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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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