LITTLE WOMEN

December 30th, 2019 by Karen Burg with Set Decorator Claire Kaufman SDSA

The March house... The beloved story of the March sisters... Meg [Emma Watson], Jo [Saoirse Ronan], Amy [Florence Pugh] and Beth [Eliza Scanlen] ...is both timeless and timely... Set Decorator Claire Kaufman SDSA notes, “The March house is the heart of the film. I wanted it to have a very eclectic, lived-in feeling, filled with many different textures, fabrics and wallpapers... Photo by Wilson Webb ©2019 CTMG.

Writer-director Greta Gerwig has crafted a LITTLE WOMEN that draws on both the classic novel and the writings of Louisa May Alcott...

“Writer-director Greta Gerwig has crafted a LITTLE WOMEN that draws on both the classic novel and the writings of Louisa May Alcott...

In Gerwig’s take, the beloved story of the March sisters—four young women each determined to live life on her own terms—is both timeless and timely.
With its fluid approach to time, the film immerses the audience in the memories, moments, accidents of fate and acts of will that form the March sisters—ink-stained, defiantly independent writer Jo [Saoirse Ronan]; nurturing, principled, would-be actor Meg [Emma Watson]; fragile, open-hearted musician Beth [Eliza Scanlen]; clever, aspirational painter Amy [Florence Pugh]—into their full, complicated adult selves, each so different but united in an unswerving sisterhood. It is a world where the dailiness of women’s lives—their discoveries, sacrifices and anger, their financial, artistic and domestic concerns—deeply matters.
Director Greta Gerwig brings to the fore a visually ravishing film with a look inspired by the bold artists who were changing the way people saw the world in Alcott’s time.”
—Columbia Pictures

“From the start, Greta always knew she wanted to bring audiences directly into the lived-in world of the March sisters in all its chaotic beauty," Producer Amy Pascal reveals. "It was vital to her that their private home life crackle with kinetic energy.”

“She envisioned a look for the film that draws from paintings from the era—from the European Impressionists to American master Winslow Homer—but then those paintings burst open into the raw, textured and unpredictable feelings of everyday life.”

“Greta surrounded herself with great department heads...She wanted to work with people who were going to elevate and challenge her, and then she also elevated and challenged them.”

Thus, the dream team of Director of Photography Yorick Le Saux, Production Designer Jess Gonchor, Set Decorator Claire Kaufman SDSA, Costume Designer Jacqueline Durran and their incredibly talented crews.

See the gallery above for the delightful immersive experience of LITTLE WOMEN...

In truth, we only touch upon some of the wonderfully encompassing sets...those that visually bring us into to the story and define the passage of time as it flits back and forth...but there are ever so many more, including:
...Jo’s intermediate life as a writer in the New York City of 1868, re-created in Lawrence, Massachusetts, a former textile center and home of Robert Frost...
...Aunt March’s home before & after her unexpected bequeathment...
...the threadbare home of the impoverished Hummel family...
...and the streets, shops & byways of 1860’s Concord.

All of the filming was done in the environs of author Louise May Alcott’s experience...she was taught by Thoreau, had Emerson as a neighbor...and the teams strove for authenticity throughout, both historic and philosophical, while ensuring a modern audience could relate.

The March house, the attic... Claire reveals, “I wanted Jo’s area of the attic to feel like a nest where she could be her most creative and sit with her thoughts...” Saoirse Ronan. Photo by Wilson Webb ©2019 CTMG.

Claire gives us details in the photo gallery captions above, and notes...
“I am so proud to be a part of such an amazing film with such a strong female cast and, of course, the wonderful director Greta Gerwig. I can never thank Jess Gonchor enough for having me decorate this film and my team for all of the creative efforts and joy throughout.
It was a profoundly fulfilling and meaningful experience for all of us.”

The March house, the attic... “The March attic played two important roles. It is a place the girls can hang out together and be playful and creative. It is also a private sanctuary for Jo to do her writing. I loved the rawness of the space but wanted it to feel inviting, like the rest of the house. I wanted to bring the outside in, which in turn, gave the room lots of interesting layers and textures...” Photo by Wilson Webb ©2019 CTMG.

The March house, the attic... “I love that it was a large space but felt like each area served a purpose. And Jess Gonchor had the wonderful idea of painting a lot of the details, like the curtains, as opposed to doing them practically...” Photo by Wilson Webb ©2019 CTMG.

The March house, parlor... Note the effectiveness of her boards! Here, the parlor is decorated for Christmas, and you can see the under-pad where the needlepoint rug will be placed... Photo by Wilson Webb ©2019 CTMG.

The March house, parlor... “My Set Dec Buyers Katy Shirey, Melissa Cooperman, Alana Shea and I pretty much purchased and rented the entire movie from in and around New England. However, most of the upholstery had to be redone as the fabric was either too worn or not the right color palette...” Photo by Wilson Webb ©2019 CTMG.

The March house, parlor... A behind-the-scenes moment... While Emma Watson checks her notes, Director/Writer Gerta Gerwig [standing, with headphones] goes over a scene with Florence Pugh, Saoirse Ronan and, seated on floor, Eliza Scanlen... Photo by Wilson Webb ©2019 CTMG.

The March house, dining room... “I loved the architecture that Jess created with the house. The back stairs connected directly to the girls’ bedrooms. I also loved how the wallpapers took on a whole new feel between day and night...” Photo by Wilson Webb ©2019 CTMG.

The March house, dining room... “One of my favorite photos from the film. Again, always trying to be creative with what the girls would have had on hand to decorate the plays they put on...” Saoirse Ronan, standing. Emma Watson, Florence Pugh. Photo by Wilson Webb ©2019 CTMG.

The March house, dining room detail... “The piece behind the girls is an old armoire we stripped apart and painted to look like a piece of a castle. And added the curtains to make it look like a window...” Photo by Wilson Webb ©2019 CTMG.

SHOW MORE PHOTOS

The March house, kitchen... “I loved when Jess decided to paint the kitchen of the house duck egg blue...it really helps set off the pieces that I had brought in, as opposed to having them disappear against a muted wood background...” Photo by Wilson Webb ©2019 CTMG.

The March house, Meg & Jo’s bedroom... “I knew as soon as I saw this desk that it was the perfect piece for Jo’s writing desk in her bedroom. I also remember bringing the idea of decoupage to Jess, which he loved. I think it was a nice addition to all of the paintings that were done in the girls’ bedrooms...” Photo by Wilson Webb ©2019 CTMG.

The March house, Meg & Jo’s bedroom... “I wanted to have Jo and Meg’s room have a slightly darker and more mature feeling...” ...which made it the perfect place for Jo to beg Meg not to marry...and for Meg to reply, “Just because my dreams are not the same as yours does not make them unimportant.” Saoirse Ronan, Emma Watson. Photo by Wilson Webb ©2019 CTMG.

The March house, Amy and Beth’s bedroom, detail... Claire points out... “Amy and Beth’s room was definitely more colorful. I tried to fill the house with drawings and artwork that would have been done by Amy March...” Photo by Wilson Webb ©2019 CTMG.

Meg’s wedding... “I wanted to keep the wedding simple yet beautiful. I picked lots of flowers and plants that would have been indigenous to the area. I love how the yellow pops off of the surrounding green background...” Eliza Scanlen. Photo by Wilson Webb ©2019 CTMG.

Marmee at Meg’s house... The March matriarch, known to her children affectionately as Marmee, is unquestionably one of the most admired women in all of literature—a mother who, alone in wartime, gifted her daughters with something often missing from girls’ lives: absolute trust and respect. About the set, Claire notes, “Meg’s house was at the historic Fruitland Shaker community. I felt this worked for her as a simple décor style...” Laura Dern. Photo by Wilson Webb ©2019 CTMG.

The March house, exterior... “Jess, Greta and I spoke at length about the look and feel of the March house. We landed on the idea that the exterior of the house was organic and at one with nature on the outside...like a mushroom growing in a field. Or a simple cracker box...but when you took the lid off, it was a beautiful jewelry box inside...” Photo by Wilson Webb ©2019 CTMG.

The Lawrence house, exterior... PD Jess Gonchor’s team built the exteriors of the March and Laurence houses side-by-side on the same property in Concord. He notes, “Greta and I wanted a feeling of scale you rarely have seen...Early on, I put together an entire map of that became our foundation...I think this is the first time on screen that you actually can see the geography between the two houses and how these two families became friends...” Photo by Wilson Webb ©2019 CTMG.

The Lawrence house, dining room... Claire describes, “The Laurence house needed to feel grand, lonely and masculine all at the same time. The location was a complete dress, including all of the drapery. Because of the grand scale of the rooms, I felt that they didn’t need a lot beyond large dark wood carved pieces that could stand on their own...” Photo by Wilson Webb ©2019 CTMG.

The Lawrence house, study... “I wanted the study to feel formal, yet claustrophobic for Laurie. He has access to all the knowledge he could hope for but longs for the warmth and closeness of the March home...” Photo by Wilson Webb ©2019 CTMG.

Gardiner house holiday party... “This is such an important part of the story...the first time Jo and Laurie meet. Once again, all of the drapery was created for this historic location...” Photo by Wilson Webb ©2019 CTMG.

Gardiner house holiday party... “As the film has so many moving parts, I tried very hard to give each location and family a very distinctive color palette and look. Here the deep reds and rich hues of the Christmas season...” Photo by Wilson Webb ©2019 CTMG.

Gradiner house party, exterior ... Claire notes, “One of my favorite scenes in the movie. I wanted to light the exterior with lanterns and candles to help with the idea of the light dancing off of the snow backdrop...” Photo by Wilson Webb ©2019 CTMG.

Moffat Spring Ball... “I remember the direction I was given for this location… ‘Make it look like an Easter egg.’ I love all of the flower arrangements from Winston Flowers, the yards and yards of pink silk drapery we added and the stunning food styling. All the lace throughout the sets was sourced from Cooper Lace.” Here, a behind-the-scenes glimpse of Director Greta Gerwig working out details of a shot with Emma Watson, who plays Meg... Photo by Wilson Webb ©2019 CTMG.

Paris art studio... “I also remember reading this scene for the first time and realizing it was three and a half pages long! I wanted the room to be visually eye catching and unforgettable...” Here, Florence Pugh as the aspirational artist Amy March... Photo by Wilson Webb ©2019 CTMG.

Paris art studio... “Because of the size of the space, Jess and I decided it was a communal artist space. A place that many different types of artists could come and work...” Photo by Wilson Webb ©2019 CTMG.

Paris art studio... “The large room gave us the freedom to lay out the studio so the actors could move freely in the space, especially when Laurie begins to realize his feelings for Amy...” Timothée Chalamet, Florence Pugh. Photo by Wilson Webb ©2019 CTMG.

Publishing house, New York... Jo meets with Mr. Dashwood re: publishing her stories, and eventually, her book... Claire says, “As this scene is the opening of the film, I wanted to really sell the look of the 1860s...” Tracy Letts, Saoirse Ronan. Photo by Wilson Webb ©2019 CTMG.

Publishing house, New York... Close-up of the desktop from previous photo... “I always strive to make my sets as believable as possible, so both the actors and the audience really believe in the space. Prop Master David Gulick and I made certain to have lots of items on hand for the actors to interact with and give depth to the viewing experience...” Photo by Wilson Webb ©2019 CTMG.

The March house, a final glance... Claire adds a note, “I couldn’t be more proud of my set dec team and what we brought to this magical movie. I am so happy that the movie all works together…the cinematography, the costumes, the music and the art direction. I really hope audiences enjoy it as much as I enjoyed decorating it. Emma Watson, Florence Pugh, Saoirse Ronan, Eliza Scanlen. Photo by Wilson Webb ©2019 CTMG.

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