10 Questions with Weizi Huang

Weizi (Trasy) Huang is an art director and production designer deeply committed to the transformative power of visual storytelling. With a unique talent for studying and empathizing with the characters in a script, she strives to translate their inner struggles into compelling visual narratives. She is passionate about creating aesthetic worlds that not only enhance the story but also serve as a reflection of the characters' emotional journeys.

Known for her meticulous attention to detail, Trasy believes that every element—down to the smallest prop or the subtlest shade of color—plays a vital role in shaping a film's visual identity. Whether selecting the perfect textures, crafting atmospheric lighting, or designing spatial layouts, she ensures that each decision contributes meaningfully to the storytelling. Her careful craftsmanship allows her to create layered environments that bring the script to life with authenticity and emotional depth.

For Trasy, art direction is more than a background craft; it is the bridge between cinematography and storytelling, a discipline where every aesthetic component is crucial to shaping memorable, impactful films. She believes that this attention to detail is what sets films apart, captivating audiences and leaving a lasting impression. Through her work, Trasy aims to design cinematic worlds that immerse, inspire, and elevate every story to its fullest potential.

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Year One, film still, 2023 © Weizi (Trasy) Huang

INTERVIEW

You work primarily as an art director and production designer. What drew you to this field first, and how did your studies shape your approach?

As an art director in the film industry, one of my biggest inspirations is my dad, who is an interior designer. Growing up, I watched him design rooms and meticulously arrange furniture, which sparked my early interest in creativity and design. I've always been artistic, enjoying hands-on projects like crafting, building models, creating props, and even making resin jewelry. Taking art lessons as a child, I quickly discovered that I love creating something entirely new, far more than observational art or working from references.
Travel has also been a major source of inspiration for me. Experiencing new places, learning about local customs, and immersing myself in different atmospheres and environments feels euphoric and enchanting. It's a feeling I also get when working on set as an art director—bringing a set to life and contributing to meaningful storytelling through design.
My journey into the world of art direction began during my time as a film major at Emerson College. It was there that I met Freddy Wang, a fellow student and collaborator, who played a pivotal role in helping me discover my passion for this field. At the time, I was working as a prop master on sets, learning the ropes of production design and gaining hands-on experience. However, Freddy, who was producing a short film called Doll Kind, saw potential in me that I hadn't fully recognized myself. He approached me with the idea of stepping into the role of art director for the project, suggesting that it might be a better fit for my creative instincts and skills.
Intrigued by his suggestion, I began researching what it meant to be an art director. The more I learned, the more I realized how well it aligned with my strengths and interests. While I had initially dreamed of becoming a film director, I discovered that art direction offered a different but equally fulfilling way to contribute to storytelling. Instead of focusing on shaping characters directly, I found myself drawn to the idea of creating and molding the world those characters inhabit—the spaces, objects, and visual details that reflect their inner lives and shape their experiences. It was a revelation that felt both natural and exciting.
This realization marked a turning point in my career. Art direction allowed me to channel my creativity into building immersive, meaningful environments that enhance the narrative and deepen the audience's connection to the story. It was through this process that I discovered my true calling.

You have a unique ability to translate characters' inner struggles into visual elements. What is your process for developing a film's aesthetic language based on its script?

When developing a film's aesthetic language based on its script, my process begins with a deep and repeated reading of the script to fully understand the characters, their inner struggles, and the complexities of their relationships. Characters shape the world around them through their actions, words, and emotional journeys, and it's my role to translate these elements into visual storytelling.
For example, I worked on a script where the protagonist is a violinist grappling with an internal conflict between her identity as a musician and her responsibilities to her family. She was once a rising star in the violin world, but a traumatic mistake during a performance shattered her confidence, causing her to step back from her career. Despite this, she still loves playing the violin and does so secretly at home. She deeply loves her husband, and after years of trying, they are finally expecting a child. When an opportunity arises for her to join an orchestra, she is torn between reigniting her musical career and prioritizing her growing family. Her husband, while supportive, is concerned about the timing and wants her to focus on their baby.
To visually convey her inner world, I started by imagining her home environment. In my head, her space would reflect her meticulous and organized nature—clean, orderly, and warm, with a cozy, inviting atmosphere that speaks to her love for her husband and their life together. However, her past as a violinist would still linger in subtle ways. Trophies and awards from her musical career might be present, but they would be tucked away in a neat glass box in the corner of the room, symbolizing how she has compartmentalized that part of her life due to her trauma and lack of confidence. This contrast between the warmth of her home and the hidden remnants of her past career would visually underscore her internal conflict and the tension between her two identities.
In contrast, another character in the script embodies a free-spirited, artistic personality. Their home would reflect this through vibrant colors, eclectic decor, and an almost museum-like quality, filled with creative expression and a sense ofunrestrained individuality. This stark visual difference would highlight the contrast between the two characters and further emphasize the protagonist's internal struggle.
My process involves meticulously analyzing each character and their surroundings, crafting extensive details about their personalities, histories, and emotional states. I then collaborate closely with the director, presenting my ideas and discussing how these visual elements can enhance the narrative. If the director feels something is missing or inaccurate, we engage in a collaborative brainstorming process to refine the aesthetic language until it aligns perfectly with the story's vision. This close partnership ensures that the film's visual style not only complements the script but also deepens the audience's understanding of the characters and their journeys.

You emphasize the importance of meticulous details, from props to color shades. Can you share an example of a small design choice that significantly impacted a project?

In Year One, a peer's graduation film, there was a pivotal frame where the artist speaks to the male protagonist. Visually, the composition felt unbalanced—the right corner of the frame was too empty, and I needed to introduce an element that would seamlessly blend into the world while reinforcing the story's themes. Initially, I considered placing the corner of a sofa or a table in the frame, but something about it felt too static, too ordinary.
Instead, I replaced it with a vintage leather suitcase—a seemingly small change, but one that profoundly altered the emotional weight of the scene. The story itself was set in a post-apocalyptic world, and the artist was portrayed as someone detached, existing on the fringes of society. The suitcase became a silent yet powerful symbol—suggesting that the artist was always on the verge of leaving, never fully belonging. It subtly reinforced the film's underlying themes of isolation and the desire to escape, making the world feel richer and more lived-in.
Beyond symbolism, the suitcase also introduced texture to the frame. Its worn leather surface, with visible creases and patina, added a tactile quality that enhanced the overall visual depth. A simple shift from a sofa to a suitcase transformed the moment from a conventional setup into something layered with meaning, proving that even the smallest design choices can leave a profound impact on a film's storytelling.

Art direction bridges cinematography and storytelling. How do you collaborate with directors and cinematographers to ensure a cohesive visual identity for a film?

First and foremost, I respect and adapt to the director's preferred style, whether it's simple and elegant or complex and layered. I don't believe in rigid or singular approaches; instead, I focus on what best serves the world we're creating. Whether the story is set in a futuristic dystopia, a historical period, or a whimsical fantasy, I approach each project with an open mind, ready to dive into its specific demands and bring its unique aesthetic to life.
This adaptability is key to my collaboration with directors and cinematographers. By remaining open to diverse ideas and perspectives, I can easily interpret and integrate their visions, no matter how unconventional or varied. I draw inspiration from a wide range of sources—different cultures, art forms, and personalities—to ensure that the visual language of the film feels authentic and cohesive.
Once I understand the director's vision, I analyze the script to identify the art forms, props, or visual elements that areessential to the plot and narrative. These elements must exist within the world we're crafting, and I make sure tocommunicate their importance to the director early in the process. From there, I collaborate closely with both the director and cinematographer to determine how these elements should be presented visually. Should a key prop be highlighted in a close-up, or does it need to appear subtly in the background? How does its design and placement contribute to the story? These are the kinds of questions we explore together.
His collaborative process ensures that every visual detail aligns with the film's overall aesthetic and narrative goals. Communication is at the heart of this process—whether it's discussing the director's vision, brainstorming with the cinematographer about framing and lighting, or refining the design of a critical prop. By working closely together, we create a cohesive visual identity that not only supports the story but also elevates it, ensuring that the film's world feels immersive, intentional, and true to its characters.

Lighting, texture, and spatial design play a crucial role in your work. How do you balance these elements to create immersive and emotionally resonant environments?

Lighting, texture, and spatial design are essential tools in creating immersive and emotionally resonant environments. Balancing these elements requires a thoughtful, collaborative approach, particularly when working with the cinematographer, whose focus on the aesthetics of the frame can sometimes differ from my emphasis on the purpose and narrative significance of each element.
My process begins with close communication during pre-production, where I collaborate with the cinematographer and director to establish the film's visual language. We discuss the emotional tone of the story, the characters' relationships to their environments, and how lighting, texture, and spatial design can reflect those dynamics. These early conversations are critical, as they set the foundation for the decisions we'll make on set.
Once filming begins, I remain highly involved, observing the framing and lighting to ensure the environment supports the scene. If adjustments are needed—whether it's repositioning a prop, altering a texture, or tweaking the spatial design—I make those changes in real-time to maintain the integrity of the visual storytelling. This hands-on approach allows me to adapt to the cinematographer's vision while staying true to the environment we've designed.
However, there are moments when my perspective may conflict with the cinematographer's. While they might prioritize the aesthetics of the frame—how a prop or lighting looks within the shot—I focus on the purpose of that element within the story. For example, is a particular object meant to symbolize a character's inner struggle, or does a specific lighting choice reflect their emotional state? In these cases, I take a step back and evaluate the story's needs. Is it more important to prioritize realism and narrative logic, or does the scene call for a more artistic, visually striking approach? This decision depends entirely on the film's style and the specific demands of the story.
If realism and narrative purpose are crucial, I'll advocate for decisions that enhance authenticity, even if it means challenging the cinematographer's aesthetic preferences. On the other hand, if the scene allows for more creative freedom, I'll work to find a balance between visual beauty and storytelling depth. Ultimately, my goal is to ensure that every element—whether it's a meticulously designed prop, a subtle texture, or a specific lighting choice—serves a purpose. Is it a logical, story-driven detail that adds depth to the world, or is it a decorative element that enhances the frame's visual appeal?
By navigating these conversations with flexibility and a clear focus on the story, I strive to create environments that are not only immersive but also emotionally resonant, enriching the audience's connection to the narrative. Collaboration is key, and even when conflicts arise, they often lead to creative solutions that elevate the film as a whole.

What remains of the fortune cigarette, film still, 2023 © Weizi (Trasy) Huang

Every film has its unique challenges. What has been the most complex or rewarding project you've worked on, and why?

One of the most challenging yet rewarding projects I've worked on was Year One, a peer's graduation film. The director had a visionary and unconventional perspective, crafting a vast and intricate world of cyberpunk, retro-futurism, and steampunk. Since this world didn't exist in reality, I had the creative freedom to explore aesthetics beyond the ordinary, but I was also presented with significant challenges in execution.
Student films typically avoid ambitious, otherworldly settings due to budget constraints and limited access to special effects. However, Year One aimed to break that mold, creating an immersive, fantastical world with minimal resources.
For instance, the script described a house that had been abandoned for a long time, overtaken by vines and plants. However, the director also envisioned a specific shot looking out from inside the house, where ocean waves almost reached the doorstep. Bringing this to life on a limited budget was incredibly difficult.
To achieve the look, we built a small set on the beach using two high-density foam walls and a door with a frame. Stabilizing these elements on the uneven sand was a major challenge, but it was rewarding when we made it work. We decorated the set with plants to maintain continuity with the house's overgrown aesthetic. Another unique aspect of the film's world was that it contained no metal—everything was made of wood. To stay true to this vision, we covered all visible surfaces with wood-patterned paper.
Despite the challenges, this project pushed me to think outside the box and find creative solutions under tight constraints. It was a deeply rewarding experience that reinforced the importance of adaptability and problem-solving in filmmaking and art direction.

Your design philosophy focuses on authenticity and emotional depth. How do you approach creating a world that feels real while also serving the film's narrative?

My approach to creating a world that feels real while serving the film's narrative is grounded in a balance between realism and intentional artistic choices. I ensure that every design decision aligns with the logic and believability of the world while also enhancing the emotional depth of the story.
I start by fully understanding the realism and logic behind my art choices—how they function within the character's reality. Once I establish that foundation, I use artistic elements to craft a visually compelling frame based on my aesthetic sensibilities. Confidence in these choices is key to ensuring the design feels natural yet evocative.
For example, in a story about a ballet dancer who breaks their leg and is confined to a wheelchair, their world naturally shifts to a lower perspective. Since they spend most of their time seated, their surroundings must reflect that viewpoint. In a wide-angle shot, the upper portion of the frame might feel visually empty because the furniture is lower. To counterbalance this emptiness, I would introduce subtle storytelling elements—perhaps an old picture frame with a nail still in the wall, where a painting of a dancer once hung. The wall around it would be slightly discolored, showing a history that resonates with the character's past. This small detail not only fills the composition but also adds layers to the story.
Additionally, I consider how elements in the foreground interact with the space. Placing plants near the camera and allowing their shadows to cast dynamic shapes on the walls can create a more immersive and painterly frame. By working closely with the cinematographer, I ensure that these details contribute to the film's overall mood and visual storytelling.
Ultimately, my design philosophy is about making every artistic choice feel intentional and meaningful, ensuring that the world I create is both visually striking and narratively rich.

Vertical work, film still, 2024 © Weizi (Trasy) Huang

The role of production design continues to evolve with technology. How do you see innovations like virtual production or AI affecting your work in the future?

I have a very open mindset when it comes to technological advancements like virtual production and AI. As a production designer, I see these tools as powerful assistants rather than replacements.
Human creativity has its limits, and sometimes inspiration doesn't come immediately. In those moments, I can input keywords into AI and let it generate visual concepts that spark new ideas. It's not about relying on AI entirely, but rather using it as a starting point—building on top of what it produces to refine and personalize the vision.
For example, if a project requires an extensive collection of paintings to populate a world, the fastest way to create this volume of artwork would be through AI. It can generate a large quantity of visuals quickly, which allows me to focus on curating and refining the ones that best serve the film's aesthetic and narrative.
AI also expands my perspective, acting as an extension of my knowledge. As one person, my understanding is naturally limited, but AI is built from a vast collection of information, offering insights I might not have encountered otherwise. In this sense, I see AI as my assistant—I direct it, making creative decisions based on its output rather than letting it dictate the final design.
Ultimately, technology will continue to shape production design, and rather than resisting it, I see it as a tool that enhances efficiency, expands creative possibilities, and helps bring ambitious worlds to life in ways that might not have been possible before.

What advice would you give emerging art directors looking to develop their distinct visual style?

To emerging art directors looking to develop their distinct visual style, I would offer this advice, inspired by a Chinese proverb that has deeply influenced my approach: 海纳百川，有容乃大 (hǎi nà bǎi chuān, yǒu róng nǎi dà)—"The ocean accepts a hundred rivers; having capacity makes it great." This proverb encapsulates the mindset I believe is essential for cultivating a unique and impactful visual style.
To break it down, 海纳百川 (hǎi nà bǎi chuān) speaks to the vastness of the ocean, which comes from its ability to accept countless rivers, regardless of their size or origin. It represents openness and the willingness to welcome diverse influences. 有容乃大 (yǒu róng nǎi dà) translates to "having capacity makes it great," emphasizing that true strength and greatness come from an open mind and the ability to accommodate different perspectives.
This mindset is essential for developing a unique artistic voice. The best art directors aren't confined to one rigid aesthetic—they are explorers, constantly absorbing and reinventing. Creativity knows no bounds, and the more you expose yourself to different styles, cultures, and ideas, the richer your visual language will become. Don't limit yourself to a single influence or genre—embrace the unfamiliar, experiment fearlessly, and challenge conventions.
Equally important is adaptability. No two projects are the same, and your ability to shape your style to fit the world you're building is what will set you apart.
Lastly, understand that collaboration is at the heart of art direction. Directors, cinematographers, and designers each bring their own vision, and your role is to synthesize and elevate those ideas into a cohesive world. The more you listen, absorb, and adapt, the stronger your artistic identity will become.
Like the ocean that embraces countless rivers, great art direction is born from a willingness to accept, transform, and create without limits. Keep your mind open, stay fearless in your experimentation, and trust that your distinct style will emerge through the vastness of your influences.

Fatiao, film still, 2023 © Weizi (Trasy) Huang

Lastly, looking ahead, are there any dream projects, genres, or collaborations you want to pursue in the future?

Looking ahead, I want to take on projects that allow me to fully unleash my imagination—worlds that aren't just grounded in character emotions but are entirely original, existing beyond reality as we know it.
I'm especially drawn to large-scale, immersive world-building, the kind that transports audiences into a universe with its own rules, aesthetics, and history. Something in the realm of Harry Potter or other expansive fantasy and sci-fi narratives—where every detail, from the architecture to the smallest props, contributes to the illusion of a fully realized world.
I want to push creative boundaries, designing environments that feel rich, lived-in, and visually striking, where production design becomes storytelling in itself. Collaborating with visionary directors, concept artists, and VFX teams to craft something truly otherworldly is a dream of mine. Whether it's a futuristic dystopia, an ancient mythical civilization, or a surreal dreamscape, I'm excited by any opportunity to build a world that has never existed before.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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