Production
With financing from 26 organisations from five different countries; Sweden, Denmark, Norway, Finland and Germany; the film was Troell's largest project since The Emigrants in the early 1970s. Agneta Ulfsäter-Troell, Jan Troell's wife, started doing research and interviews in 1986 with Maja Larsson, Maria Larsson's daughter, who was a cousin to Ulfsäter-Troell's father. During her research she found Maria's pictures, which were used as inspiration for the pictures seen in the film. The material wasn't organized, but when a person at the Swedish Film Institute heard about the story and how Jan Troell was interested in turning it into a film, an early process for a manuscript was started.
The first official meeting took place in early 2004. Troell said that the casting choice of Maria Heiskanen and Jesper Christensen, both of whom had starred in Troell films previously, had always been "obvious." Two years before filming started, Troell met Mikael Persbrandt at a film festival in Sweden and started to imagine him in the role of Sigfrid. Persbrandt then contacted Troell himself and persuaded him into giving him the role. A major difference between the film and the actual story is that the real Maria Larsson lived in Gothenburg, while the film takes place in Malmö, where Jan Troell himself comes from.
Filming took place between 26 February and 1 June 2007 in Malmö and Luleå, Sweden, and Vilnius, Lithuania. The film was shot on 16 mm film, and then blown up to 35 mm. "Then you get a little grainy picture that fits the turn of the century era and also relates to the early silent cinema. I have deliberately kept the colours down and used similar sepia tones as those in for example Victor Sjöström's films," Troell explains this idea.
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Famous quotes containing the word production:
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—Charles Darwin (1809–1882)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
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