Based on Priscilla Presley's 1985 memoir Elvis and Me, the feature Priscilla reunited writer-director Sofia Coppola with cinematographer Philippe Le Sourd, ASC, AFC. Their prior collaborations included the features The Beguiled and On the Rocks, both of which were photographed on 35mm negative. Priscilla, though, marked Le Sourd's first foray into digital acquisition, and he worked closely with Panavision Toronto in selecting his camera and lens package, ultimately opting to pair an Alexa 35 camera with Panavision Super Speed and Ultra Speed optics. Here, the cinematographer shares his perspective on the creative approach behind the movie's visual language.
Panavision: How would you describe the look of Priscilla?
Philippe Le Sourd, ASC, AFC: This movie is a tapestry of emotions, so you try to convey the feelings of each character. Its about how you frame it, the power of negative space, and lighting directions. For me, the essence lies in ensuring the audience deeply connects with the characters. I like to convey on each scene and each moment the essence of the emotion of the film.
Were there any particular visual references that you looked at for inspiration?
Le Sourd: In my quest to capture the essence of the Elvis and Priscilla era, I realized the abundance of references available from books to the internet and YouTube. However, instead of replicating existing images, often tinged with Kodachrome interpretations, I opted for a more innovative approach. Rather than producing a mere photocopy, I sought to create a fresh interpretation of that time.
During this process, I stumbled upon a captivating black-and-white photograph from Saul Leiter featuring a woman seated on a bed, cloaked in complete silhouette. Instantly, I knew I had found the cinematic inspiration I was seeking a departure from the conventional Elvis and Priscilla imagery.
In addition to this evocative photograph, we delved into the world of movies that held a special place in my heart and cinematic education. Having studied Italian cinema at university, my early passion was ignited by Antonionis masterpiece, LAvventura. The films framing, composition, and mise-en-sc ne profoundly influenced my perspective as a cinematographer. The portrayal of loneliness, emptiness, and the adventurous spirit resonated with me.
Our cinematic journey also drew inspiration from another Antonioni gem, LEclisse, which brought us immense joy. These films became not just references but guiding lights in shaping the visual narrative of our project.
What brought you to Panavision for this project?
Le Sourd: Panavision is a gold mine. You search for something, and you know that something antique or super modern could be there. You cant be wrong to go to Panavision. The people, the quality, the craft, the knowledge that comes from 70 years. I knew I need these craftspeople behind me.
What optical characteristics did you see in the Ultra Speed and Super Speed lenses that made them the right match for this story?
Le Sourd: This was my first movie shot on digital, so I did a lot of tests to compare formats. Even the size of the camera adds a layer to the set ambience. When you bring a piece of equipment on set, it tells a story to the actor and to the director.
I've used the Super Speed and Ultra Speed lenses on film before, and perhaps it was an unconscious decision, but they turned out to be the perfect fit for this particular story. Reflecting on it, I believe it came down to the texture they provided. There was a unique quality, a certain depth that resonated with the emotional essence of the narrative, and ultimately, that aspect held greater significance for me.
Working with digital afforded me the freedom to manipulate colors and experiment more on set. Typically, I lean towards a naturalistic approach in my work, but with Priscilla, I found it was interesting to explore the idea of color and the emotional impact of color.
How does this project differ from others in your career?
Le Sourd: Every project is different, but I think there's a continuity of the work in certain ways, a continuity of research. You never stop looking for something. Every day brings something different and challenging. Even a scene like Priscilla and Elvis' first kiss inside a car was a challenge. I needed to find something special that brought the emotion of two lovers inside a cage. So for me, it's always a challenge. I never stop thinking, Was that different?'
Images courtesy of A24.
Most recent headlines
05/01/2027
Worlds first 802.15.4ab-UWB chip verified by Calterah and Rohde & Schwarz to be ...
01/06/2026
January 6 2026, 05:30 (PST) Dolby Sets the New Standard for Premium Entertainment at CES 2026
Throughout the week, Dolby brings to life the latest innovatio...
01/05/2026
January 5 2026, 18:30 (PST) NBCUniversal's Peacock to Be First Streamer to ...
01/04/2026
January 4 2026, 18:00 (PST) DOLBY AND DOUYIN EMPOWER THE NEXT GENERATON OF CREATORS WITH DOLBY VISION
Douyin Users Can Now Create And Share Videos With Stun...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
07/01/2026
AI has transformed retail and consumer packaged goods (CPG) operations, enhancin...
06/01/2026
Peacock Bringing Dolby Vision and Dolby Atmos to Live Sports ContentPeacock is the first streamer to embrace Dolbys full suite of advanced picture/sound innovat...
06/01/2026
SVG Europe Audio: Listening to the sounds of powder and ice at Milano Cortina wi...
06/01/2026
Quintar Meta Spatial SDK Integration Promises Next-Level XR ExperiencesBy Ken Kerschbaumer, Editorial Director
Tuesday, January 6, 2026 - 9:41 am
Print This...
06/01/2026
Milano Cortina 2026: BBC Sport Previews Broadcast Ops, Studio Setup, Social Medi...
06/01/2026
Dolby's Jason Power on Elevating Live Sports Through Immersive Audio and HDR...
06/01/2026
DAZN's Global CRO Walker Jacobs on the Streamer's Breakout Year in the U...
06/01/2026
California Dreamin': LA28's SVP of Media Jim Bell Previews the Olympic a...
06/01/2026
One Month Out From Winter Olympics Opening Ceremony, NBC Sports in Final Prep fo...
06/01/2026
Advanced HDR by Technicolor and Zinwell Integrated onto ATSC 3.0 Conversion Boxe...
06/01/2026
Fox Sports President and COO Mark Silverman Shifts to Consulting RoleBy Ken Kerschbaumer, Editorial Director
Tuesday, January 6, 2026 - 2:37 pm
Print This S...
06/01/2026
Spotify is launching a week-long celebration spotlighting creators at the center...
06/01/2026
Lorde. A$AP Rocky. JENNIE. Baby Keem. KATSEYE. That's just a taste of who...
06/01/2026
In a live broadcast, L3Harris CFO and Missile Solutions President Ken Bedingfield joined Morgan Brennan on CNBCs Closing Bell: Overtime. Bedingfield discussed...
06/01/2026
First-of-its-kind SSP capability delivers program-level insight and brand suitab...
06/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
06/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
06/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
06/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
06/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
06/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
06/01/2026
Boston Conservatory at Berklee Kicks Off Spring Center Stage Season in February Boston Conservatory at Berklee's Center Stage season continues this spring...
06/01/2026
Operative, the preferred advertising management solution provider for the world's leading media brands, today announced a new AOS Services Platform, advanci...
06/01/2026
Beam Dynamics has strengthened its leadership team with two appointments to support the company's next stage of growth. Jonathan Rollman will lead product s...
06/01/2026
MNC Software, a global leader in network management and operational support systems tailored to the broadcast and media industry, has today announced the appoin...
06/01/2026
Friend MTS, the number one anti-piracy provider and video cybersecurity partner in entertainment, media and sports, today announced a partnership with Jasmine I...
06/01/2026
Kiloview, a global leader in AV-over-IP solutions, will showcase its latest innovations at ISE 2026, highlighting the continued evolution of its complete, light...
06/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
06/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
06/01/2026
Share Share by:
Copy link
Facebook
X
Whatsapp
Pinterest
Flipboard...
Based on Priscilla Presley's 1985 memoir Elvis and Me, the feature Priscilla reunited writer-director Sofia Coppola with cinematographer Philippe Le Sourd, ASC, AFC. Their prior collaborations included the features The Beguiled and On the Rocks, both of which were photographed on 35mm negative. Priscilla, though, marked Le Sourd's first foray into digital acquisition, and he worked closely with Panavision Toronto in selecting his camera and lens package, ultimately opting to pair an Alexa 35 camera with Panavision Super Speed and Ultra Speed optics. Here, the cinematographer shares his perspective on the creative approach behind the movie's visual language.
