Thinking about those conversations, when you were initially approached with the script did you have any apprehensions due to the gravity of Elvis’ fanbase or were you immediately onboard with Sofia’s vision?
Knowing that it was going to be in the hands of someone like Sofia, someone who brings so much nuance to this story and care. Sofia took the time to make sure Priscilla felt comfortable in the way that we told this story and that she felt represented well because it’s long overdue for her side of the story to be told. Seeing Sofia go about it in this way, gave me a lot of comfort.
I also felt excited about it. I grew up an Elvis fan with my family and grew up going to Graceland as a kid. I think it was just sort of shocking to me that I didn’t know the other side of it. Like I said before, we tried to pull back the curtain on these people and tried to bring the human story out of it. We tried to show all the lows but also the highs and I think Sofia does it in this really sort of beautiful impressionistic way. It’s like you enter this sort of dream, memory-type world, never staying on a beat too long.
I knew that I trusted Sofia with everything, which was a nice feeling. You don’t always get that every time you work with a director but I knew she was gonna be sensitive.
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