What drew you to working on the Wicked Little Letters project?

It’s such an unusual story. When I read the script, I couldn’t quite place it. The fact that it’s true is even more strange. So I liked it. And there’s a dark comedy aspect that I like. I have that sort of same sense of humour. I love working on darkly humorous projects, so it was right up my street. I went the standard route, interviewed for it, and got on well with the team. We all had a similar vision, which started a lovely adventure.

How do you approach set design, what’s the starting point?

I do thorough research before meeting with the director or producer, so I can approach the project with a well-formed perspective. Research provides answers to many questions, but valuable insights also come from discussions with the directors and producers regarding their vision for the project.

These conversations generate interesting design suggestions, and I collaborate with the Director of Photography (DOP), Ben Davis, to establish a suitable colour palette and overall mood and feel. For instance, in a comedy, it’s essential to avoid overly dark colour schemes.

For this project, locating a town with the right character was challenging. Eventually, we settled on Arundel, even though it wasn’t by the sea. To address this, we incorporated sea views through wide shots. The initial vision was to infuse the setting with quintessential English character, reminiscent of the 1920s, Victorian, and small-town charm, capturing the essence of a sleepy seaside village—creating an unmistakable English feel.

Were there any specific themes or motifs from the film that influenced your design choices, and how did you incorporate them into the sets?

The two families the narrative centres around are diverse, which had to come out. So one family is very much stuck in Victoriana, whilst the other is looking forward. They’re both going through difficult times, though, especially the women, which we wanted to be sensitive about. We wanted it to feel natural within the parameters I’ve mentioned but not like a documentary.

How did you work with the director to develop the visual experience for the audience?

Eventually, we stumbled upon a charming street lined with cotton cottages full of character. Once we identified this location, which resonated well with all of us, I collaborated with the director and the Director of Photography (DOP), Ben. Together, we delved into designing the interiors of these quaint cottages, envisioning them as homes for our two families. The scenes were carefully examined, considering both the architectural elements of the cottages and the activities that would take place within them.

For instance, we imagined Rose having a bath in the front room at one point, providing a glimpse into her living space. We explored various ideas and seamlessly incorporated them into the overall room design. This process involved not only understanding the architectural style of the cottages but also contemplating the specific colours that would best suit Rose’s character.

Tell us about working with Jessie Buckley and Olivia Colman. To what extent does the cast influence your approach to set design?

It has to have an influence really. You start designing with their faces in mind. I start thinking about colours which work with them and their characters, which has a great bearing on everything. Jessie and Olivia are amazing together. They’re hilarious too. They have a lot of time for everyone and create such an enjoyable working atmosphere. Jesse brings an openness and flamboyance, impacting the elements we incorporated into her space. On the other hand, Olivia’s character demanded a more serious and restrained approach, reflecting the constraints of her background. Their faces and characters become integral to the design process and I envision them in the spaces as I work through the creative decisions.

How closely do you work with costume designers on projects like this?

I like that to be really collaborative. Sometimes the colour palettes work together in a project, or there’s occasions where the costumes might be contradicting to make certain messages stand out. I’ve worked with Charlotte Walter a lot, so we already have that rapport. I love the way she uses texture and she does this so well with Jessie’s character in Wicked Little Letters.

Favourite part of working on Wicked Little Letters?

A tiny scene on Worthing beach, as it was towards the end of shooting so everyone came to join. The weather was so windy yet it was meant to be summer, and there was a beautiful atmosphere and that feeling that everything had come together.

What’s next for you?

Something very exciting for TV, but I can’t say any more!

The new film, WICKED LITTLE LETTERS, is in cinemas now.