Hsin-Ho Yang is a production and scenic designer currently based in New York City, born and raised in Taiwan. Coming from the background of filmmaking, she thrives to work with the collaborators to create worlds by exploring the storytelling, finding the infinite possibility between frames.
Jojo Rabbit is a cautionary tale for the present, chaotic age. It’s the story (and the testimony) of a group of unique, bright souls seeking light . . . inside a dark, drowning ferocity.
My production design for Jojo Rabbit attempts to set a clear visual difference between the environment inside and outside Jojo’s family home, a two-story house on a square in a small German town. So-called Degenerate Art, one of the Nazis many aesthetic targets, became a helpful way for me. So I have used organic contours and a broad color palette to create the inside of the house, hoping to make an obvious contrast between the warm, family home and the grim, geometric outlines outside. When the rampant national power marches into every aspect of the citizens’ life, Jojo’s home becomes (for me) a sort of last barricade, representing the silent resistance of the un-fallen world.
Screenplay by: Taika Waititi
The Great Gatsby
“Of course, all life is a process of breaking down, but the blows that do the dramatic side of the work — the big sudden blows that come.” — F. Scott Fitzgerald, The Crack-Up
Screenplay by: Francis Ford Coppola
“The Space itself is like a dark forest, every civilization is a hunter sneaking inside with a shotgun in hand. They gently set the branches aside, doing their utmost to not making any noises, holding their breaths. They need to be cautious, there are hunters everywhere in this dark forest. If they find others alive, there is only one thing they can do, destroy them.” ——《The Three-Body Problem》