Capturing the Passion: Design and Locations
The paths of David and Jade's
story are reflected in the design of
the film. Feste assembled a stellar
behind-the-scenes team-led by
cinematographer Andrew Dunn,
production designer Clay Griffith and
costume designer Stacey Battat-to
bring her vision from script to screen.
For Griffith, the inspiration for the
colors of the production began by
sitting down with Dunn, Battat and
Feste, and pulling photographs that would reflect
their shared, desired palette. Griffith recalls: "It's
not often that the director, director of photography,
costume designer and production designer sit down
and conjure up the look of the film. But we did, and
it was fantastic."
Because they were on location in Atlanta for 34
of the 37 shooting days, and not on a soundstage,
the color palette was more difficult to control. But
Griffith worked with costume designer Battat to
create the film's signature look. The costume designer
describes the style evolution of Jade's character
progressing from girl to woman: "We wanted Jade
to be more of a little girl at the beginning and then
progress into being a woman. The fact that she's still
a kid means she might want to wear her dresses with
Converse high-tops. Jade's color scheme is what I
like to call a '1920s color palette'-soft, muted pale
pinks, peaches and minty greens with occasional
reds when she's being defiant of her father. When
she chooses David, she's in red."
On the opposite end, it was important that
David's wardrobe reflect his demeanor of little
change. Shares Battat: "David is a stable force
in the movie, so his wardrobe always remains
constant; his look remains consistent, like a
James Dean-type character."
One of Feste's priorities was to find a romantic
to shoot the film. Enter BAFTA Award-winning
director of photography Andrew Dunn, who allowed
for specific spacing of the characters to reflect
Feste's vision. "We initially created a tightness of
space around Jade," notes Dunn. "As she becomes a
woman, develops her own point of view and finds her
place in life and in love, we created more freedom
of space around her. She becomes more the
mistress of her environment and her
space becomes freer."
Something of critical importance
to Feste was having a team that was
very open to love. Reflecting on Dunn,
she compliments: "He is so incredibly
generous and calm and his spirit is so
giving that I knew he would be perfect to
shoot a love story. It's great that he's so
open and not cynical. When I explained
what I wanted in a scene or how I wanted
a kiss to go and he said, 'Oh, that's
beautiful,' I knew that he meant it. On top
of that, he's made the actors feel so free
with their emotions."
The camaraderie was felt between
Dunn and Feste. "Working with Shana
was an energizing and uplifting
experience for me. She has such a special
view," notes Dunn. "She is wonderful
with the actors, understands the story
so well-and it all comes from her
heart. Shana is very inspiring. She's
a writer, she understands her subjects
and what she is trying to get from the
story, which has inspired me to go on
a journey with her and draw out that story
through the images, through the lighting,
camera placement, movement that
we created together."
Endless Love's set was located almost entirely
in and around Atlanta, from May to July 2013.
"Josh and I had never shot in Georgia before,"
says Savage, "so this was our first time here. There
are so many different places to shoot-from the
beautiful Atlanta neighborhood of Buckhead, where
the Butterfield house is, to the more urban spot
where we found an amazing old garage for Harry's
place, to the gorgeous lake house on Lake Jackson
outside of the city. From the diversity of looks, the
great local crews and the good restaurants-
we really enjoyed our time here."
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