Issue link: http://digital.copcomm.com/i/1184216
common in the '30s for German families who could aff ord the current furnishing trends. Jojo's own room works to establish his conservative narrative. The blue-grey traditional wall patterned roller helped set an austere backdrop to Jojo's collection of Nazi propaganda. As the characters move through the comfortable joyous color treatments of Jojo's house, the audience is introduced to a contrast which is Inga's room. She was Jojo's sister who died prior to the story. I wanted the room to feel like it belonged to an earlier time, so it was decorated in a slightly Victorian style, not to be taken as literally as an older period but to induce a melancholy feeling when seen for the fi rst time. The faded colors and hand-painted walls, presumably done by her mother Rosie, were chosen to reinforce the loss of innocence, which was Inga's life. Elsa's hideout goes one step further, it is in the wall cavity of Inga's room just beneath the soffi t of the loft roof. It's dark and cluttered and possibly the most typical of scary places to discover, the only trick was to make it in as many fl yaway pieces as possible so that it could be lit and fi t two cameras inside. A. JOJO'S BEDROOM. CONCEPT SKETCH BY RA VINCENT. B. JOJO'S BEDROOM. SET PHOTO. C. INGA'S ROOM. SAMPLE BOARD. D. INGA'S ROOM. PHOTOSHOP ILLUSTRATION BY RA VINCENT. E. INGA'S ROOM. SET SKETCH BY RA VINCENT. ONE OF THE EARLIEST IMAGES MADE FOR FILM, SHOWING HOW JOJO AND ELSA SPEND THEIR TIME IN THE SLOPE OF THE LOFT ROOF PROVIDED THE IDEA FOR WHERE ELSA COULD BE HIDING. F. INGA'S ROOM. SET PHOTO. G. ELSA'S ATTIC. CONCEPT SKETCH BY RA VINCENT. H. ELSA'S ATTIC. SET PHOTO. A B C D E