A behind the scenes look at Searchlight Pictures’ “Poor Things.” Named one of the top ten films of 2023 by the National Board of Review and the American Film Institute, and has received various other accolades. It received 11 nominations at the 96th Academy Awards, winning four, including Best Actress for Stone, as well as five wins at the 77th British Academy Film Awards.
Poor Things director [Yorgos Lanthimos] used a clever trick to help actors [Emma Stone] and [Ramy Youssef] relax during a crucial scene. Early in the film, Stone’s character throws kippers at Youssef, establishing her as an unconventional Victorian woman. This scene sets the tone for the entire movie, so getting it right was essential for Lanthimos.
To ease anxieties, Lanthimos disguised a full filming session as a “camera test.” Although everyone was in costume on the finished set with cameras rolling, Stone describes the atmosphere as “pressure-less” because it felt like a casual test run. This trick succeeded: the scene filmed that day made it into the final cut and became the foundation for Stone’s unhinged performance as the protagonist, Bella Baxter.
“Every day I was like, ‘What am I doing?’ ” Stone says of her acting in the film. “[Lanthimos] was like, ‘I don’t know, but it seems crazy.’ ”
Inspired by Mary Shelley’s Frankenstein, Scottish author Alasdair Gray’s 1992 novel provided the source material for screenwriter Tony McNamara’s film adaptation, Poor Things. The story centers on Bella, a unique creation – an undeveloped mind transplanted into a mature woman’s body. Throughout her journey, Bella encounters a cast of male characters who all attempt to exert control and influence her life. There’s Dr. Baxter, the brilliant but eccentric scientist who brought her to life (played by Willem Dafoe). Max (Ramy Youssef), Baxter’s student, becomes infatuated and possessive. Finally, there’s the dramatically transformed Mark Ruffalo as Duncan, a charming scoundrel who promises Bella a life of adventure, but with his own hidden motives.
Poor Things marks a reunion for director Yorgos Lanthimos and actress Emma Stone. This isn’t their first rodeo together – they previously collaborated on the critically acclaimed 2018 dark comedy “The Favourite” (nominated for 10 Oscars!) They even dabbled in shorter projects – a 2022 short film “Bleat” and an upcoming anthology film “Kinds of Kindness” (coming from Searchlight Pictures in 2024).
While their approaches differ (Lanthimos, known for his reserved communication, and Stone, with her infectious energy), their partnership thrives. Costume designer Holly Waddington describes their dynamic as a silent understanding: “They finish a scene, glance at each other, and he might utter two words or a shrug, and she’ll be like, ‘Got it!’”
This creative fearlessness stems from a shared sense of humor and a desire to push boundaries.
Lanthimos, a Greek filmmaker, first encountered Alasdair Gray’s novel in 2010 and secured the rights after his English-language debut, “The Lobster” (2015), broadened his audience. However, it took years for him to garner the creative freedom to realize his ambitious vision for Poor Things.
While captivated by Bella as a character, Lanthimos wanted a unique twist. Screenwriter Tony McNamara explains: “In the book, the entire story is told through the men’s perspectives. Finally, after 700 pages, Bella gets a measly two pages for her side. And guess what? It completely contradicts what the men said. That became a core theme for the film – a woman’s story, and the constant struggle against those who try to control her life.”
Director Yorgos Lanthimos and screenwriter Tony McNamara transformed the novel Poor Things into a sharp critique of gender dynamics. Lanthimos admits, “Many of the male characters embody behaviors I recognize in myself as a man. It’s crucial to acknowledge the role men have played in shaping this flawed society we live in. There’s a liberation in acknowledging these issues and saying, ‘This is wrong, this needs to change.’”
Lanthimos first discussed Poor Things with Emma Stone while filming The Favourite. Stone, fascinated by the chance to portray such a unique character, also signed on as a producer. “The allure,” Stone explains, “was exploring the world with fresh eyes, devoid of shame around basic emotions. Experiencing everything for the first time – that was the most thrilling aspect.”
The film required Stone to portray Bella’s dramatic metamorphosis across five distinct stages, from a childlike state at the beginning to a wise and mature woman by the end. This presented a significant challenge, as the production schedule demanded filming these contrasting stages consecutively.
Instead of traditional script readings, the cast of Poor Things embarked on a three-week rehearsal period unlike any other. Mark Ruffalo describes it as “pure play.” They spent most of their time engaging in theater games, only occasionally reading scenes (around 10% of the time). Even when reading lines, they incorporated unconventional elements – throwing balls, playfully wrestling, or making funny observations about each other’s faces. This approach prioritized an embodied understanding of the characters, fostering a loose, playful, and collaborative atmosphere among the actors.
Director Yorgos Lanthimos typically films on location, initially considering Budapest or Prague for Poor Things. However, he envisioned a world uniquely reflecting Bella’s perspective. “We needed to build a world that mirrored her perception,” Lanthimos explains. “This meant constructing everything, even exteriors, in a studio. We’d create a twisted reality based on familiar elements – the Victorian era of the novel – but presented as an alternate universe.”
Production designers Shona Heath and James Price transformed soundstages at Budapest’s Origo Studios. They built elaborate sets including Baxter’s house, an ocean liner, a brothel, and the cities of Alexandria and London. Lisbon, where Bella explores the world for the first time, was meticulously recreated within the largest soundstage in continental Europe at Korda Studios.
While director Yorgos Lanthimos usually films on location, for Poor Things he envisioned a world built entirely from scratch. “Bella’s perspective shapes her reality,” Lanthimos explains. “So, we needed to create this warped version of the Victorian era, a fabricated universe within the studio walls.”
Production designers Shona Heath and James Price took over soundstages at Budapest’s Origo Studios, constructing intricate sets – Baxter’s house, an ocean liner, a brothel, and even entire cities like Alexandria and London. Lisbon, a pivotal location where Bella experiences the world for the first time, was meticulously recreated within the largest soundstage in continental Europe at Korda Studios.
Heath elaborates on Lanthimos’ vision: “He wanted a film that evoked the atmosphere of 1930s studio productions, but with the technical advantages of today.” To achieve this, they combined classic techniques like painted backdrops with modern LED screens, creating a visually stunning and expansive world.
“Lisbon had to be a believable city,” Heath emphasizes. “It needed to be vast enough for Bella to get truly lost. Yorgos envisioned multiple possibilities for her journey, not a linear path. This meant meticulous attention to detail, from grand structures to subtle elements like the light switches in the brothel, designed as clitorises – hidden gems waiting to be discovered by observant viewers.”
Costume designer Holly Waddington drew inspiration for Bella’s wardrobe from an unexpected source: her own children. “Kids, no matter how you dress them, always seem to end up a mess,” Waddington explains. “Trying to keep Bella perfectly attired wouldn’t feel real. She’d just lose things. So, we created these mismatched looks – a puffy Victorian blouse paired with simple knickers.” This approach is evident throughout the early parts of the film, where Stone rocks the high-low combo of a fancy top and casual bottoms.
Another notable aspect of the costuming is the near-complete absence of corsets. Aside from one specific scene, Bella and all the other significant female characters are free from corsetry. “We all agreed from the start that Bella wouldn’t wear one,” Waddington says. “The idea of constricting her body felt contradictory to the film’s feminist message.”
In contrast to Bella’s free-flowing garments, Mark Ruffalo’s character gets the full Victorian treatment. He describes his costume as a full package: “ass pads, thigh pads, calf pads, a codpiece, a corset, a high collar, and boots with three-inch heels.” Waddington confirms, “He’s supposed to come across as a bit of a peacock.”
Yorgos Lanthimos, the film’s director, is known for his meticulous visual style. Actress Emma Stone, who previously collaborated with him on The Favourite, describes him as a “composition freak.” This translates to a demanding experience for cinematographer Robbie Ryan. “He doesn’t rely on theory,” Ryan says. “He prefers to experiment and figure things out on the spot. He’s constantly fiddling with lenses, and I’m left trying to anticipate his choices.”
For the scene where Bella awakens after surgery, the filmmakers used a vintage VistaVision camera mounted overhead. While aiming for a jarring effect, they got more than they bargained for. “The camera had some battery issues,” explains cinematographer Robbie Ryan. As the power waned, the film ran slower, unintentionally speeding up the playback. “Emma simply opened her eyes normally, but the camera made it appear lightning fast. A happy mistake that ended up working perfectly!”
This sense of unexpected rhythm permeates the entire film. Lanthimos’ longtime collaborator, Yorgos Mavropsaridis, delivers a jolting editing style, complemented by Jerskin Fendrix’s unconventional score. This marked a first for both – Lanthimos had never collaborated with a composer, and Fendrix had never written film music. However, captivated by Fendrix’s 2020 debut album “Winterreise” (known for its eclectic punk-pop sound), Lanthimos was eager to experiment. Fendrix drew inspiration from the script, crafting a unique score using woodwinds, pipe organs, and even bagpipes – often subverting the mood of a scene for a surprising effect.
From perfectly timed slapstick to elaborate dance sequences and even “furious jumping” sex scenes (as described by Bella), Poor Things hinges on impeccable timing. “The humor relies heavily on precise execution,” says Ryan. “Just like a well-timed slap, the timing is what makes a joke land. Yorgos is a master at comedic timing.”
Since its festival debut in September, Poor Things has garnered critical acclaim, winning the Golden Lion at Venice and receiving numerous awards and nominations. However, the film’s release was delayed from September to December due to the SAG-AFTRA strike. This unfortunate timing meant the cast couldn’t participate in promotional activities while the film was generating buzz at festivals. For Lanthimos, who shouldered promotional duties alone, it was a frustrating experience. “Being without the actors, especially Emma at the center of the film, was quite isolating,” Lanthimos admits. “Speaking for her wasn’t ideal. It’s definitely better to promote a film together.”
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