Moving away from medieval 'gritty' and 'grainy,' cinematographer Andrew Droz Palermo and production designer Jade Healy employed an expressive color palette for writer-director David Lowery’s contemporary take on an Arthurian tale.
For the exterior of Camelot, the production used Cahir Castle in County Tipperary, a stone fortress built in 1142 by Conor O’Brien, Prince of Thomond, which was also used in John Boorman’s King Arthur tale. The Great Hall interior was a set that took inspiration from Romanesque architecture and in particular the Thoronet Abbey in France, which was built during the late 12th century and early 13th century.
She chose to construct the set around the Round Table, which was built as more of a C-shape “to allow for the action [when the Green Knight arrives], but also because the idea of a closed, solid round table just wasn’t interesting. It just didn’t visually appeal to me. I liked this idea of the space that had an opening for you to be able to walk into.”
For composition, he took inspiration from painters such as Caspar David Friedrich and movies including Czech director Frantisek Vlácil’sPalermo adds that among his favorite sequences is the scene outside Saint Winifred’s cottage in which Sir Gawain meets a ghostly woman — more specifically, “the way the fingers of the trees kind of reach out as they exit the cottage and it’s catching the light that I have up on big cranes, way out of frame, and the way the fog held in the air that night,...
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