#The green knight how to#
#The green knight movie#

“As far as color, we both really wanted to make a very modern film, and for it to have some snap and some pop to it,” adds Palermo. But it was important for us, for his journey, that we don’t lose the sense of the environment.” The Green Knight was lensed with ARRI’s large format Alexa 65 cameras. ” Adding that Lowery additionally wanted the film to be immersive with a sense of depth, he says, “that kind of pushed the camera language to really wide-angle lenses, really feeling these vast landscapes, but not being afraid to get very close to our subjects with these wide-angle lenses so that they feel large and dynamic within a frame.

#The green knight movie#

Of the approach to the cinematography, Palermo recalls that “initially David pitched the movie as an epic journey, but he also wanted it to be as artistic and as personal as. I liked this idea of the space that had an opening for you to be able to walk into.” She chose to construct the set around the Round Table, which was built as more of a C-shape “to allow for the action, but also because the idea of a closed, solid round table just wasn’t interesting. So we knew going into it that we wanted to shoot and build the entire thing, ceiling and all.”

#The green knight how to#

The next step, she explains, was “figuring out how to make it fit within our stage space, because we didn’t have a huge stage and we didn’t have. “The purity and simplicity of the internal space was so attractive to me,” says Healy. 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. Savannah Film Fest: 'Docs to Watch' Panel, New Doc Award and Special Doc Screenings Announced (Exclusive)įor 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 Excalibur (1981) and Stanley Kubrick’s 18th century-set drama Barry Lyndon (1975).