At the start of the new film “Priscilla”, director Sofia Coppola talks about secrets that the real Priscilla Presley revealed to her.
“Lost in Translation” director Sofia Coppola (52) tells the story of the great love between the young Priscilla Beaulieu (78) and the rock’n’roll legend Elvis Presley (1935-1977) in her new biopic “Priscilla”. But unlike Baz Luhrmann’s (61) wide-ranging work “Elvis” from 2022, Coppola’s more intimate, calmer and more precisely observed film focuses entirely on the world of experiences of the later Priscilla Presley – with all the abysses that this opens up. The independent production is told throughout from her perspective.
In an interview with the news agency spot on news, director Coppola talks about secrets that the real Priscilla Presley told her about her late husband, how she found the special visual style of “Priscilla” and what special circumstances accompanied the production.
Ms. Coppola, what fascinated you about the book, the memoir “Elvis and Me” by Priscilla Presley, and the story of the real Priscilla? Why did you want to tell this story in particular?
Sofia Coppola: I was just interested in that time and the roles of women at the time, and at the same time I was surprised at how little I knew about this famous figure. So I found it interesting to discover their experiences, which of course seemed like an American dream from the outside. I wanted to find the human side and also the dark side in it.
They explained that they didn’t want to cast two actresses to play Priscilla Presley – once in her teens and then later in her twenties. So how was Cailee Spaeny the right choice for the lead role in Priscilla?
Coppola: That’s right. It’s amazing how young Cailee can look. She’s in her mid-20s, but I thought she just had such a baby face, but at the same time a maturity and depth that she could really go through the transition in a believable way.
What were your influences or means of creating the unique visual style of “Priscilla”? Did you report in Vogue that you looked at photographs by William Eggleston for inspiration before you started filming?
Coppola: Yes, he is one of my favorite photographers and was shooting pictures in the South at the time, so the first thing that came to mind was to look at his photos. I just love the color of that era and the special way people dressed in shades that you don’t even see today. Also the colors of the cars. It just really helped. And he shot a series of photos in Graceland that show details like the curtains and small figures in the property. So I thought of these photos for the opening sequence – and generally whenever Graceland was involved.
What was particularly important to you when choosing the costumes and dresses for “Priscilla”? For example, why did you choose Chanel and Valentino?
Coppola: That happened because we were a small, low-budget film. We needed all the help we could get. So Stacey said [Battat], the costume designer: “Do you think we can ask Chanel for help?” Because I’m friends with the designer. The wedding dress is also such a big, significant moment, and they have an incredible couture studio with every kind of lace. So I knew they would make something beautiful, so I asked them if they would make an interpretation of the wedding dress for us. Chanel likes to support films and it was great to have that.
Valentino, on the other hand, makes men’s clothing and has made some beautiful suits and garments for Jacob Elordi. That really added to the look of the film.
Some reviews of your new film say that the height difference between your two stars, Jacob Elordi and Cailee Spaeny, symbolizes the power imbalance between the two characters and Elvis’ behavior, which at times borders on the predatory. Was that your intention when casting Jacob Elordi?
Coppola: No, I didn’t cast him because of his height. In truth, I cast him because of his skills and personality. He has qualities that I wanted to show in the character, he’s so charismatic and also has a sensitive side that I knew could show the vulnerable side of Elvis.
It then turned out that he is very tall and she is very short. When we brought the two actors together, it was a challenge to film them. And I actually think it’s ultimately a physical reminder of the history and the dynamic between them. I think you just try to use everything to your advantage. In the end you use everything you can use.
Priscilla Presley is listed as an executive producer on the film. Can you please tell us about your role in the production? Did she visit the set or was involved in the writing process?
Coppola: She allowed me to adapt her story. I then wrote the script. She then read it, gave me feedback and answered questions.
But through all of that, she really gave me the space to make the film the way I wanted. Priscilla Presley did not visit the set. She didn’t want to make us nervous and didn’t look over our shoulders while we were turning, but she really wanted to give me my space.
I showed her the film when it was finished and it really touched her. She felt like he really showed what her life was like. This was so important to me.
Were there any very surprising or unexpected things you learned from Priscilla Presley? Something that wasn’t even mentioned in your book, or a specific moment that surprised you?
Coppola: I felt exactly that way when I read her book – I found out so many different things through her memoir. But yes, she also told me in detail about details, nothing shocking, but small details that I incorporated into the film, such as the fact that Elvis knew the dialogue from old films by heart. I wanted to show that he really wanted to be a serious actor. I thought that was important.
That particular scene from “Priscilla” isn’t from Priscilla Presley’s memoir?
Coppola: I don’t think that going to the cinema is in the book. That’s what she told me. And I felt like that would be a nice way to show both the beginning of their relationship and his real artistic ambitions.
What went through your mind when you found out you couldn’t use original Elvis Presley songs for “Priscilla”? Did this force you to change your plans or perhaps even question the entire project?
Coppola: No, I knew all along that they were very protective of the Elvis brand and the business side. For projects in which the estate is not involved, there is the possibility of not receiving permission to use their music. So that was always clear to me. However, I thought it might work because Priscilla Presley is involved as a producer. Then when we found out it wasn’t going to happen, we just had to get more creative with how we built the world. We then focused more on her.