Exploring the Creative World of ‘Priscilla’
Sofia Coppola’s Priscilla is not a typical travel story; rather, it focuses on the titular character’s restricted experiences during her marriage to Elvis Presley. While Priscilla traveled briefly to places like Los Angeles and Las Vegas, her primary time was spent at Graceland in Memphis. Consequently, her opportunities to explore the world were quite limited, especially following the early pregnancy that curtailed a planned trip to Europe.
One of Coppola’s signature strengths is her profound sense of place. Iconic settings from her past films, like the Park Hyatt Tokyo in Lost in Translation and the lavish Versailles in Marie Antoinette, reflect this. In Priscilla, viewers might expect to see Graceland, but intriguingly, the film was shot entirely in Toronto. To delve deeper into this creative choice, we spoke with production designer Tamara Deverell.
Building Priscilla’s World in Toronto
The film begins on a military base in Germany, where a 14-year-old Priscilla is first courted by Elvis.
Did you visit Graceland in preparation for this film?
“I definitely started with Graceland because we knew we were going to construct the interior sets. I was surprised at how few images were available, but I never actually visited. It was a quick shoot, and I felt it wouldn’t have been appropriate. Moreover, Graceland’s decor has changed since the 1970s, the era after Priscilla’s time. We limited ourselves to a few key photos and replicating the floor plan of Graceland, focusing on the atmosphere rather than detailed accuracy.”
“We conducted extensive color tests, debating between shades of blue and buttery whites with our cinematographer, Philippe Le Sourd, who joined us from Paris. It was a challenging process, especially since some locations were far apart in Toronto, like the house and the gate. I had previously filmed in one of the properties for an Anne Rice series, which provided a rich setting.”
Minimal photographic evidence exists of Graceland during Priscilla’s time, prompting Deverell to concentrate on capturing its overall vibe.
Memphis vs. Toronto: A Unique Comparison
Had you spent any time in Memphis or visited Graceland?
“I’ve never been to Graceland, but I researched its history. I traveled through Tennessee long ago. Memphis and Toronto share little resemblance, yet the film’s focus is on internal spaces. Our production also represented scenes from Germany, Las Vegas, and Los Angeles. For instance, depicting Priscilla driving under palm trees in Los Angeles posed a unique challenge since such scenery is absent in Toronto. We discovered a mid-century modern home in Toronto that mirrored their Palm Springs honeymoon, enabling us to recreate that aesthetic with additional greenery and cacti.”
The film’s version of Las Vegas was captured entirely at Toronto’s Elgin and Winter Garden Theatre, offering the perfect backdrop.
The Las Vegas Scene: A Feast for the Eyes
What atmosphere did you aim to convey with your Las Vegas sets?
“Elvis frequented establishments like the Stardust; however, we intentionally avoided the pastel colors commonly associated with those venues. Instead, we chose deep reds and golds, utilizing the Elgin and Winter Garden Theatre as our key location. This theater provided an exquisite backdrop with gilded details that align perfectly with the film’s aesthetic. Utilizing VFX, we transformed everyday locations into representations of Las Vegas, allowing us to capture the essence of a glamorous nightlife while paying homage to history.”
“When I presented the location to Sofia and Philippe, the shift in color palette was striking. It’s a refreshing change from the tones found in Graceland or the grayscale of Germany, turning our focus toward a vivid and engaging environment.”
Finding Unique Locations in Toronto
Were there other locations in Toronto that inspired you?
“Parkwood in Ottawa is frequently used for various productions, including a past collaboration with Guillermo del Toro for Nightmare Alley. We also utilized an abandoned children’s psychiatric hospital, creating a haunting atmosphere that perfectly suited the German high school setting in the film.”
How do you perceive Toronto as a filming location?
“While working in Toronto, I often contemplate the potential of its settings, though I do sometimes find myself feeling uninspired. Consequently, I’m excited about my upcoming project in the United Kingdom, collaborating with Guillermo on Frankenstein.
