Epilogue

 

The Hard Place is a short crime film written and directed by Ethan Kozo. It marked my first production as an Art Director and Production/Set Designer. At the time, the only "formal" experience I had in film was writing and directing, and stepping into this role made me a bit unsure of where to start. But what I didn’t have in formal experience, I made up for in observation and instinct.

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The story follows a hitman who receives an assignment from his business partner to kill a woman — only to discover that the woman in question is his former lover. Faced with an impossible decision between his profession and his morality, the protagonist becomes trapped in a quiet but deadly emotional standoff. What drew me to this project was how grounded the conflict felt — though set in the world of crime, it was really about loyalty, love, and personal integrity. That emotional layer gave me something to hold onto as I began designing the world around it.

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Because most of the film was shot in exterior locations that had already been chosen by the director, my role was less about creating environments from scratch and more about refining what the audience would see. I learned quickly that set design isn’t just about what you add — it’s about what you choose to keep out of frame as well. If something didn’t serve the character’s world, I removed it. Consequently, if something subtle could elevate the scene’s tone or backstory, I found a way to include it. That awareness became my quiet job on set — editing reality to match the story.

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One of the biggest challenges we faced was a last-minute location change for a diner scene. The crew wasn’t prepared for it, and we ended up shooting at an outdoor pavilion instead. I had to source new props on the spot and adapt the visual tone of the scene without much time. 

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Aside from set styling, I also took the lead on wardrobe, makeup, and effects — including blood for the final scene. I worked closely with the director and the actors to make sure everything served the tone and story while keeping the cast comfortable and confident in their look. 

 

As art director, I was also involved in planning framing, and collaborating on the color palette, lighting, and how props would interact with space and character.

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This was also my first time working in the crime genre, and it taught me a new visual language — one that plays heavily with shadows, stillness, and subtle emotion. I gained a deeper understanding of how color and light communicate tension, and how even in a story driven by action, the quietest visual moments can say the most.