What was your biggest challenge?The blood. I had no idea how tough putting blood on clothes would be. I have so much respect for special effects and
What was your biggest challenge?
The blood. I had no idea how tough putting blood on clothes would be. I have so much respect for special effects and makeup artists.
None of the blood gags in Obsession are special effects—it’s all actually live blood being splattered. When you pour blood on different fabrics, it falls differently, and we were trying to replicate blood falling on a sweater, like, 12 times. I had no idea how much thought goes into it.
Obsession was filmed in 20 days with a teenage feature director. What was the energy actually like on that set?
I really got so spoiled. A lot of people say, “Oh, I bet it was so heavy and dark on set.” And I am like, “Actually, it was really light, because Curry and producer Haley [Nicole Johnson] always maintained a very beautiful vibe.”
We were all stepping up and picking up different roles. We were there to do it together. And when you watch Obsession, you can feel that everyone was just pouring their hearts into it. I think that’s so scarce.
The film’s success has sparked a broader conversation about how crew members should be compensated when an indie movie breaks out. What’s your perspective, having been part of the crew?
My experience was very positive. And I do understand that’s not everyone’s experience…but from my perspective, I was very well taken care of and the community was so powerful and supportive.
What have you taken away from this whirlwind experience?
The gift of Obsession, to me, was meeting Curry. I learned that all those years I was anxious about my taste as [a stylist] being different from my mentors and my peers. It was such an aha moment showing me that I should just stick to my taste, because one day I’ll meet someone that aligns with that.
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