full of movement,” while present-day scenes placed characters in a more isolated frame, “frontal, proper, static,” as Le Saux reveals.<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

Establishing differences between the dual timelines<\/strong>\u00a0(without being heavy-handed)\u00a0<\/strong>was key to centering the audience in the story. Gerwig says she wanted the scenes of childhood \u201cto feel swirly,\u201d like the movement of youth. \u201cTo make it this moving, breathing, dancing thing,\u201d she continues, \u201cwe\u2019d block out precise movements for everyone to catch one person from another coming into a room. We were trying to choreograph so that the camera was a dancer in the space.\u201d For the \u201cpresent\u201d timeline, characters were more isolated, frontal, proper, static. \u201cNot everybody in the frame is moving everywhere,\u201d Le Saux explains.\u00a0<\/p>\r\n\r\n\r\n\r\n

Another subtle rule was keeping as many of the four sisters in the shot as possible in the \u201cpast,\u201d filling the frame with that much-desired energy. Steadicam was used sparingly with Le Saux preferring a more simple, old-school approach, such as handheld, or laying down dance floor and moving to dolly for more precision. \u201cI prefer to use older tools,\u201d he shares, \u201cand even after, in the DI suite, it was just simple printer lights and not many Power Windows.\u201d<\/p>\r\n\r\n\r\n\r\n

A combination of filters, including the Varicon, was used to set the look for each period. Those included \u201cthis golden warmth of youth,\u201d says Gerwig of the past scenes, \u201cand not doing much to the present, because, in contrast to this golden past, it would inevitably look colder.\u201d Le Saux adds that in keeping with a simple approach to color grading, \u201cwe liked the cold shadow and warm skin,\u201d for the present look. Color naturally extended to Gerwig\u2019s discussions with Durran and Gonchor, noting that everything \u201cshould look more vibrant\u201d when the girls are children. \u201cI wanted it to feel almost like a Vincente Minelli movie \u2013\u00a0Meet Me In St. Louis<\/em>\u00a0or\u00a0Gigi<\/em>,\u201d she says. \u201cSaturated, and almost even more in memory. And the colors of adulthood were more muted, more grown and \u2018appropriate.\u2019\u201d<\/p>\r\n\r\n\r\n\r\n

While light and color were key to each timeline, shooting 35-mm film ARRICAM provided that important third element \u2013 texture \u2013 potentially missing from digital capture. Le Saux\u2019s goal was \u201cto play, like a sculptor with glaze, to destroy the negative, to go into low light or high light, and not be afraid to underexpose or overexpose because there is always something interesting in that moment,\u201d he describes. Le Saux used 500 ASA Kodak stock for both interiors and exteriors, embracing the challenges that would bring. \u201cI picked the 500 to get more grain, and it\u2019s a stock that I know very well,\u201d he adds. Further work to create texture was done in post. \u201cAt the lab I pushed the development one stop. I was playing with the negative, and trying to get the\u00a0mati\u00e8re<\/em>\u00a0to show up on screen.\u201d<\/p>\r\n\r\n\r\n\r\n

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Le Saux used 500 ASA Kodak stock for both interiors and exteriors, helping to create what Gerwig calls “almost the look of a painting that was breathing, but without it being so effortful.”<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

\u201cIt\u2019s almost like we wanted it to feel like a painting that was breathing,\u201d adds Gerwig, \u201cbut without it being so effortful \u2013 with\u00a0\u00a0film we got that feeling right away. And also it felt right because film is a photochemical process; they had that in 1861. We didn\u2019t have moving images yet, but it felt like it was a little more spiritually close to the time period.\u201d\u00a0<\/p>\r\n\r\n\r\n\r\n

Using film also helped convey the scope of the ambitious, colorful lives of the March girls, who, as writers, actors, painters, and musicians, altered the typical Victorian feminine ideal. (Alcott based the characters on her own sisters.) Hence, Gonchor tried to highlight a more feminine touch in the artistic scenes, particularly Amy\u2019s studio, to show a contrast with the more masculine art world of the time. \u201cThere\u2019s a lot of that in the movie, just figuring out what could be male-dominated and what could be female-dominated,\u201d he notes.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>\r\n\r\n\r\n\r\n

\u201cThe Alcotts were part of an artistic community,\u201d Durran informs. \u201c[And the characters] talk a lot about money, and the lack of power that women had, and about the poverty that the Alcotts were living with, and how money was an issue,\u201d she continues. \u201cGreta was inspirational in this regard, and thoroughly researched everything. She had so many insights into the Alcotts. Each woman represented a valid choice. Jo is the protagonist, and a character creative women can identify with. She\u2019s a 19th-century person who becomes a successful writer, and it becomes her story. But it\u2019s really about the four women and their unique choices.\u201d<\/p>\r\n\r\n\r\n\r\n

The March attic, which was built on a stage along with the rest of the home\u2019s interior, was the girls\u2019 creative nerve center. \u201cIt was their creative outlet and workspace,\u201d Gonchor describes. \u201cJo had her place in there\u2026a little cozy corner to curl up in and write. It was a warm environment, where they could dream.\u201d The way it was designed, the space could evolve to feel closed, open, empty, full, dark, or light depending on the time period. \u201cWe did a lot of experimenting with the size of the March house, and the textures of the wallpaper,\u201d he adds.\u00a0\u00a0\u00a0\u00a0<\/p>\r\n\r\n\r\n\r\n

The March house fa\u00e7ade was built only a few miles from \u2013\u00a0and was visually based on \u2013 the real house in which Louisa May Alcott wrote\u00a0Little Women<\/em>. \u201cWe tried to make it seem like it was rough times, but they were making the best of it,\u201d Gonchor concludes. \u201cAnd then once we went inside, we wanted it to be like opening up a jewel box. A wooden jewel box that\u2019s dusty on the outside, but open and lively on the inside. It\u2019s warmth. It\u2019s velvet. It\u2019s color. It\u2019s hope.\u201d<\/p>\r\n\r\n\r\n\r\n

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Gerwig (center) with Le Saux on location at The Crane Estate, Ipswich, MA<\/figcaption>\r\n<\/figure>\r\n\r\n\r\n\r\n

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Local 600 Crew<\/strong> – Little Women<\/strong><\/p>\r\n\r\n\r\n\r\n

Director of Photography: Yorick LeSaux<\/p>\r\n\r\n\r\n\r\n

A-Camera 1st AC: Greg Wimer<\/p>\r\n\r\n\r\n\r\n

A-Camera 2nd AC: Talia Krohmal<\/p>\r\n\r\n\r\n\r\n

B-Camera Operator\/Steadicam: Colin Hudson, SOC<\/p>\r\n\r\n\r\n\r\n

B-Camera 1st AC: Jamie Fitzpatrick<\/p>\r\n\r\n\r\n\r\n

B-Camera 2nd AC: Autumn Moran<\/p>\r\n\r\n\r\n\r\n

Loader: Josh Weilbrenner<\/p>\r\n\r\n\r\n\r\n

Still Photographer: Wilson Webb, SMPSP<\/p>\r\n\r\n\r\n\r\n

Publicist: Scott Levine<\/p>\r\n","protected":false},"excerpt":{"rendered":"

Guild cinematographer Yorick Le Saux captures the \u201cbig dreams\/big world\u201d of Greta Gerwig\u2019s new version of\u00a0Little Women\u00a0\u2013 a radical take on the classic novel. By Elle Schneider \u00a0\/\u00a0Photos by Wilson Webb, SMPSP   Fresh off the Oscar-nominated coming-of-age phenomenon\u00a0Lady Bird, Greta Gerwig already knew what she wanted to direct as her next film: a script she had been hired to write years earlier, based on a novel that was formative to her youth.\u00a0Written by Louisa May Alcott, and originally published […]<\/p>\n","protected":false},"author":2,"featured_media":9646,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-9283","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"acf":[],"yoast_head":"\nDiamonds in the Rough - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/diamonds-in-the-rough\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Diamonds in the Rough - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Guild cinematographer Yorick Le Saux captures the \u201cbig dreams\/big world\u201d of Greta Gerwig\u2019s new version of\u00a0Little Women\u00a0\u2013 a radical take on the classic novel. By Elle Schneider \u00a0\/\u00a0Photos by Wilson Webb, SMPSP   Fresh off the Oscar-nominated coming-of-age phenomenon\u00a0Lady Bird, Greta Gerwig already knew what she wanted to direct as her next film: a script she had been hired to write years earlier, based on a novel that was formative to her youth.\u00a0Written by Louisa May Alcott, and originally published […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.icgmagazine.com\/web\/diamonds-in-the-rough\/\" \/>\n<meta property=\"og:site_name\" content=\"ICG Magazine\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/theicgmag\" \/>\n<meta property=\"article:published_time\" content=\"2019-12-04T00:38:01+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-05-31T01:08:48+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2019\/12\/littlewomenheader.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"609\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"editor\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@DGeffner\" \/>\n<meta name=\"twitter:site\" content=\"@theicgmag\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"editor\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/diamonds-in-the-rough\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/diamonds-in-the-rough\/\"},\"author\":{\"name\":\"editor\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#\/schema\/person\/172e4f67e262cc8d0f5b2e21026a77c8\"},\"headline\":\"Diamonds in the Rough\",\"datePublished\":\"2019-12-04T00:38:01+00:00\",\"dateModified\":\"2021-05-31T01:08:48+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/diamonds-in-the-rough\/\"},\"wordCount\":2521,\"publisher\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.icgmagazine.com\/web\/diamonds-in-the-rough\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.icgmagazine.com\/web\/wp-content\/uploads\/2019\/12\/littlewomenheader.jpg\",\"articleSection\":[\"Features\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.icgmagazine.com\/web\/diamonds-in-the-rough\/\",\"url\":\"https:\/\/www.icgmagazine.com\/web\/diamonds-in-the-rough\/\",\"name\":\"Diamonds in the Rough - 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