B.S.C.: “Once we started going deep and listening to shanties, we could feel them — they bring this sort of timelessness to the story. Krudy's a Google Image master, and we just were pulling all these beautiful paintings, and just trying to think how we could make this contemporary story feel ancient? Like a woman standing in front of the ocean for all women standing in front of the ocean, or these are men working for all men working. We think of the shanties as the spiritual core of the movie, and it's also this masculine yin to the yang of the film, where you're still feeling the presence of men even though the story is focused on the women. That's really how it feels in these towns, too — the dominance, and the way the tone is set.”