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It’s a fascinating time for Anne back to return to the public conversation.
Pop culture isn’t quite as starved for empowered female characters as it was in the mid-’80s, but it’s also an era in which women still find their rights heavily contested, and their “strong female characters” often sexualized, or simply defined by physical prowess. A scrappy pre-teen with tangerine hair (oh, if it were only auburn!
I thought I did a terrible job, I thought I’d never get the role because I was like, ‘No, I didn’t do as well as I thought I could’ve,’ and then I got the part and I was so shocked!
” boasts a uniquely greyed color palette, eschewing the classic, romantic golden-hour look for a more earth-bound aesthetic, a decision made both by Walley-Beckett and Caro, who directs Walley Beckett’s personal favorite episode. Together with her, we determined the style that we wanted to go for and that we wanted it to be cinematic, that we wanted it to look like a Jane Campion feature, and that we wanted it to have a documentary-level of real.
I think it’s interesting because, for my generation, it’s kind of nice to see that there’s a bunch of feminist characters just in any kind of shows or movies or books right now.
It’s really heartening to know that that’s becoming more and more popular, and it’s relatable to 2017. There was definitely a sense of me relating to her and we had a lot in common, so it was less playing a character than just letting her side just come out in me, playing her.
If we don’t fully understand who Anne is, where she came from, what her obstacles are, how can we invest as deeply in who she is now, what she’s overcoming, what she wants and needs?
We realized in talking about it that all the conversations in the world right now are inherent and built into the existing L. Montgomery stories, the conversations in the world that pertain to Anne, I should say.Then I read it again a year ago in anticipation of writing this and adapting this and had a whole other experience with it,” recalled the producer during a recent chat. Montgomery talks about her abuse at the hands of strangers and in the homes of where she worked, and Anne talks about it expositionally in the books, so I thought it was important to dramatize it.“[A]ll I know is that Anne’s backstory is built into the book. I strongly wanted to represent it on the screen because backstory is backstory, it’s important to character.deviates from more classic expectations, it also takes care to make its titular character’s revolutionary side all the more potent, priming her for a fresh audience.Mc Nulty seems keenly aware that for many young viewers, her Anne is the first one they’ll meet – at once an immense pressure and an enthusiastic opportunity.