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Graceland

Baz and I were extremely fortunate to be provided with unprecedented access to
Graceland and its archives. As we donned our white gloves and carefully sifted
through the extensive archives of Elvis’s life, we were very cognisant of how special
this moment was.
Angie Marchese, vice president of archives and exhibits at Graceland, was
unbelievably generous with her time and insights into Elvis’s history, responding
to our constant queries throughout our pre-production and production of the film.
Along with the actual experience of Graceland and its archives, we used countless
photos of Graceland in books that have been published over the years.
One truly exciting moment was being able to see in person the blue paint
that donned the walls in the 1950s. This was made possible by Angie allowing us
to see inside the rarely opened closet in the vestibule, where vestiges of this blue
paint still remain.
Baz wanted to capture Elvis’s excitement at purchasing Graceland, which
coincided with his rising stardom and subsequent wealth. We illustrated this by
expressing on screen the evolution of both the exterior and interior decor of the
house. Elvis arrives in 1957 to a working farm and the exterior of Graceland
changes by the summer of ’68 to be the exterior we know today. These changes
were conjoined and compressed in order to underline Elvis’s story arc.
Similarly, the interior had three iterations — the moving in, the establishment
of the blue-and-red ’50s look, and subsequently the interior of Graceland as it we
know it today. Elvis was always intimately involved in Graceland’s redecoration
and renovations. Its look is a testament to his iconic style.
We wanted to re-create Graceland as accurately as possible so that the audience,
many of whom are familiar with every nook and cranny of the property, would be
immersed in the immaculate reality of Elvis’s life. Baz felt it was also important
for the audience to be let in to the unexpected 1950s decor, giving them an intimate
and surprising glimpse into Elvis’s life at Graceland.
The six-metre sofa that Elvis ordered almost immediately on moving into
Graceland (of which we made a reproduction) proved a challenge to actually bring
into the set. It was a moment that connected us viscerally to the life of the house.
We imagined the day Elvis accepted delivery of this enormous piece of furniture
and wondered how long it would have actually
THESE PAGES, FROM TOP LEFT taken the delivery men to put it in place.
a partially built Graceland set As Graceland is arguably the best-known Elvis
on Stage 8 at Village Roadshow landmark, the onus was on art director Matt Wynne
Studios on the Gold Coast. Olivia and supervising art director Ian Gracie to piece
DeJonge as Priscilla Presley sits
pensively on the stairs in the together all the details of Graceland from site-visit
interior set of Graceland. The photos, a site survey we had commissioned, and
Music Room on the Graceland contemporary photos to ensure that Graceland
set. The infamous Peacock was faithfully re-created. The expert integration of
stained-glass windows on set.
“Baz wanted to In the Music Room with a view visual effect extensions, the set and the Graceland
of the reproduced six-metre sofa. gates make the illusion of reality seamless. ››
capture Elvis’s PHOTOGRAPHERS: TUESDAY STONE (SET IN CONSTRUCTION), HUGH STEWART (PRISCILLA PRESLEY IN ELVIS), DAMIEN DREW (GRACELAND SET)

excitement at

purchasing

Graceland, which

coincided with his

rising stardom and

subsequent wealth”

CATHERINE MARTIN

52 vogueliving.com.au