Conversations with Jingjing Liu

Today we’d like to introduce you to Jingjing Liu.

Hi Jingjing, please kick things off for us with an introduction to yourself and your story.
It all started with me wondering why locations/ interiors in films are so perfectly fit to the story. Who is the magician behind all that? Choosing filmmaking in college, I found out the existence of “production design”, where I felt belonged and fell in love with the concept right away. Designing for film is such a hidden field. For a time, I felt like an outsider despite my efforts in reading art direction textbooks, watching designers’ interviews talking about their big movie projects. It wasn’t until I was brought on a film set and started working as art department assistant. All the set dressings are so tangible and I could help to arrange props, furniture in a visual-pleasing angle for camera. That was one aha moment, which made me consider turning ‘production design’ into a career and stick to it. I tried to connect with different art department crew, seeking for more film sets and working opportunities. This is an industry where crew’s recommendation is more powerful than a perfect resume. Sometimes I was recommended to different or bigger projects, where I get to take the lead and work as a production designer. I met producers who appreciated my work and they hired me for other projects. As I work on a variety of projects, music videos, commercials, feature films, I learned and experienced so much as a designer. It’s a snowball effect in terms of learning and gaining.

Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
Every production design project naturally comes with challenges because of limited time, budget…and unlimited imagination and requests from clients. When I take on a project, I work almost 24/7 with researching, contacting art crew and prop houses, getting into meetings with production. Communication can always be complicated because it involves director, producer and cinematography — the key crew. I have to go to director for precise vision; get producer’s approval for budget, transportation for props, set dressing; and collaboration with cinematographer to bring out a practical visual plan. Teamwork is great but balancing between different departments can be tricky. Last-minute change is another challenge because unfortunately film production contains too many variables. Sometimes, the change is adding more props, relatively easy; or director wants a new set construction. Other times, budget gets cut all of a sudden or a location is lost because of owner’s second thought….the production design plan has to flip 360 degrees. In spite of various obstacles in preparing for a design, the happiness is always long-lasting once the video or film comes out and the world sees my work.

Thanks – so what else should our readers know about your work and what you’re currently focused on?
Working in film and entertainment industry as a production designer, I create and construct physical and visually-appealing world for characters based on stories. To carry out a successful design, I would start from my own researching according to director’s visions and provide 3d sketch and visual look-book. In the meantime, I’d assemble my own art department: art director to supervise the set construction, set decorator to rent or purchase set dressings, prop master to custom make specific hand props….etc. Sometimes there will also be drivers to drive 20 ft art truck filled with furniture and assorted props. Every project is so unique that I’m always researching, learning or even experimenting. In one of my recent works, “El Perro” featuring singer Gerardo Ortiz, I had an opportunity to do a design flip in Clifton’s Cafeteria, an oldest surviving eatery in Los Angeles.

I created a butcher shop and vintage security room in its vault and turned the third floor dance floor into a grand casino. The music video came out looking fabulous and had 7M views. I recently designed a 1900s coy boy themed music video, with Tryf Da Comedian, featuring Snoop Dogg (In- postproduction). The filming location is Yucca valley and bringing a vintage saloon into the dessert was more than just ‘fun’. Every project is not simple that I’m constantly pushing my imagination while coordinating with the realities aka managing budgets & efficient communication with crew and be prepared for changes. Being a designer, I’m very proud of my problem-solving skills with creative and logistical approaches that producer and director can trust me with my decision and solutions. The valuable lesson I learned is that always utilize my design to make everyone’s job on a film set easier.

Is there anyone you’d like to thank or give credit to?
The person deserves credit the most is my mentor/ life partner who always supports me unconditionally. He is a cinematographer himself and we always like to collaborate together for projects. Long time ago, I knew I like doing production design work but was hesitating to commit to it as a career and I used to be shy to submit my resume to jobs. He always told to me, “there’s never a loss to take initiatives, be bold and be you”. Slowly my mind was convinced and I would contact the producer and make self-introduction whenever a designer is needed. Besides encouragement, he would bring me onto his commercials as set designer, which further expands my career. I always appreciate how much faith he has in me and I’m glad I can make him proud too.

Contact Info:

• Email: carrieliu8800@gmail.com
• Website: https://www.notion.so/CARRIE-LIU-fc505a8306064ac9b3ba8ead0765bf65
• Instagram: https://www.instagram.com/liu_jingjing_/
• Facebook: https://www.facebook.com/profile.php?id=100021868731428&sk=about_overview

Image Credits
– The butcher scene: “Gerardo Ortiz – El Perro” – The two rooms with characters back to back scene: “Gerardo Ortiz – Callada” – The bar & the light ceiling: “Yenni Thuniga” – The cow boy bar & guitar playing scene: “Tryf Da Comedian ft Snoop Dogg”