How the Green Knight took audiences back in time to camels – The Hollywood Reporter

Cover image in A24’s Green Knight – the David Lowery-directed epic based on the Arthurian lore about King Arthur’s grandson Sir Gawain (Dev Patel) on a quest to confront the honorable knight – was filmed on locations, for the most part. in County Wicklow of Ireland, a suburb of Dublin.

“It has a real lush green and all kinds of sparse landscapes, lots of gray and this wide open sky, and it feels cold and dry. Because of it [set around Christmas]”We really wanted it to feel cold,” says production designer Jade Healy of the venues, which DP Andrew Droz Palermo used to great effect. Both have won accolades from various critic groups for their work.

For Camelot’s exterior, the production used Cahir Castle in County Tipperary, a stone fortress built in 1142 by Conor O’Brien, Prince of Thomond, also used in the story of Camelot. King Arthur by John Boorman Excalibur (1981) and Stanley Kubrick’s 18th-century film Barry Lyndon (1975). The interior of the Great Hall is a suite inspired by Romanesque architecture and especially the Monastery of Thoronet in France, built in the late 12th and early 13th centuries. “The purity and simplicity of space. inner space [in the abbey] Healy said.

The next step, she explains, was “to find a way to make it work for our stage space, because we don’t have a big stage and we don’t have a big stage.” [a VFX budget to extend out from partial sets]. So we knew we wanted to shoot and build the whole thing, the ceiling and all. “

She chose to build the scene around the Round Table, built more like a C “to allow for action [when the Green Knight arrives], but also because the idea of ​​a closed round table is certainly not exciting. It’s just not visually appealing to me. I love this idea of ​​a space that has a void so you can walk in. “

As for his approach to cinematography, Palermo recalls that “at first David saw the film as an epic journey, but he also wanted it to be as artistic and personal as it is.” [their approach to A Ghost Story, on which Healy also worked]. ” Adding that Lowery also wanted the film to be immersive with a sense of depth, he said, “which pushed the camera language to come in. [using] wide angle lenses really, really feel these vast landscapes, but don’t be afraid to get very close to our subject with these wide angle lenses so that they feel large and dynamic in the frame . But it was important to us, to his journey, that we didn’t lose our sense of the environment. ” Green Knight was lensed with ARRI’s large format Alexa 65 camera.

Palermo adds: “In terms of color, we both really wanted to make a film very modern, and let it have some highlights and some highlights. “We both dread having to go down the path so many people have gone down before us, where these movies can be really rough and gritty and unsaturated. I think that look could be great, but it’s not what got us excited about this piece, and we wanted to show more with our color. “

For composition, he draws inspiration from painters such as Caspar David Friedrich and films including Czech director Frantisek Vlácil. Bee Valley and Soviet director Sergei Parajanov’s The color of pomegranate.

Palermo added that among his favorite scenes is the scene outside Saint Winifred’s cottage, in which Sir Gawain meets a ghostly woman – more specifically, “the way the fingers of a tree reach out when they came out of the house and it caught the light that I had the big cranes, the way out of the frame and the way the fog kept in the air that night, [also] helped catch the light when they were standing in front of the pond. “

He also quotes part of the final scene between Sir Gawain and the Green Knight,”[when] 20 years ago flashed by [Gawain’s] eye – something like 10 pictures or 15 pictures, and how much of that is done wordlessly. I feel very proud because the image tells the story so well.”

This story first appeared in The Hollywood Reporter in January. To receive the magazine, click here to subscribe.

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