Last year, I worked as the production designer on Cem Ibrahim’s Happy inside, a surreal film expressing a characters emotions and dreams through the set around him rather than trying to create a realistic environment. The result was set pieces such as clouds in the room, plants growing everywhere and miniature egg sets.
For Gordon Napier’s period drama “ANAM”, the approach was very different and therefore challenging and interesting to me. The film tells the story of a Scottish crofter in the highlands who has lost the connection with the land and people around him after his experiences in the first World War. When his son dies, he chops down the tree which represents his deceased wife and builds a coffin for his son from it. I had to create a realistic period set, motivated by the characters, on a shoestring.
Mood trailer, Anam:
Waiting for the script, I started brainstorming by watching the mood-trailer over and over again, getting a feeling for colors, structures, textiles and themes.