"One of the hardest ones for me was the transformation of Oblonsky's office into the Angleterre restaurant because that was a physical thing that had to happen in camera," Greenwood suggests. "One of the ones I really like is the soldiers in the woods drinking and we see Frou-Frou the white horse with the flag: it says it all with very little.
"And the train station really works because we're dealing with real trains and the physicality of that and the fact that it is the arrival and departure of so many moments in the film. That was a very late revelation on my part where I suddenly woke up one night and said, 'Well, actually what you do is take the theater to the station where we were filming and so we built the proscenium and the stage in the station."
However, Greenwood is critical of those hybrid scenes -- "the bastard children" -- where they didn't have the budget to build sets within the theater, which nonetheless was constantly changing 24/7. "The dueling scene at Oblonsky's house where the countess is on the floor is one of those unresolved ideas," she relates. "Had we limited that more, it would've been better. But at one point you see that it's a conventional English house to my mind. There was no logic when we set out; it was a very instinctive process and I think it does generally work, which is an achievement. With Joe, it's like panning for gold, but there's always something there -- he's the puppet master."