Director Sara Polley and cinematographer Luc Montpellier wanted to give 'Women Talking,' the scale and scope of a big male-driven epic.
out of Miriam Toews’ novel “Women Talking,” which is essentially what the title says, set in a Mennonite colony hayloft. Sarah Polley was up for turning the static material into a moving picture, but knew she’d need the help of the cinematographer who’d shot many of her previous directing efforts to pull it off.
The agrarian village’s exteriors were built around a pre-existing barn in Southern Ontario, Canada. Additional scope and kineticism was achieved inside a Toronto convention center, otherwise closed by COVID-19 lockdowns, where the barn’s two-story interior was reproduced. Blue screens enabled Montpellier to mount plates of hayfields and buggy trails outside the elevated loft doors, and he could easily control light changes as the discussions lengthened into evening.
“A lot of people would have used a Steadicam or a dolly to go from one actor to another, but we had the ability to take half of the set apart and put a big Technocrane in there,” Montpellier says. “I’ve got to hand it to my grip team — Rico Emerson was my key grip on this — they were, like, dancing with the actors with this massive arm coming in. We could float off the set as one of our characters goes to a door or a window to contemplate, then stay with them as they went back and sat down.
Montpellier employed the same Ultra Vista anamorphic lenses used for “The Mandalorian” and Quentin Tarantino’s similarly big set-centric “Hateful Eight.”
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