[Jillian Chilingerian]: “… So I really want to talk about your work a lot with the color palettes. When we think of ghost stories, we think a very almost devoid and coldness, but I feel you brought a lot of warmth subtly into this world that really emphasizes touch. I really want to get your perspective on designing these color palettes.”

[Jamie Ramsay]: “Thank you, Jillian. With regards to the color palette, I’d almost open it up more to talk about the look, in a way, because one thing that was important for Andrew [Haigh] and I was never to be overtly specific and narrowed down onto the individual compartments that create the look, it was all sort of hand in hand and homogenous. And you know, the color palette for us needed to be based in reality. Because we never wanted to overextend our poetic license to it by any means. It had to be based in reality. And there had to be a slight practical nature to the color palette, because obviously, being a majority locations based shoot off in the backgrounds, we could not necessarily control. The one thing that was important to us about color palette was sort of the relationship between the current real life of Adam, and then his sort of throwback to when he goes back to his parents and the idea of sort of the nostalgic throwback to the sort of the 80s. So the relationship between the two color palettes was quite important, because each color sort of had a cousin that that was relevant in the 80s. So So for us, we looked at the the sort of relevant color palettes from the 80s. And what was sort of popular from an interior design perspective and a wardrobe perspective. And also what was the sort of functional in the color perspective. And then we looked at the natural evolution and the natural growth of those colors into a contemporary context. Obviously, we wanted to rein in the amount of colors we use just because of his aesthetic responsibility. But it was just very important for us to have that relationship between the two. So we looked at sort of burnt oranges becoming reds, we looked at sort of mint greens becoming sort of primary greens. So it was more about more about the sort of the cerebral journey of what colors became, and just finding a grouping of colors that was representative of the 80s, but also fairly representative of our current day.”

Read the full interview here.