Production Designer Joy Tan Creates Realistic & Escapist Worlds for Award-Winning Films
“Production design definitely shapes stories in a very significant way because all the characters live in the world we build up. To some extent, their existence utterly depends on this environment. Many times, people say that a location can be a character but it is we, the production designers, who redefine and reshape or create a location that so vividly builds the foundation of the character’s existence.” — Joy Tan, Production Designer for several award-winning films
Joy Tan, who admires many recent Oscar winners for Production Design like Once Upon a Time in Hollywood, La La Land, The Shape of Water, and Mad Max, says, “Their visually stunning creations immerse audiences in rich and detailed worlds, enhancing storytelling by establishing mood, tone, and setting while reinforcing character arcs and themes.”
Indeed, Production Designer Tan has made invaluable artistic contributions to award-winning films such as Wei-Lai, which appeared at various Oscar qualifying film festivals, and also the powerful and socially impactful film Backlog, which has won awards at the Lady Filmmakers Film Festival and Best Drama at Imagine This Women’s Film Festival, along with numerous other honors.
Born in Hunan, China, Tan lived five minutes away from a cinema, and found herself naturally drawn to spend the “best moments of her day” there, getting lost in the world of movies. She then studied at both USC (MFA in Film Production) and Chapman University (BA Film Studies), and has now watched and analyzed over 2000 films, suggesting, “I like to observe the set ups and environment in each film scene. For example, I would imagine how many spoons a production designer would offer to the director to choose and why he or she would pick up that one with ribbon on it. By all means, watching films and learning about filmmaking helps further dive into the magnificent world of production design.”
As a result, Tan believes her strongest suit is her take on aesthetics, creating something beyond just a formulaic take on a period piece or a horror film. Even when growing up in China, she had wanted to shoot a short horror film but couldn’t get the go-ahead. She explains, “So, I cast my mom and my aunt and shot a little horror film at our home. But as it turns out, it wasn’t so horrifying, because we had so much fun in the process of making it. Nevertheless, it was a great experience. And I especially enjoyed designing the furniture and making the pieces look normal, but also looking awkward, at the same time.”
Even then, a young Joy Tan wanted to create something unique. Now, Joy Tan, who dreams of working toward earning an Oscar for Production Design, also wants to work on “art-house” films that offer unique opportunities to expand her creative efforts. Those efforts have involved working on several filmed projects such as Neither Donkey Nor Horse, The Spirit Became Flesh, The Story of This Life, The Code of Family, along with award-winning Backlog, and Wei-Lai. She talks about: life lessons she’s learned; what production design efforts in major movies have appealed to her; and, what she’s contributed to some of those award-winning films she’s worked on.
— What is production design all about and what do you generally bring to the table?
— Production design is about setting up a believable world. I would say without production design, the world would be fake and invalid as presented to the audience. There are numerous production or art designs that fall into the realm of mediocre — many times, there is a formula to do a periodic piece or a horror film. But in my understanding, genre films are merely a comprehension for the audiences rather than filmmakers. I, as a production designer, would jump out of the “boxes” of each type and compose a unique film that wouldn’t be like anything else. On each project, I carefully design each scene in the film, especially carefully choosing the colors.
— As an example, how did the sci-fi drama Her, directed by Spike Jonze, influence you?
— Its production designer K.K. Barrett earned an Oscar nomination and also earned honors by the Art Directors Guild, the International Cinephile Society, and the Los Angeles Film Critics Association. Barrett and his team, who created a near future world of artificial intelligence and humans co-existing, didn’t use a production design as heavy as other fantasy films. For example, he did a masterful job by simply putting a chair as a nightstand for the lead character (Joaquin Phoenix) to show his state of being. It literally told so much about the character and environment he was living in. Also, it was a great triumph to manipulate colors in this movie by Barrett. He carefully chose a specific red as the representation of the AI intelligence, and it also symbolized the lead character’s heart.
— What do the top designers bring to the projects they work on?
— Artists like Barrett and the fellow production designers for other Oscar nominated films showcase exceptional creativity and innovation, pushing boundaries and bringing fresh perspectives to the screen with meticulous attention to detail evident in every element of their work. I aim to display that versatility they show, which is evident in their ability to create diverse worlds spanning different genres and time periods, while their impact on filmmaking sets new standards for excellence and inspires future generations of filmmakers to strive for greatness in design. Many people neglect the power of production design but it is really the key to make any film or TV possible by creating that believable world, whatever it may be.
— What did you contribute to the comedy short, Wei-Lai, whose logline goes — tired of getting pushed and punished by his own parents, Wei-Lai, an 11-year-old Chinese American boy, decides to show up at his best friend’s family and offers himself up for their adoption?
— For Wei-Lai, the director Robin really believed in me and we had great time working together. The education system within Asian families has always wielded a profound influence on a child’s entire life. I am also among those who have experienced the pressures of classical Asian parenting, where greatness and excellence are not just options but imperative. Fortunately, as a production designer on this film, we were presented with a plethora of creative choices in various locations. My personal favorite involved a poignant depiction of a child’s contemplative face painted above Wei-Lai’s head, capturing the moment he aspires to be part of another family. In the realm of production design, there are moments when the visual elements tell stories beyond one’s imagination. I believe I successfully achieved this goal with intentionality and unwavering dedication to this emotionally resonant project. Another reason why it was so important to me is that it gave me as a production designer a chance to elaborate the fusion of Chinese and American culture as I’m also one of them. I believe I conveyed an ambiguous diasporic sense in the film through production design.
— In Backlog. how did you use production design to help tell the story of the “backlog” of rape-kits?
— In this feminist social film, I am honored to be part of the production team as it unveils crucial truths that society needs to acknowledge as significant matters. Portraying the deficiency of rape-kit backlogs is no easy task — one of 100,000 forgotten rape kits, known as the backlogs. For example, the decision was made to forgo visual effects and instead depict the issue in a real environment. In a stockroom, we painstakingly reconstructed a backlog of rape kits for a pivotal scene. It took considerable effort to build the scene with hundreds of boxes labeled as “sexual assault evidence collection kits” — but we were mindful of sustainability by extensively recycling materials. This abundance of boxes symbolized the overwhelming quantity of untested rape kits (in reality), each representing a survivor awaiting justice. The sheer volume of boxes served as a stark reminder of the urgent need for attention and resolution to this pressing issue.
— How did you set up the scene for the harrowing assault that happens in the story?
— One of the most emotionally impactful scenes revolves around Mallory’s tragic encounter at her 21st birthday party. After meeting a so-called “classmate,” Mallory is led to a bathroom in a fraternity house where she becomes the victim of rape. This pivotal scene required careful attention to set design to authentically capture the environment and emotions involved. The bathroom was envisioned as a trap, a web spun by the perpetrator to ensnare victims. To enhance this feeling of entrapment, we scattered dirty napkins and cigarette butts across the floor, along with unidentified drinks mixed with unsavory substances resembling urine. The graffiti, laden with sexual connotations, further contributed to the unsettling atmosphere. Additionally, our intention was to create a space that mirrored the inner mindset of the boys who frequented it — derogatory words adorned the walls and mirrors, reflecting the disrespectful and predatory nature of the fraternity culture. Additionally, we strategically placed provocative posters to hint at the true intentions masked by false kindness and sincerity.
— With the production design underscoring the depth of this miscarriage or abrogation of justice, what is the message of the film?
— Through this re-enactment, we endeavored to give the film a tangible texture, grounding it in the reality of the rape-kit backlog crisis. By confronting audiences with the sheer scale of the problem, we aimed to ignite empathy, awareness, and a call to action. Just as impactful cinematic scenes have left a lasting impression on viewers, we hoped that our portrayal of the backlog would resonate deeply and spur meaningful dialogue and change. We have a social media platform that will help victims speak their voices out and grant more knowledge to society. Personally, this may be the first film that really speaks to this societal problem. And, while our film may not have the power to resolve a problem, it can definitely bring awareness to a wider audience.
— What life lessons or industry advice have you picked up along the way, so far?
— First, don’t ever think you’re alone: Making film is never one person’s job, this applies to the director and also to production designers. The workload is more than you could imagine and it’s extremely detail oriented. So, I would say get as much help as you can rather working all by yourself. And, making sure the art team is working towards the same goal is key. Second, just keep trying: Many obstacles will come in the way, so don’t give up any attempts until you think you have tried every way you can. For example, sometimes I would check out many places in order to find a perfect table for the dinner scene. Also, I would change and modify an art design many times in order to perfectly fit for the characters and the scene. Third, follow your instinct: Sometimes, overthinking can be devastating. When I’m making an art prop or design a graphic art, I used to think for a very long time before doing the piece. But later I learned that it’s very beneficial to just feel the art instead of thinking of the art. Following your gut instinct is definitely a good way to make something dynamic. It also applies to arranging and decorating the details in a set. The exact place of a chair sometimes works better by just placing it with my instinct, rather than deliberate thinking.
Drop in on Joy Tan’s LinkedIn page, and also check out the Backlog website, Backlog trailer, and link to Wei-Lai movie.
