Q&A with OUIJA: ORIGIN OF EVIL Costume Designer Lynn Falconer

Set in the 1960s, Mike Flanagan's Ouija: Origin of Evil features a vintage setting for its scares. Playing a key role in bringing the film's bygone era to life is costume designer Lynn Falconer. With Flanagan's latest movie now in theaters, we caught up with Falconer for our latest Q&A feature, and she also provided us with two characters sketches that she did for the film.

Thanks for taking the time to answer some questions for us, Lynn. Were there any specific challenges or rewarding moments that you experienced while working on a horror film set in the 1960s?

Lynn Falconer: Specifically rewarding is finding a funky piece of wardrobe from the past and breathing new life into it by reimagining that piece on a character. I shopped thrift stores, boutiques, and estate sales to find the ’60s period, but while I had a firm rudder for accuracy, I was also looking for an entire wardrobe that felt spooky overall. This was both challenging and rewarding!

Were you a fan of the fashions from the ’60s before working on Ouija: Origin of Evil, or did you have to do a lot of research?

Lynn Falconer: Oh, most definitely! I have a vintage clothing business, so while I look for pieces and not just specific periods, I would have to say that the late ’60s and ’70s happen to by my favorite period. As for research, absolutely, I did a ton of research. The script started in 1965, but I was really focused on the youthquake movement for Lina (Annalise Basso), and a softer, more feminine and funky bohemian style for Alice (Elizabeth Reaser). I asked Flanagan if we could push the years a bit later and he was very flexible and gracious about this. I ended up looking at some Sarah Moon photographs that she did for the fashion designer Biba. It was the anchor to these characters.

What type of a look or atmosphere did you set out to create for Ouija: Origin of Evil?

Lynn Falconer: Well, the overall atmosphere is really a collaboration between Mike Flanagan, Michael Fimognari (our DP), and Patricio Ferrell, the production designer. I also love the makeup artist Staci Witt. I look to all of them for guidance, most especially with color palette and saturation. We really created a rich and spooky feel, collectively. When it comes to the horror feeling in wardrobe, lets just say that a fall wardrobe is miles more creepy than a summer wardrobe! In a fall season wardrobe, layers and silhouettes can contain many "codes" and narratives into the interior lives of the people in the story. So for Doris, I looked for tiny textures like the lace in her little dress, to the stitches in her little crochet vest. For Alice, she inhabits mom/work blouses that had soft impressionistic prints, which pointed to her inner fragility as a new widow caring for her children. As for Lina, we embraced a more straightforward and uplifting color palette; she was the real strength in the family.

Were there any sinister spirits or creepy characters that you helped create the looks for in Ouija: Origin of Evil?

Lynn Falconer: Yes, I helped create "Marcus" at the end. Doug Jones is simply an amazing human being, quite simply with his extraordinary looks and gestures. Then there was "the piece"... one of my crew had pulled the most beautiful lab coat from the wardrobe racks at Universal, and the actor and the wardrobe were a match in heaven. Most costume designers will agree that if you ever have to dress a doctor character, lab coats are manufactured pretty dismally nowadays—they're shocking white, crappy fabric, and made with low quality. But this piece was a heavy distressed canvas with great belt details. I didn’t have a place for the lab coat in the beginning, but I wouldn't release it back to the costume house; this lab coat was special in a way that is hard to describe. I swear I know this sounds nutty, but clothes communicate off of racks to me at times. We put it on Doug on one of the last days of the shoot, we left him shirtless underneath, and Doug did the rest. He did a great job.

Do you have any favorite films or TV shows that influenced how you approached the costumes for this movie?

Lynn Falconer: Good question. Yes, I loved the rich but also desaturated wardrobe palette in The Shining and The Exorcist. I would say that for the silhouettes of the characters, I looked to certain personalities more, and did exhaustive image research for them. For instance, Sharon Tate and Anita Pallenberg were my "Alice," and many of the ’60s French ingénue such as Francoise Hardy and young Catherine Deneuve were a big influence for Lina, played by Annalise Basso.

Looking back at your time on set, is there a particularly funny or memorable moment that stands out?

Lynn Falconer: It was memorable to dress a huge restaurant scene with Elizabeth and Henry Thomas. The background actors were in full ’60s gear, and the lead actors were shining, too. It looked pretty spectacular. I had that moment happen before on an earlier romantic comedy I designed; I had to dress an entire party in ’20s Gatsby clothing. It's really a glamorous moment for a costume designer, scenes like that. On that day, I wish I had hung out longer to enjoy the filming of that scene, but I believe I had to leave to find more clothes for a fitting.

You’ve been the costume designer for several of director Mike Flanagan’s films. What do you enjoy the most about collaborating with Flanagan?

Lynn Falconer: Flanagan lets me fly in his projects. At the same time, he lets me know when he doesn't like something. That is not very often, but that is actually a gift to me. Uncertainty in a director can really affect what we need to do, especially because we are often working without tons of time. I need this kind of quick editing mind, and he doesn't drag out any decisions. He "sees" the movie in his head, and I’m the same way. We have that inner language when we are preparing for the shoot.

With Ouija: Origin of Evil now in theaters, what projects do you have on deck that you can tease, and where can our readers find you online?

Lynn Falconer: Earlier this year, I got the chance to work with Walter Pfister, who was directing a Chase commercial. I had the opportunity to dress Steph Curry from the Golden State Warriors! Hugely star-struck and honestly that has never really happened to me. Star-struck-ness? Most recently though, I just got back from a nine-week trip to Cleveland, Ohio for a Netflix/Eli Craig-directed feature called Little Evil. It’s a dark comedy starring Adam Scott and Evangeline Lily. It also has a surprise actor in it. I wish I could say who, but that character's wardrobe is going onto my website! I’m thrilled to see this one come out next year! As for finding me online:

My website: www.lynnfalconer.com

Twitter: @lynn_falconer

Also my Pinterest: lynnfalconer

Instagram: lynnannefalconer

Costume design sketches for Ouija: Origin of Evil: