Editing Sense and Sensibility (film) (section)

=== Filming ===
[[File:2016 NAB Show's The Future of Cinema Conference, produced in partnership with SMPTE (26990962775) (cropped).jpg|right|thumb|upright|''Sense and Sensibility'' was [[Ang Lee]]'s first feature film outside of Asia.]]

The film was budgeted at $16 million,{{sfn|Mills|2009|p=68}}<ref name=AsianWeek /> the largest Ang Lee had yet received as well as the largest awarded to an Austen film that decade.{{sfn|Higson|2004|p=44}} In the wake of the success of Columbia's 1994 film ''[[Little Women (1994 film)|Little Women]]'', the American studio authorised Lee's "relatively high budget" out of an expectation that it would be another cross-over hit and appeal to multiple audiences, thus yielding high box office returns.{{sfn|Higson|2011|p=155}}{{sfn|Higson|2004|p=45}} Nevertheless, Doran considered it a "low budget film",{{sfn|Thompson|Doran|1995|loc=20:00–20:20}} and many of the ideas Thompson and Lee came up with – such as an early dramatic scene depicting Mr. Dashwood's bloody fall from a horse – were deemed unfilmable from a cost perspective.{{sfn|Thompson|1995|pp=207–09}}{{sfn|Thompson|Doran|1995|loc=1:11–2:25}}

According to Thompson, Lee "arrived on set with the whole movie in his head".{{sfn|Thompson|Doran|1995|loc=01:02:00–01:03:45}} Rather than focus on period details, he wanted the film to concentrate on telling a good story. He showed the cast a selection of films adapted from classic novels, including ''[[Barry Lyndon]]'' and ''[[The Age of Innocence (1993 film)|The Age of Innocence]]'', which he believed to be "great movies; everybody worships the art work, [but] it's not what we want to do".<ref name=AsianWeek /> Lee criticised the latter film for lacking energy, in contrast to the "passionate tale" of ''Sense and Sensibility''.<ref name="AsianWeek">{{cite news |url=http://www.highbeam.com/doc/1P1-2359450.html |title=Ang Lee on a roll: The director of The Wedding Banquet and Eat Drink |work=[[AsianWeek]]  |first=Michael |last=Warren |date=22 September 1995 |access-date=27 August 2012 |url-status=dead |archive-url=https://web.archive.org/web/20140611025759/http://www.highbeam.com/doc/1P1-2359450.html |archive-date=11 June 2014  }}</ref>

The cast and crew experienced "slight culture shock" with Lee on a number of occasions. He expected the [[assistant director]]s to be the "tough ones" and keep production on schedule, while they expected the same of him; this led to a slower schedule in the early stages of production.{{sfn|Thompson|1995|pp=220–21}} Additionally, according to Thompson, the director became "deeply hurt and confused" when she and Grant made suggestions for certain scenes, which was something that was not done in his native country.<ref name=dailybeastlunch /><ref name=tcmfmiller /> Lee thought his authority was being undermined and lost sleep,{{sfn|Mills|2009|p=70}} though this was gradually resolved as he became used to their methods.{{sfn|Thompson|1995|pp=220, 240}}{{sfn|Thompson|Doran|1995|loc=17:00–17:20}} The cast "grew to trust his instincts so completely", making fewer and fewer suggestions.{{sfn|Thompson|Doran|1995|loc=01:02:00–01:03:45}} Co-producer James Schamus stated that Lee also adapted by becoming more verbal and willing to express his opinion.{{sfn|Mills|2009|p=72}}

Lee became known for his "frightening" tendency not to "mince words".<ref name="LADNyinyang">{{cite news |url=http://www.highbeam.com/doc/1P2-25029678.html |title=Remaking the classics director, cast find yin, yang in Austen tale |work=[[Los Angeles Daily News]]  |first=Amy |last=Dawes |date=13 December 1995 |access-date=26 August 2012 |url-status=dead |archive-url=https://web.archive.org/web/20140611025849/http://www.highbeam.com/doc/1P2-25029678.html |archive-date=11 June 2014  }}</ref> He often had the cast do numerous takes for a scene to get the perfect shot,<ref name=dailybeastlunch /><ref name=Kerr /> and was not afraid to call something "boring" if he disliked it.<ref name=LADNyinyang /> Thompson later recalled that Lee would "always come up to you and say something unexpectedly crushing", such as asking her not to "look so old".{{sfn|Mills|2009|p=70}}{{sfn|Thompson|Doran|1995|loc=4:20–4:40}} She also commented, however, that "he doesn't indulge us but is always kind when we fail".{{sfn|Thompson|Doran|1995|pp=227–28}} Due to Thompson's extensive acting experience, Lee encouraged her to practice [[tai chi]] to "help her relax [and] make her do things simpler".<ref name=AsianWeek /> Other actors soon joined them in meditating – according to Doran, it "was pretty interesting. There were all these pillows on the floor and these pale-looking actors were saying, 'What have we got ourselves into?' [Lee] was more focused on body language than any director I've ever seen or heard of."<ref name=AsianWeek /> He suggested Winslet read books of poetry and report back to him to best understand her character. He also had Thompson and Winslet live together to develop their characters' sisterly bond.<ref name=tcmfmiller /> Many of the cast took lessons in etiquette and riding [[side-saddle]].{{sfn|Thompson|1995|pp=212–13}}

Lee found that in contrast to Chinese cinema,{{sfn|Mills|2009|p=70}} he had to dissuade many of the actors from using a "very stagy, very English tradition. Instead of just being observed like a human being and getting sympathy, they feel they have to do things, they have to carry the movie."<ref name=AsianWeek /> Grant in particular often had to be restrained from giving an "over-the-top" performance; Lee later recalled that the actor is "a show stealer. You can't stop that. I let him do, I have to say, less 'star' stuff, the Hugh Grant thing&nbsp;... and not [let] the movie serve him, which is probably what he's used to now."<ref name=AsianWeek /> For the scene in which Elinor learns Edward is unmarried, Thompson found inspiration from her reaction to her father's death.{{sfn|Thompson|1995|pp=266–67}} Grant was unaware that Thompson would cry through most of his speech, and the actress attempted to reassure him, "'There's no other way, and I promise you it'll work, and it will be funny as well as being touching.' And he said, 'Oh, all right,' and he was very good about it."<ref>{{cite news|url=https://www.nytimes.com/2006/11/05/movies/moviesspecial/05lyal.html |title=Beauty is much less than skin deep |work=[[The New York Times]] |first=Sarah |last=Lyall |date=5 November 2006 |access-date=16 August 2011 |url-status=live |archive-url=https://web.archive.org/web/20150110172012/http://www.nytimes.com/2006/11/05/movies/moviesspecial/05lyal.html |archive-date=10 January 2015 }}</ref> Lee had one demand for the scene, that Thompson avoid the temptation to turn her head towards the camera.<ref name=Kerr />

==== Locations ====
{{Multiple image | direction = vertical
|width    = 250
|image1   = Saltram House - geograph.org.uk - 1096719.jpg
|image2   = Bridleway by Efford House, 1996-geograph-3391607.jpg
|caption2 = Above: [[Saltram House]], a [[National Trust]] property, stood in for Norland Park<br />Below: Efford House in Holbeton was used as Barton Cottage}}

Production of ''Sense and Sensibility'' was scheduled for fifty-eight days, though this was eventually extended to sixty-five.{{sfn|Thompson|1995|p=209}} Filming commenced in mid-April 1995 at a number of locations in [[Devon]], beginning with [[Saltram House]] (standing in for Norland Park),<ref>{{cite news|url=https://www.theguardian.com/travel/2009/jun/07/sense-sensibility-saltram-walking-guide |title=The Sense and Sensibility estate, Saltram House, Devon |work=[[The Guardian]] |date=7 June 2009 |access-date=17 August 2011 |url-status=live |archive-url=https://web.archive.org/web/20140203163838/http://www.theguardian.com/travel/2009/jun/07/sense-sensibility-saltram-walking-guide |archive-date= 3 February 2014 }}</ref>{{sfn|Higson|2011|p=149}} where Winslet and Jones shot the first scene of the production: when their characters read about Barton Cottage.{{sfn|Thompson|1995|pp=215, 217–19}} As Saltram was a [[National Trust]] property, Schamus had to sign a contract before production began, and staff with the organisation remained on set to carefully monitor the filming. Production later returned to shoot several more scenes, finishing there on 29 April.{{sfn|Thompson|1995|pp=215, 217, 222, 226–27}} The second location of filming, [[Flete House]], stood in for part of Mrs. Jennings' London estate, where Edward first sees Elinor with Lucy.{{sfn|Voigts-Virchow|2004|p=11}}{{sfn|Thompson|1995|p=224}} Representing Barton Cottage was a Flete Estate stone cottage called Efford House in [[Holbeton]],<ref>{{Cite web|url=https://www.flete.co.uk/portfolio-item/efford-house-new/|title=Efford House &#124; Flete Holiday Cottages|access-date=19 October 2021|archive-date=6 May 2021|archive-url=https://web.archive.org/web/20210506084043/https://www.flete.co.uk/portfolio-item/efford-house-new/|url-status=live}}</ref><ref>{{Cite web|url = https://hookedonhouses.net/2010/01/10/sense-sensibility-barton-cottage/|title = Barton Cottage from the 1995 Movie "Sense and Sensibility"|date = 10 January 2010|access-date = 16 August 2021|archive-date = 16 August 2021|archive-url = https://web.archive.org/web/20210816224853/https://hookedonhouses.net/2010/01/10/sense-sensibility-barton-cottage/|url-status = live}}</ref> which Thompson called "one of the most beautiful spots we've ever seen."{{sfn|Thompson|1995|p=233}}

Early May saw production at the "exquisite" [[St Mary's Church, Berry Pomeroy|St Mary's Church]] in [[Berry Pomeroy]] for the final wedding scene.<ref>{{cite news|url=https://www.telegraph.co.uk/news/uknews/2433499/Weddings-fall-at-Sense-and-Sensibility-church-after-bells-break.html |title=Weddings fall at Sense and Sensibility church after bells break |work=[[The Daily Telegraph]] |first=Nick |last=Britten |date=18 July 2010 |access-date=18 August 2011 |url-status=live |archive-url=https://web.archive.org/web/20140128152230/http://www.telegraph.co.uk/news/uknews/2433499/Weddings-fall-at-Sense-and-Sensibility-church-after-bells-break.html |archive-date=28 January 2014 }}</ref>{{sfn|Thompson|1995|p=230}} From the tenth to the twelfth of May, Marianne's first rescue sequence, depicting her encounter with Willoughby, was shot. Logistics were difficult, as the scene was set upon a hill during a rainy day.{{sfn|Thompson|1995|pp=235–37}} Lee shot around fifty [[take]]s, with the actors becoming soaked under rain machines; this led to Winslet eventually collapsing from [[hypothermia]].{{sfn|Mills|2009|p=70}}{{sfn|Thompson|Doran|1995|loc=6:15–6:25}} Further problems occurred midway through filming, when Winslet contracted [[phlebitis]] in her leg, developed a limp, and sprained her wrist after falling down a staircase.{{sfn|Thompson|1995|pp=261–62}}

From May to July, production took place at a number of other National Trust estates and stately homes across England. [[Trafalgar House (Wiltshire)|Trafalgar House]] and [[Wilton House]] in Wiltshire stood in for the grounds of Barton Park and the London Ballroom respectively. [[Mompesson House]], an eighteenth-century townhouse located in [[Salisbury]], represented Mrs. Jennings' sumptuous townhouse. Sixteenth-century [[Montacute House]] in [[Somerset]] was the setting for the Palmer estate of Cleveland House.{{sfn|Thompson|1995|pp=286–87}} Further scenes were shot at [[Compton Castle]] in Devon (Mr Willoughby's estate)<ref>{{cite web|url=http://www.nationaltrust.org.uk/main/w-global/w-localtoyou/w-devoncornwall/w-devoncornwall-places/w-devoncornwall-places-otherspecialplaces.htm |title=Other special places to visit |publisher=[[National Trust for Places of Historic Interest or Natural Beauty]] |access-date=18 August 2011 |url-status=dead |archive-url=https://web.archive.org/web/20110905034114/http://www.nationaltrust.org.uk/main/w-global/w-localtoyou/w-devoncornwall/w-devoncornwall-places/w-devoncornwall-places-otherspecialplaces.htm |archive-date= 5 September 2011 }}</ref> and at the [[National Maritime Museum]] in [[Greenwich]].<ref>{{cite news|url=https://www.theguardian.com/film/2010/jul/10/3d-film-festival-greenwich-indian |title=This week's new film events |work=[[The Guardian]] |first=Steve |last=Rose |date=10 July 2010 |access-date=18 August 2011 |url-status=live |archive-url=https://web.archive.org/web/20140128161508/http://www.theguardian.com/film/2010/jul/10/3d-film-festival-greenwich-indian |archive-date=28 January 2014 }}</ref>