“We started with research because it’s based on history,” Battat explains.
“But at the same time, it’s about their private lives and moments that were never public.
So, how do we interpret those things that we’ve seen through public photos into private moments?
Left: Cailee Spaeny in ‘Priscilla.’ Right: Priscilla Presley in 1960.Sabrina Lantos/A24; ullstein bild via Getty Images
It was really important to seeherintimate view of Elvis, and not the world’s view of Elvis.”
At this point, Priscilla is still an ocean away from the Technicolor excess of Graceland.
“Germany is definitely more muted,” Battat adds.
Left: Cailee Spaeny and Jacob Elordi in ‘Priscilla.’ Right: The real-life Priscilla and Elvis Presley on their wedding day.Philippe Le Sourd/A24; Michael Ochs Archives/Getty Images
“We always said that when we get to Memphis, the sun comes out.”
Meanwhile, Elordi’s custom tux was made by Valentino.
Battat also worked closely with hair designer Cliona Furey and makeup designer Jo-Ann MacNeil.
Left: Jacob Elordi and Cailee Spaeny in ‘Priscilla.’ Right: The real-life Elvis and Priscilla Presley.Sabrina Lantos/A24; Frank Carroll/Sygma via Getty Images
Battat also had to carefully consider Spaeny’s shoes.
At this point, she’s started to experiment with her own style.
“It shows how far they diverged from one another.”
“Those costumes are so incredible,” Battat adds.
“Every time [Jacob] had one of them on, everyone gasped.
They were like, ‘Oh my God, Elvis is in the room.'”
Priscillawill hit theaters Nov. 3.
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