The Little Women twitter account posted a clip from the upcoming film, featuring Saoirse Ronan and Timothée Chalamet, which can be viewed above.
Unveiling our Nov-Dec 2019 issue! Featuring an expansive interview with Greta Gerwig on LITTLE WOMEN and articles on THE IRISHMAN, UNCUT GEMS, and PORTRAIT OF A LADY ON FIRE. Plus: Roberto Rossellini, Fatima Al Qadiri, and much more. Available now: https://t.co/9l98cfWIWp pic.twitter.com/f3yieKZ4bU— Film Comment Magazine (@FilmComment) November 1, 2019
Little Women also made the cover of the November/December issue of Film Comment magazine; there's a brief summary of the cover story under the cut.
Greta Gerwig’s energetic tour-de-force adaptation of LITTLE WOMEN frames the aspirations of Jo and her sisters as urgent matters of personal independence. Read @devikagirgayi's cover story interview with the director: https://t.co/VWpzd8U1AL pic.twitter.com/CpFPckg0cz— Film Comment Magazine (@FilmComment) November 4, 2019
- The cover story of the magazine, written by Devika Girish, is pretty lengthy and features an interview with Greta Gerwig. It's a great read if you're interested in the film.
- Gerwig on the yearning that's present in several of her films: "This sort of inchoate desire, or desire that doesn’t have an object, is interesting to me, because I think it’s so much a dimension of what it is to be an ambitious woman. Because, for every other moment in human history, [that ambition] had nowhere to go, at all. And we’re just now getting the chance to put it somewhere other than marriage."
- Talks about the difference between the lives of the Marches and that of Louisa May Alcott's family. The Alcotts were dirt poor, moving dozens of times and working grueling jobs, and Louisa May Alcott made that more palatable for an audience in her writing with the more "genteel poor" March family.
- Before Gerwig directed Lady Bird, she heard that Sony and Amy Pascal wanted to make a new Little Women for a younger generation, and Gerwig insisted on getting a meeting even though she didn't yet have directorial experience. She had a clear idea that the book was about "women, art, and money".
- Didn't want to make a period piece that felt "nailed to the floor"; picked cinematographer Yorick Le Saux (Personal Shopper, Only Lovers Left Alive, I Am Love) because of the lightness and movement he achieves.
- Alexandre Desplat scored the film, and she described it to him as a musical without songs. Gerwig didn't make many changes to what he came up with: "Working with a composer is like having a garment made for you—it looks great, you’ll never look better than when you buy something made for you."
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