Behind-the-scenes production of love for inflatable dolls

Creation background

Nancy Oliver, a screenwriter, said that when she was wandering on the Internet, she came across a company specializing in producing simulated inflatable dolls. Those strange dolls have been haunting Nancy's mind, and she is determined to create a script about a beautiful and strange life story, not a script with erotic humor.

Producer John Cameron was indifferent when he first picked up the script, but as his eyes jumped between the lines, his mood quickly became excited, and he was firmly attracted by Lars' story. Cameron immediately thought that the film should be directed by craig gillespie. Cameron has been paying attention to Griespe's works, and he knows Griespe's preferences and narrative techniques like the back of his hand.

Although the director is in place smoothly, finding investors for the film has become a big problem that is difficult to solve. The sensitive theme of this film scared away many people.

Three years later, Bill Holberg, the production director of Sidney Chimel Entertainment Company, took a fancy to this script and recommended it to Jim Taubel, the president of the company, who also became interested in it. The two sides began to meet at once and soon reached an agreement.

Actor selection

The producer thinks Ryan Gosling is very suitable to play Lars in this film. Gosling who received the script also responded immediately. Two days later, he met with the producer and signed the role within a week.

Many actors are surprised at their reaction to the script. Paul schneider, who plays Gus, once had such a scene in the film. Gus tried to avoid talking about a topic for a long time, and finally blurted out a deep apology. Schneider was auditioning at that time, and he began to cry as he spoke. He was deeply surprised by this involuntary strong reaction.

Shooting process

Although all the scenes of the film are ready, director Grisper deliberately postponed filming until winter, because he thought that the empty sky in winter would aggravate the loneliness of the film, and the cold snow also had potential meanings. In addition, the light in winter is softer, thus creating a fairy-tale artistic conception.

In order to capture the ideal natural light, the producers decided to push as far north as possible and choose to shoot in areas with developed film industry in order to obtain excellent staff and equipment. Toronto, as a world-class film center, has not only rural scenery, but also natural snowfall, making it an ideal choice.

The crew also filmed in Whiteville, a small town east of Toronto.