click on it for a higher res.
Also a few twitters/comments:
This comment was from Cinematical's post on the poster but mentions the film too:
There is an awesome article by the Austin Film Society in their journal, Persistence of Vision (P.o.V.). I won't post the whole thing but here are some excerpts. Really I encourage you to read the whole thing though because it is very worthwhile. There are some spoilers in it, just to warn you.
From Richard on Orson:
PoV: Changing gears a bit, what were some of the biggest challenges, in terms of visually capturing the era?
RL: It was a real challenge, because we didn’t have the budget. All of the interior theatre stuff we did on the Isle of Man, in this beautiful old theater, that actually had about the same dimensions as the Mercury. It had that understage area that worked so well for the trap door, it was perfect. Creating West 41st Street was the hard part. We were filming at Pinewood and they don’t even have backlots. We had maybe 200 feet of this little muddy chunk of land that we turned into the streets, with green screens. So it’s a bit of a visual trick. When they’re at Bryant Park, that skyline still exists, so you make it work. It was fun. Fortunately, the technology is really helpful there. It’s a lot easier now then it used to be. Ten years ago you couldn’t move the camera on that shot. Now it’s less of a deal. I enjoy using it to recreate New York and to not feel like you’re emphasizing it. The biggest compliment is when I’m asked, “Where did you shoot in New York?” and I reply “We didn’t”; but there’s New York, the magic of movies. I was a little jealous because Tim Burton and Johnny Depp had just done Sweeney Todd and they built everything, all those streets and cobblestones. We didn’t have any money to do anything that elaborate. It’s a down and dirty little story though. You just have to make due and make it happen.
PoV: You have to find creative solution within the confines and structures you have, right?
RL: I’ve never known anything else so I don’t know any other way. But it was fun working with Brits. My production designer didn’t really know New York that well. I showed him around to all the locations and sat in Bryant Park and he got a feel for the size and shape of New York. I took him into some friend’s basement apartments and rooftops. It’s fun collaborating with people, taking a lot of pictures and then recreating that. That’s actually more fun for him than recreating London of 1941; it’s more fun to go into another culture. That was kind of true for much of the crew. I think they liked the “Americaness.”
PoV: I’m sure many of the actors were relatively local too.
RL: And the talent, some of the best actors like Eddie Marsan who played Houseman He’s so good. That guy is an amazing actor. And he was just in a supporting part. He liked the script and was just thankful for the job.
PoV: So from an actor standpoint, you may not deal with the egos that may inhabit an American film?
RL: To a degree., over there they do film, they do production for BBC, and they do theatre. A British actor can go between those three without a lot of difficulty.
PoV: They’re happy to do it.
RL: American actors are like “Whose starring in this? Zach Efron?” or “Oh I’m not going to do TV, that’s a death wish.” The woman who played Maria Brauser, Kelley Rientic; she just played the woman in Othello. She’s a great stage actress, and she does movies too but she came in and did that kind of small part and you’re like wow! We could not have gotten American actors like that.
PoV: Or at least not of that caliber?
RL: Not for what we were paying. We ended up with really great actors and it was just a blessing really; to work with guys like Ben Chaplin.
PoV: Not that in the past on lower budget films, you haven’t gotten some great indieesque actors.
RL: Right. But they like to work, they like to rehearse. It was almost like putting on a play. We had to rehearse the movie, but we had to rehearse the play. It was intense recreating this. The actors are like “is the actor I’m playing a good actor?” It’s almost like Waiting for Guffman.
PoV: Right, you could probably say “You’re in the Orson Welles play! Come o!”
RL: Right and that’s the first thing I told them at the big rehearsal. Here’s the bar we’re trying to recreate. Some of you asked if your actor is good. I said “Orson Welles cast you and the person you’re playing is either as good or better than you and we’re recreating the best Shakespeare production in North American history. So there’s the bar. We got a week on stage to rehearse it, so let’s go.
PoV: Setting the bar at a near impossible high.
RL: I love the high and low. It’s that kind of history I like…. I saw Atonement right before production and I’m glad I saw it because we’re trying to do 180 degrees opposite. It works for its own story, but no one can feel like they’re in a period piece. There’s no seriousness here.
ETA: Also MAOW will be screened at the Houston CinemaArtsFest: