Apart from the many weeks of filming at La Canorgue, Scott and his cinematographer, Frenchman Philippe Le Sourd captured the area’s regal beauty in a series of celluloid French postcard-like images of other quaint villages scattered throughout the hills and valleys of the Luberon. Those included Gordes (four days at Cafe Renaissance, dubbed Fanny’s Café in the film), Cucuron, Lacoste, Avignon and Menerbes (where author Mayle used to reside, and whose former house is still a popular stop on guided tours that frequent the village). The company also spent three days at another local vineyard, Chateau Les Eydins, which doubled for the home of the story’s gruff vigneron, Duflot.
Following the two-month Provençal schedule, Scott relocated the crew to London for the production’s final eight days of filming, at such recognized spots as Piccadilly Circus, the architecturally-stunning Lloyds of London building in the city’s financial district, and the trendy Knightsbridge area.
Like Mayle’s book, the film opens in the London financial world, and Scott liked “the antithesis and juxtaposition of London and Provence. One place is as attractive as the other. London’s a great place to live. Provence is a fantastic place to live. Is it better? No, it’s different. For me, I live in Provence… because I live in London. So, I need one to have the other.”
Adds Peter Mayle: “Knowing Ridley’s eye for landscape, color and composition, I’m sure he’s made the Luberon look every bit as gorgeous as it is. I can’t wait to see the movie.”
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