Meet the Memphis Designer Behind the Eerie World of “Obsession”
She designed the One Wish Willow and other central elements of the blockbuster film "Obsession." Meet production designer and Memphis native Vivian Gray! Image: Sophia Barber
In the world of blockbuster movies, Curry Barker’s Obsession is that rare breakout unicorn. Made for less than $1 million, it has already grossed more than $75 million worldwide. At the helm of the film’s unsettling visuals is production designer Vivian Gray. The St. Mary’s Episcopal School alum cut her creative teeth in Memphis, collecting directing awards at the Indie Memphis Youth Film Festival while still in high school. A graduate of the USC School of Cinematic Arts, she is a visionary talent currently taking the industry by storm, and quite frankly, we are obsessed!
First, congratulations on the huge success of Obsession! For those who don’t know, what does a production designer do?
Thank you! A production designer is in charge of designing the world of a film, so basically everything you see on screen besides the actors. That includes more tangible things like sets and props, but they most often work very closely with other key creative leads, like the costume designer and cinematographer, to execute not only a believable world but a consistent vision.
Your mom is Rachel Gray, a well-known Memphis-based interior designer. Did that influence your creativity?
Absolutely. I would not be where I am today without having been witness to not only the passion she brings to her work but also her resolve. Stepping onto a job site, whether it’s in real life or in the movies, demands that assurance. Seeing her process of getting to that point — from an idea’s inception to its execution — has honestly shaped everything for me.
When did you know you wanted to get into filmmaking? Was there a defining moment that led you to lean into production design?
I was a theatre kid, so pretty much as soon as I stepped in front of a camera, I felt I had to do it: be part of making things that can impact people beyond our lifetimes. Like many other filmmakers starting [out], I had to become my own crew to be able to make things.
Acting led to directing and now to production design. The latter — I first just gave it a go because, amidst wrangling wires on set, a director said they liked my glasses and thought I’d do a good job. I then just kept trying to do a good job after that project.
Prior to Obsession, what’s the biggest or most successful project you’ve worked on and in what capacity?
In terms of budget, the “biggest” was being an art department coordinator for some episodes of Young Rock‘s season three.
You designed the One Wish Willow, the central element of Obsession. Can you walk us through your process?
The box came first. Curry and our graphic designer, Amy Vega, collaborated months before most of the crew joined. That time was a gift. Each iteration — ranging from modern and cool-toned to dream-core and curved — revealed something new.
I chose the final design because it’s almost like it has its own field of gravity: a three-walled box, angular like a gem — a rare find, yet nostalgic. It’s reminiscent of gag gifts from mom-and-pop joke shops or candy stores. The perversion of that aesthetic innocence and the product’s promise is therefore all the more disturbing.
The final “willow” stick design happened much closer to actual production. From a practical perspective, it had to fit inside a thin, triangular box, be inexpensive, and it had to catch light well. I then focused on history. I wanted the lore of the willow to extend beyond just a product.
Deciding on it being merchandise from a niche television show — as if the magic from that story has grown into the one we are watching now — felt apt and also meant it was probably mass-produced and plastic.
I relied heavily on the canonical “spooky forest” matte paintings from early Scooby-Doo episodes and related shows, as if the willow had been snapped from the tip of a branch. The One Wish Willow had to have a presentiment of danger in each of its parts — subtle uncanniness, something deeply wrong, but you can’t look away.
What was your favorite design element in the film?
The palm-pattern valance, fake stucco powder-blue mural, and coral cabinetry in Bear’s bedroom. I pulled from memories of my grandmothers’ homes, so that research process was special. I just really like how it all turned out and the way it stood out against the rest of the film’s more abrasive palette. The duct tape door was also fun.
In your opinion, what are three non-negotiables every good horror film should have?
Just two: dread and texture. The texture is the physical feel of the film. It should be a visceral viewing experience.
The subgenre of incel horror is having a major moment. Why do you think that is?
Younger filmmakers are getting a chance to tell their stories, and so the horrors are going to be what resonates most with them. I hope this transforms from a trend into a movement for all genres.
Where do you go for creative inspiration?
Music and nature.
Where do you see yourself in 10 years?
Directing films.
What is the best piece of advice you’ve ever been given?
“There is no spoon.” I’d like to leave this one up to interpretation, but for me, it means there’s not one answer for what to do with reality. Explore possibility.
You frequently mention your pet, Joy, the rescue rabbit. What can you tell us about her?
She’s so mean, and I love her. She was adopted from the LA Rabbit Foundation, and we were told she was about five when we got her — so, about eight years old now. She loves her daily, organic romaine, cilantro, and parsley salad, but her absolute favorite food is a slice of banana. She also, unfortunately, loves Zoom calls. She will be quiet all day while I’m working in the office, but as soon as I hop on a call, she starts zooming around and banging her toys against her bowls.
When you aren’t working or playing with Joy, what are you doing?
I am trying to be better at what I am doing if I am not working, but it will probably always be something related to music.
LIGHTING ROUND
You bring an LA friend to Memphis. Where would you take them first? My mom’s place for a good meal, but if that’s a cop-out, Abyssinia.
What scares you? Failing people.
Favorite horror movie ever, and why? The Silence of the Lambs. Incredible filmmaking: you’re immersed for every second.
If you had a One Wish Willow, what would you wish for? Nothing! I am not breaking that thing!
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Bonny Osterhage
Bonny Osterhage is a professional journalist with more than 25 years of experience in both print and digital media. An avid fitness fanatic, when she isn't exploring the next trending topic, Bonny can be found cycling, running, and leading classes at SolidCore. Find more of her work at Mind Body Green, The List, Business Insider, and more.