I took on a challenge of photographing a church interior a few years ago using 120 film in a roll back on a Crown Graphic. The major problem is contrast - it is extreme.
The approach I took was to spend a lot of time with a light meter measuring the light levels throughout the scene and recording the readings for reference.
Then, I did a series of multiple exposures on one frame of film. I started with normal interior lighting and exposed for the areas in the scene that were most brightly illuminated (basically, the altar area). Then, I turned off the spotlights on the altar, and did a second exposure based on the next brightest area. The series ended with one exposure with all artificial lights turned off to capture the feel of the room based only on light streaming through the stained glass windows (which, in my case, were not in the scene I was photographing but which would add to the illumination level of the overall space).
Obviously, this was rather experimental, and so I repeated the process for several frames. It took time, and obviously I had to do it when there was no one around since I was turning lights on and off.
Oh - churches often have candles, and while they don't contribute significantly to illumination levels, they are present as spot sources. So I lit the candles for several of the exposures in each series.
The result of this was negatives where the contrast had been compacted by the modified exposures. As a result, I was able to process the film (T-Max 400) normally (HC-110) and didn't have to resort to special, compensating developers. Obviously, compensating developers, highly dilute developers, and water bath techniques could also be used to deal with contrast if you can't (or don't want to) do multiple exposures.
A couple of years later I was asked to repeat the series in color. This is a scan of a commercial reproduction of the image that appeared on a church directory. (there was a url link here which no longer exists)
The only difference was that there were four kinds of lighting in the scene - daylight through the stained glass windows, incandescent, fluorescent and candles. I chose tungsten-balanced film (Kodak PRT) and commercial processing for the assignment. I figured that the candles would show up as slightly warm, but because they were spot sources within the image, that would appear natural. I also chose to not worry about the daylight because the color of the stained glass would modify the inherent blueness of the daylight, and also because the contribution of the daylight was to the overall ambient and didn't illuminate any specific areas in the scene. The fluorescent lights provided general illumination for the chancel area, and I didn't want that to record as green. I had a light orange filter that was approximiately the same color as the compensating filter recommended for fluorescent light with tungsten film, so I did one exposure with the fluorscent lights and this filter. The result may not be perfect, but no one really notices that there is a mismatch.