#1 CAROL TOOK YEARS IN THE MAKING
Carol is based on Patricia Highsmith’s 1952 semi-autobiographical romantic novel The Price of Salt. It was later in 1997, Phyllis Nagy, who was a friend of Highsmith, wrote the first draft of the script for Carol to be adapted into a movie. Nagy said she had titled the film Carol and not The Price of Salt because Highsmith herself had changed the title to Carol when the novel was republished.
And it went on for years, the script went from one producer to another and the directors keep quitting the project until 2012. Todd Haynes had first heard about the film in 2012 from costume designer, Sandy Powell, who informed him that Cate was attached to the project and it was because Cate served as an executive producer through her company Dirty Films, had been involved with the project for a long time. Haynes learned that they were looking for a director when Christine Vachon, one of the producers approached him in 2013. He regarded the story, its historical and social context, and collaborating with Cate, as motivations to get involved.
Haynes: "Cate was on board before I was, so I pictured her when I read the script and the book. Initially, she was already cemented in my mind as Carol."
#2 THE MINK COAT THAT KEPT FALLING APART EVERY SINGLE DAY, EVERY SINGLE SCENE.
First thing first, we all should thank Sandy Powell for informed Todd Haynes about the project. And secondly, bless her for finding the right coat for the elegance Carol, in which it wasn’t an easy task for what she had found “the right color in the wrong coat, the right shaped coat in the wrong color” she said on her research. So, in the end, Powell enlisted a furrier to make the oversized jacket “from lots of bits of old coats, all cut up and sewed together to make this coat in the right color” but since it was made quickly and “from really old fur”, it fell apart almost as quickly as it was built.
“The coat itself fell apart every single day, every single scene. It sort of split and every single day, the poor costumer that looked after Cate – she spent her entire lunch time repairing it every day. It was a nightmare.” Sandy Powell told The Hollywood Reporter
What about the rest of Carol’s classy outfits?
Powell accessorized Cate with estate jewelry lent to the production by Fred Leighton and Van Cleef and Arpels. Vintage handbags, bespoke hats, shoes custom-made by Ferragamo based on their original 1940s and 1950s patterns and newly-constructed leather gloves to match her character’s shoes. Note that hand and foot sizes are much larger today than they were in the 1950s, meaning it would have been impossible to dress Cate in original gloves and shoes.
Sandy Powell’s favorite pieces from the film?
It happened to be the one most difficult to design, is the suit that Carol wears to lunch with Therese. The reason: it has to be both functional for the afternoon and then for the black-tie party she attends with Harge (Kyle Chandler), where the rest of the women are wearing gowns.
“I had to design one of those outfits that go from day seamlessly into the night. Carol has the jacket on when she's with Therese—so it looks like a jacket and skirt suit. When the jacket comes off, she's got the dress with the slightly low-cut back, so when she's dancing it looks more evening-like, even though it isn't a gown, which is why Harge's mother is disapproving of her. . . Wearing a cocktail-length dress to such a formal party is her little act of rebellion.” Powell told Vanity Fair.
Where the inspiration for the costumes comes from?
It comes from the director, Todd Haynes, in which he compiled pictures into a scrapbook/look book then he gave it to all of the creatives. That's when the creative work started.
“Everything that was going through his mind he compiled into one book –which he gave to us, which is a great head-start.” says Powell.
Haynes’s look book consisted of photographs from the time, which gave Powell ideas for a very specific color palette. “They’re all photographs of street scenes in New York,” Powell told Gold Derby Podcast.
Sandy Powell also looked a lot of fashion photography like Vogue and Harper’s from the exact months that the film was set.
#3 FOR TODD HAYNES’S THREE FAVORITE SCENES IN CAROL
Todd Haynes’s three favorite scenes from Carol: 1. When Carol drives Therese to her New Jersey home for the first time. 2. Therese and Carol return to the Drake Hotel, make love then learn the next morning that Carol has left and 3. When Carol and Therese's meeting at the Ritz.
The favorite scene #1 when Carol drives Therese home for the first time is what caused the most practical problem to shoot:
"This scene has such an emotional potency in the story and also it has such a stylistic distinction from anything else in the film with those slow dissolves and the music mix and a state of almost intoxication that evokes what it's like to fall in love."
It's also a scene that created real practical problems shooting in Cincinnati because the length of the tunnel we used is about 200 yards. So we had to keep scheduling a drive through this tunnel over and over and over again. The tunnel was so short that daylight would start coming through almost immediately. So we shot it at like 4 in the morning after an already incredibly long day, using a police escort that took about 45 minutes just to do a circle and go back around again for what's literally 30 seconds of shooting." Haynes told LA Times
While Cate said the shoot was like a dream because she can’t remember most of it.
Blanchett: Yeah, but we also shot that in so many pieces. The whole thing seems like a dream to me. I can't remember a lot of it.
The favorite scene #2 is the one scene that makes Todd Hayne had a hard time ending it.
Haynes: "In production, this was the first time they did kiss. We shot it before the sex scene. And both actresses will make note of the fact that I didn't say "cut" for a long time. And they kept going. I was sort of enthralled watching. It was the first time Cate and Rooney made out in front of me. And I couldn't say "cut." I didn't want to put them in an awkward position. I think I ultimately did."
Cate recalled the moment like a “brother peeping through the door watching you undress”.
Cate: "There was something slightly voyeuristic about it, but in a beautiful way. I imagine the first time you get your actors together as a director, you're seeing what that is. It's like your brother peeping through the door, watching you undress. It's like: "I know you're there!"."
But it’s actually because the scene was so moving that Todd Haynes had a hard time ending it.
Haynes: "What the two actresses were doing in the scene, because it had such a tragic dimension, was so moving to me that I had a hard time ending. That scene kills me every time I see it. There's a pained expression in Rooney's face where you see the weight of implication in where they are in their lives."
You know what, Mr. Haynes? Same! We all felt that too!
While favorite scene #3 is inspired by one of Cate’s favorite films, Brief Encounter.
Haynes: "This double scene and the pivot that it plays in the story — though I think in "Carol," this pivoting in status in the relationship is given a further dimension than it is in the source we lifted it from — comes from the movie "Brief Encounter." That movie opens with a succession of little moments where you're wondering whose story it is and when are we going to land and find our route. I love that. The whole question of whose story this is and whose emotions are we really inside was, in my mind, definitive for the love story."
Cate:" "Brief Encounter" is one of my favorite films, one that I constantly revisit. The performances are so extraordinary. I will never forget when they're about to consummate their relationship and they have to go out from the kitchen to the fire escape and suddenly what was so beautiful has turned sordid and dirty. It's when the world pollutes what seemed so pure and perfect. It's very hard to keep the romance alive in the modern world."
#4 ROONEY MARA WAS MEANT TO BE THERESE! (OR MAYBE THAT JUST WHAT I THOUGHT)
In 2011, after completing The Girl With Dragon Tattoo, Rooney Mara was offered the role Therese but refused because she was exhausted. She told Deadline that she read Carol after The Girl With Dragon Tattoo.
Rooney: "I was really exhausted and felt I couldn’t act anymore. I read it and loved it and obviously wanted to work with Cate but felt I couldn’t be any good in that. I felt like I gave in so much in (Dragon Tattoo) that I didn’t have any more to give."
In 2012, it was announced that the role passed to Mia Wasikowska, at that point James Crowley was set to direct. A year later, Weinstein Co. took the US rights with Haynes directing. By August 2013, Mia Wasikowska dropped out due to a scheduling conflict with Guillermo Del Toro’s Crimson Peak and Rooney Mara got the offer back.
Rooney: "Luckily, a year later when Todd came on board, the script came back to me and I was in a much different headspace and it was no brainer at that point."
Now that Rooney succeeds in playing Therese, it wasn’t an easy task to act alongside Cate since Rooney is a fan of Cate since she was 13.
Rooney: “I remember the first time I saw Cate, in Elizabeth [1998], I think I was 13. I went to our little local theater with my mom, and I was like, ‘Oh, my God, who is that woman?’ She’s just so incredible. It was pretty easy to pretend to be enamored by her. And she’s quick and witty and funny. She’s very confident. It’s amazing. Usually it’s not that great to meet your idols and work with them; it’s kind of a letdown. This definitely wasn’t. She’s much different than I had in my head, but kind of better, in a way.”
And her admiration continues from screen test to rehearsal.
Rooney: “I remember the day we did the screen test for costumes and makeup, and I walked out, and Cate had her wig on and her mink and her lips and her skin, and I just remember seeing her and being like, Oh, my God—who is this woman, and how can I be a little bit more like her? I was just as much in awe of Cate in the rehearsal room, when she had wet hair and no makeup on and was just being a real woman.”
And she learned most from observing Cate, picked up a few acting tips from the two times Oscar winner.
Rooney: “Just being around her everyday and to watch her and see the way she works, the way she interacts with others, I’ve learned so much just being around her – not even anything specifically she said, just getting to work with her.”
Despite their chemistry in the movie, both actresses kept to themselves while shooting.
Cate: "Rooney’s such a uniquely creative creature, she puts paid to the idea that actors are exhibitionist. I think it costs her a lot of work, which is why she’s very picky about what she decided to do, so I’m very pleased she chose to do this. She’s self-contained, but she’s immensely available as an actress. We didn’t talk a lot around the scenes, we just saved it for the moment, which is what it’s all about. it has to happen in front of the camera between you."
What about Rooney's favorite scenes in Carol?
"There’s two scenes. Both of them were with Cate. The first one is where Carol and Therese have lunch together for the first time. That was the first scene we got to do together where we really had a back-and-forth. We had the whole day to shoot, which was a luxury given our schedule and we did the scene in its entirety. Someone [on set] observed, “That was like playing tennis with someone really good.” Yeah, it’s like playing tennis with the best tennis player. It was like being in a play. The second scene is the one that bookends the film when we’re having tea. That was another scene we got to do in long takes. There was so much subtlety and nuance going on." Rooney told Deadline
#5 IMMERSE YOURSELF IN CAROL’S ERA
Todd Haynes’s way of creating the 50’s era vibe not only visually but also through music. He has compiled three playlists of tracks featuring one terrific song from Carol era after another. Each playlist has over 20 tracks and is filled with great music. He puts this playlist with Bryan O’Keefe in early pre-production then share the mix with the casts and other creative partners. Here’s Todd Haynes exclusive statement on the three-disc collection he curated:
A WORD ON THE 3-DISC COLLECTION
This was the original mix of songs from the 1952-1953 period depicted in CAROL that myself and my partner Bryan O’Keefe, who did research for the film, put together in early pre-production. We shared the mix with composer Carter Burwell, music supervisor Randy Poster, editor Affonso Conclaves, as well as all my other creative partners: Cate and Rooney and other members of the cast, casting director Laura Rosenthal, Production Designer Judy Becker, DOP Ed Lachman, producer Elizabeth Karlsen, assistant director Jesse Nye, and others I may be forgetting. It includes songs referenced in the novel and script like Billie Holiday’s Easy Living and Jo Stafford’s You Belong to Me (as well as two other far lesser known versions of this song, one by Helen Foster, which is what we ultimately used in the film), in addition to other popular songs from the era (I Saw Mommy Kissing Santa Clause, Tenderly, Cry, Side By Side, Lover, Anytime, Mockingbird Hill, When I Fall In Love, Kiss Of Fire and Pretend). It also features songs or covers from popular musicals of the year, like Hans Christian Anderson, An American In Paris and Lilli, and amazing instrumentals from film scores (The Third Man Theme, Chaplin’s theme from Limelight, Percy Faith’s The Song from Moulin Rouge) or choice cuts from jazz maestros of the era (Miles Davis’ It’s Only A Paper Moon, Lester Young’s These Foolish Things, Charlie Parker’s Laura and April In Paris, Dizzy Gillespie’s Night In Tunisia, and George Shearing’s Lullaby of Birdland—one of Patricia Highsmith’s favorite recordings!). Almost all the songs that appear in the film came from this original mix… and even the song I picked very last minute as our background music for our premiere at Cannes: Gene Kelly’s Our Love Is Here To Stay. Enjoy! – Todd Haynes
If you want to immerse yourself in the Carol era or just turn back the time back to the ’50s, here are the playlist:
“Carol” Playlist 1 (Click here for Spotify playlist)1. “The Sidewalks of New York” — Tiny Grimes** (no stream available)2. “You Belong To Me” — Helen Foster3. “In Our Little Den Of Iniquity (From ‘Pal Joey’)” — Harold Lang & Vivienne Segal4. “Make No Mistakes” — Duke Ellington & His Orchestra** (no stream available)5. “The Christmas Song” — Nat “King” Cole6. “All Of Me” — Johnny Ray**7. “Dream Girl” — Jesse Belvin8. “I Waited A Little Too Long” — Kay Starr9. “Lush Life” — Nat “King” Cole10. “I Saw Mommy Kissing Santa Claus” — Jimmy Boyd11. “But Not For Me” — Ella Fitzgerald12. “This Love Of Mine” — Sonny Rollins13. “Hymne a l’amour” — Édith Piaf14. “Till I Waltz Again With You” — Teresa Brewer15. “Prisoner Of Love” — Jesse Belvin**16. “The Third Man Theme” — Anton Karas17. “Day Dream” — June Christy18. “Smoke Rings” — Les Paul & Mary Ford19. “Willow Weep For Me” — Milt Jackson**20. “Mansion Over The Hilltop” — Gordon MacRae**21. “Ruby, My Dear” — Thelonious Monk22. “Undecided” — The Ames Brothers23. “Blue Tango” — Leroy Anderson24. “I’ll Be Around” — Doris Day**25. “Greensleeves” — Mantovani & His Orchestra26. “Easy Living” — Billie Holiday
“Carol” Playlist 2 (Click here for Spotify playlist)1. “The Song From ‘Moulin Rouge’ (Where Is Your Heart)” — Percy Faith & His Orchestra2. “Have You Met Miss Jones?” — Benny Goodman3. “Blues In The Night” — Peggy Lee4. “Love Is Here To Stay” — Gene Kelly5. “Tenderly” — Rosemary Clooney6. “It’s Only A Paper Moon” — Miles Davis & Sonny Rollins7. “You Belong To Me” — Dean Martin8. “Cry” — Johnny Ray9. “Someone To Watch Over Me” — Ella Fitzgerald10. “My Song” — Jonny Ace11. “The Glow Worm” — The Mills Brothers12. “Please Mr. Sun” — Harry Roy & His Orchestra**13. “I Confess” — Sarah Vaughan**14. “How High The Moon” — Les Paul & Mary Ford15. “Xtabay (Lure Of The Unknown Love)” — Yma Sumac16. “Purple Shades” — Joni James17. “Side By Side” — Kay Starr18. “No Two People” — Danny Kaye & Jane Wyman19. “These Foolish Things” — Lester Young20. “Kiss Of Fire” — Georgia Gibbs21. “Perfidia” — Four Aces22. “How Deep Is The Ocean?” — Dinah Washington23. “Laura” — Charlie Parker24. “Good For Nothing” — Marlene Dietrich & Rosemary Clooney25. “Keep It A Secret” — Jo Stafford26. “I’ll Be Seeing You” — Liberace
27. “Delicado” — Percy Faith & His Orchestra
“Carol” Playlist 3 (Click here for Spotify playlist)
1. “Terry’s Theme (From ‘Limelight’)” — Charlie Chaplin
2. “Lullaby of Birdland” — George Shearing
3. “Hi-Lilli, Hi-Lo” — Leslie Caron
4. “Blue Moon” — Billie Holiday
5. “Night In Tunisia” — Dizzy Gillespie
6. “The Very Thought Of You” — Doris Day7. “April In Paris” — Charlie Parker8. “Lover” — Peggy Lee9. “Isle Of Innisfree (From ‘The Quiet Man’)” — Bing Crosby10. “Takes Two To Tango” — Pearl Bailey11. “If I Should Lose You” — June Christy12. “But Not For Me” — Ella Fitzgerald13. “Anytime” — Eddie Fisher14. “The No Soap, No Hope, No Mouse, No House Blues” — Anita O’Day15. “Mocking Bird Hill” — Patti Page16. “Flamingo” — Duke Ellington & His Orchestra17. “Inchworm (From ‘Hans Christian Andersen’)” — Danny Kaye18. “Why Don’t You Believe Me” — Joni James19. “Un Poco Loco” — Bud Powell20. “Anywhere I Wander” — Julius LaRosa21. “Forget Me Not” — Vera Lynn**22. “Polka Dots And Moonbeams” — Lester Young23. “When I Fall In Love” — Doris Day24. “High Noon” — Frankie Laine25. “Pretend” — Nat “King” Cole26. “You Belong To Me” — Jo Stafford
Hope these facts make you feel...
- Catewalk
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