GG Hawkins speaks with production designer Vivian Gray about building the visual world of Obsession, from Southern Gothic references and texture-heavy interiors to practical blood gags and micro-budget problem-solving. They discuss what a production designer actually does, how Gray collaborated with the director, cinematographer, costume designer, and art team, and why color, texture, aging, and window treatments can make a major difference on an indie horror film.
In this episode, No Film School's GG Hawkins and guest Vivian Gray discuss...
What a production designer does and how the role shapes the visual world of a film
How Vivian Gray landed the job on Obsession through a recommendation and visual pitch deck
Building the film’s Southern Gothic and Midwestern Gothic-inspired visual language
Why production designers should come onto a project as early as possible
Collaborating with cinematography, costumes, props, set decoration, lighting, and graphic design
How a small indie crew used hands-on collaboration to make the film’s world feel cohesive
Designing horror environments through texture, color, maximalism, and unease
Practical lessons from blood gags, aging props, window treatments, and set dressing
The highest-impact production design choices for micro-budget filmmakers
Vivian’s advice for aspiring production designers
Memorable Quotes:
“My job basically is I'm in charge of the visual design of the film and the visual world.”
“Because they have nothing to shoot until there's something to shoot, right?”
“Everything has to have a texture.”
“I think it is color and texture. It's going to make the biggest impacts in your film, from my experience.”
Guests:
Vivian Gray
Resources:
Obsession on IMDb
Universal Studios Prop House & Drapery
The Hand Prop Room
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