Issue link: https://digital.copcomm.com/i/1184216
I wanted to start this article by telling a little bit about the process that led me to design Little Women. I'm not sure I would have designed this type of fi lm fi ve years ago, but after reading the script and knowing Greta Gerwig's work as a director and actor, I decided to pursue the interview process. The interview was a little diff erent than most, we didn't really discuss the fi lm. We talked about living in New York vs. Los Angeles, other fi lms I designed, and people we knew in common. I guess it was more a process of fi guring out if we could have a good working relationship, and did she feel like I was the one to fi gure out the visual puzzle. It didn't matter to her that I didn't have the idea of the look of the fi lm right then and there. It seemed like she felt if she had a good feeling about me, we would get to the bottom of the look of the fi lm after some time together. I thought that was a nice way to meet a director and I appreciated the way it went down. I never thought it was fair for a Production Designer not to get a job after one interview. If you understand the material and connect with the director, the right ideas will come once you start. I came out of the meeting inspired by the possibility of designing the fi lm, and I was lucky enough to get the job. Right at the start, I really want to thank the team. I would have been lost without every one of these talented people: Chris Farmer, Supervising Art Director; Art Directors Bryan Felty and Sean Falkner; Assistant Art Director Zack Gonchor; Set Designers Lorrie Campbell, Paul Sonski, Anthony Raymond and Eugenia Magann Haynes; Graphic Artist Carly Sertic; Concept Illustrator/jack-of-all- trades Gregory Hill; and of course, Claire Kaufman, the amazing set decorator! I also really want to thank Joseph Kearny, the construction coordinator and his crew, as well as James Passanante, charge scenic, and Doug Dresser, the location manager. Greta wanted to shoot the fi lm in the area where it was written, Concord, MA, the site of the real Louisa May Alcott home. I was really happy when the studio wanted to shoot there as well. I've done two D A. MARCH HOUSE ELEVATION DONE IN SKETCHUP BY SET DESIGNER LORRIE CAMPBELL. B. MARCH HOUSE CONCEPT ILLUSTRATION BY GREG HILL, A LOCATION PHOTO OF THE EMPTY FIELD WHERE THE SET WOULD BE BUILT, WITH IMPORTED SKETCHUP MODEL AND PHOTOSHOP OVERPAINT. C. MARCH HOUSE. IN PROGRESS. D. MARCH HOUSE. FINISHED BUILD. PHOTOS BY JESS GONCHOR A B C