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Development[ edit ] Carol is based on Patricia Highsmith 's semi-autobiographical romantic novel The Price of Salt. InHighsmith agreed to republish with Bloomsbury Publishing under her own name, and retitled it Carol.

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Senn Kathleen Wiggins Sennwhilst she was working as a Christmas season salesgirl at the toy department of Bloomingdale's in New York. That evening she wrote an eight-page outline, which she developed some weeks later and had completed by She enlisted then-playwright Phyllis Nagy to write the screenplay on the recommendation of her London agent.

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No one frets about being gay; others fret on their behalf I also found Highsmith's notions of what makes a good mother to be quite radical—the choices that people have to make in order to make the lives of their children better seemed really fresh, and radical.

And still do, to this day, actually.

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You needed to always start with her role". In fact it insists on not being that in order to make the point. I would talk about that with financiers, and I could see them glaze over.

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  • Il contrammiraglio Toshinosuke Ichimaru I primi provvedimenti presi dal generale Kuribayashi furono tesi a riorganizzare l'antiquato sistema difensivo dell'isola che aveva trovato al suo arrivo.
  • I due si sposarono e in seguito rimase incinta e diede alla luce una figlia, Car-Ell; che significa "Campione" nella lingua Kreeche cambiarono in "Carol" per adattarsi ai nomi terrestri.

It could not be corrupted by an impulse to indulge in any number of dramatic narrative cliches about guilt concerning one's sexuality or the like. She's a ghost appropriately, as she should be, in the novel", adding that she was "overwhelmed by the task of trying to come up with the visual equivalent for it structurally.

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She made Therese a photographer instead of a set designer, allowing her "to be seen moving from objects to people", which she likened to Highsmith as Therese is a "clear stand-in" for the author. She had "great freedom" developing the screenplay in England, while no studio or director was attached.

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Over the years, five "proper" drafts materialized. We both have an interest in restraint. That is what transcends the class of love, or the period in which it's occurring, and makes it something that just humbles us all and levels us all.

They then decided to approach Haynes.

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Vachon, Haynes's frequent collaborator, asked carol guarda la perdita di peso del nord he would be interested, and he received a copy of the screenplay. Two days later he committed to direct, and Vachon joined as a producer.

Blanchett, who served as an executive producer through her company Dirty Films, [41] had been involved with the project for "a long time". He regarded the story, its historical and social context, and collaborating again with Blanchett, as motivations to get involved.

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She said that although she loved the script and wanted to work with Blanchett, she had turned it down as she felt exhausted and unconfident. By the time Haynes came on board she was "in a much different head space" and signing on was then "a no brainer". I feel there was an understanding with them that words and dialogue were never carrying the weight of the story.

He starts with a look book of images that he's compiled over the months and months. He's almost OCD about it. In a good way. Haynes used their works as a visual reference for depicting a "dirty and sagging" New York.

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Part of the financing plan hinged upon a co-production deal with Canada, with filming taking place in Montreal, but Haynes joining the production led to a rethink. Karlsen recalled making a film 27 years earlier in CincinnatiOhiothat was set in s New York.

After researching the city, she found that it had not changed much in decades, with Ohio also having one of the best film tax incentives in the U. The city of Cincinnati was very accommodating to the production, which employed many locals as crew. Haynes was involved in the editing process alongside editor Affonso Gonçalves.

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Visual effects VFX were used to remove modern components from backgrounds, with six "key shots" needing extensive VFX. Moving shots were particularly complicated when they were filtered through windows, rain, dust, and other elements, said Haynes, and the CGI details "had to fit exactly into the vernacular itself, with the grain element and level of distress. The producers gave notes on the director's cut, and held some test screenings with finestre snellenti 10 and acquaintances.

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They decided to show the cut to Harvey Weinsteinwho was impressed and endorsed it. It was just a paring-down process, which all movies do.