That's very important when we start the preparations, and that's the key on set. She's not afraid to speak about the light. We're not afraid to speak about the script. I think it is about trust, overall, and confidence between each other. What do you think it is about your relationship as director and cinematographer that works so well? She tries to make it simple."Ī.frame: This is the third film you've shot for Sofia. "There is something very special about her writing, and the way she has a very natural and simple way of shooting scenes," Le Sourd muses. But for the cinematographer, the style is a cherry on top of the substance. "It's about money, how to be able to shoot this movie with the money we have," says Le Sourd, who himself had never shot a feature digitally before. Notably, Priscilla is Coppola's first film shot on digital. (Of Coppola's past work, Le Sourd says that he wishes he could have shot " Marie Antoinette, Lost in Translation, Virgin Suicides, Somewhere - I think all of them are fantastic!")īased on Priscilla Presley's 1985 memoir, the drama re-examines the romance between Priscilla ( Cailee Spaeny) and Elvis Presley ( Jacob Elordi), who met when she was 14 years old and he was already one of the most famous singers on the planet. He has now lensed three of her films, including 2017's The Beguiled and 2020's On the Rocks. Le Sourd is the DP behind the sumptuous, poetic visuals of Wong Kar-wai's The Grandmaster, for which he received an Oscar nomination in 2014, making him an ideal collaborator to capture Coppola's trademark aesthetics. "She will call me and say, 'Are you available for this time?'" Four months later, Le Sourd found himself on set in Toronto, standing in for Memphis and Los Angeles of the 1960s and '70s, to shoot the filmmaker's eighth narrative feature, Priscilla. By now, the French cinematographer Philippe Le Sourd knows to expect a call when inspiration strikes Sofia Coppola.
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