ALL OF US STRANGERS PRODUCTION
POWER OF LOVE Andrew Scott (left) and Paul Mescal (right) each give power-packed performances full of grief and love
apartment complex. The building serves as one of the film’s most prominent visual metaphors, according to its DOP Jamie Ramsay. “Loneliness is experienced from the inside out,” he describes to us. “When I moved to the UK from South Africa, I experienced loneliness for the first time in years. As an adult, this paradox of being lonely in one of the busiest cities in the world was a scary and fairly fresh feeling for me. I saw that in this film.” When choosing a long-form project, Ramsay tends to search for a personal connection with the subject matter.
“In doing so, I feel that my response will always be honest and based on a reactive standpoint rather than an inventive one,” he shares. With All of Us Strangers, “there were certainly those beats in the script that made me sure I could do it justice. “You can love a script,” Ramsay continues, “but if your perception of how to do it and the director’s aren’t the same, then it doesn’t necessarily work. In my first discussion with Andrew [Haigh], it quickly became apparent that we were both on a similar ground with regards to how we
saw the film being made – and beyond that, just connecting as human beings.”
BACK TO THE FUTURE Since his parents died in the eighties, Adam is trapped in two lives: one which exists in the past and one in the present. His childhood home looks just how he left it – bedroom decor still intact, clothes too small. “One of our key visual anchors was this concept of nostalgia, memory and longing,” begins Ramsay. “Since this was based on an analogue aesthetic, we
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