From American Cinematographer, The Root of All Evil by Jay Holben (December 1998)
"We wanted to avoid blue skies and sun, and we were lucky for the most part. On overcast days, I would simply employ some negative fill so that the light wouldn't bounce around as much from the white snow. We covered the ground with solids and brought in more solids on one side to give the light more direction. Then, for close-ups, we'd shape and refine the light slightly with a bit of bounce fill off a card. During the few days when the sun did come out, I wanted to bring in a big crane with a huge silk to take care of the situation, but again, budgetary factors didn't allow it."
- Alar Kivilo, CSC