reboots:“I didn’t simply want to do what industry production designers would do with sets, like givi

reboots:“I didn’t simply want to do what industry production designers would do with sets, like givi
reboots:“I didn’t simply want to do what industry production designers would do with sets, like givi
reboots:“I didn’t simply want to do what industry production designers would do with sets, like givi
reboots:“I didn’t simply want to do what industry production designers would do with sets, like givi
reboots:“I didn’t simply want to do what industry production designers would do with sets, like givi
reboots:“I didn’t simply want to do what industry production designers would do with sets, like givi
reboots:“I didn’t simply want to do what industry production designers would do with sets, like givi
reboots:“I didn’t simply want to do what industry production designers would do with sets, like givi
reboots:“I didn’t simply want to do what industry production designers would do with sets, like givi
reboots:“I didn’t simply want to do what industry production designers would do with sets, like givi

reboots:“I didn’t simply want to do what industry production designers would do with sets, like giving information about a situation or providing a background like wallpaper about the sort of person he was and the time he lived in. I didn’t want to just provide information like that. Rather, I wanted the sets to be more aggressively assertive. It would be like the sets themselves were characters, as though they were actors, and they would challenge the real actors. So that when the sets and the actors came together, they’d set off a spark and a new kind of energy.”Mishima: A Life in Four Chapters (1985) dir. Paul Schrader — production design by Eiko Ishioka -- source link

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