McCabe & Mrs. Miller - Production

Production

The film was shot in West Vancouver and in Squamish, almost entirely in sequential order — a rarity for films. The crew found a suitable location for the filming and, as filming progressed, built up the "set" as McCabe built up the town in the film. In the film, Mrs. Miller is brought into town on a J. I. Case 80 HP steam engine from 1912; the steam engine is genuine and functioning and the crew used it to power the lumbermill after its arrival. Carpenters for the film were locals and young men from the United States, fleeing conscription into the Vietnam War; they were dressed in period costume and used tools of the period so that they could go about their business in the background while the plot advanced in the foreground.

The crew ran buried hoses throughout the town, placed so they could create the appearance of rain if necessary. Since the city of Vancouver generally receives a great deal of rain, it was usually only necessary to turn on the hoses to make scenes shot on days when it didn't rain match those shot on days when it did.

It began snowing near the end of the film's shooting, when the church fire and the standoff were the only scenes left to shoot. Beatty did not want to start shooting in the snow, as it was in a sense dangerous (expensive) to do so: to preserve continuity, the entire rest of the film would have to be shot in snow. Altman countered that since those were the only scenes left to film, it was best to start since there was nothing else to do. The "standoff" scene — which is in fact more a "cat and mouse" scene involving shooting one's enemy in the back — and its concurrent church fire scene were shot over a period of nine days. The heavy snow, with the exception of a few "fill-in" patches on the ground, was all genuine; the crew members built snowmen and had snowball fights between takes.

For the distinctive cinematography, Altman and Zsigmond chose to "flash" (pre-fog) the actual film negative, as well as use a number of filters on the cameras, rather than manipulate the film in post-production; in this way the studio could not force him to change the film's look to something less distinctive.