3.2: Mise-en-Scène (On Set Adjustments)

If preproduction is the blueprint, production is where the magic happens.

Now that we’ve explored the design phase of mise-en-scène—the careful planning of setting, character, and the aesthetic choices that form the foundation of a film—it’s time to see how all of those ideas are brought to life. If preproduction is the blueprint, production is where the magic happens. It’s where sets are built, costumes are worn, lights are placed, and cameras roll. It’s where directors, cinematographers, and actors take all of the planning and turn it into something real.

Here’s the thing about production: no matter how much preparation goes into preproduction, once filming starts, nothing is as simple as it looks on screen. Actors might deliver their lines flawlessly in rehearsal but stumble under the glare of lights and the hum of a camera. That perfectly planned shot? It suddenly needs to adapt to the reality of the physical space or the unpredictability of natural light. Directors pivot, cinematographers tweak, and everyone on set collaborates to execute a vision that—if they’re lucky—matches what was in their heads.

Take 13 Assassins by Takashi Miike, for example. A battle scene meticulously planned in preproduction still had to adapt to real-world logistics. Dozens of actors, props, and intricate fight choreography had to work seamlessly within the frame. Every movement, every gust of wind, every beam of light became part of the production process, as Miike and his crew captured the chaos and beauty of a perfectly orchestrated cinematic moment.

And let’s not forget: cinema is a visual medium, which is why two key elements of mise-en-scène—lighting and composition—come to life during production. This is the cinematographer’s playground, where decisions about framing, movement, and light transform a scene into something cinematic. Think of Makoto Shinkai’s Your Name, where the production’s lighting and composition work in tandem to elevate its emotional storytelling. The soft, golden glow of twilight (kataware-doki, as it’s referred to in the film) isn’t just beautiful; it’s pivotal to the story’s tone and themes, captured with precision during production.

Production is also where actors breathe life into characters, whether through physical performances on set, like the grounded realism of Hirokazu Koreeda’s Shoplifters, or vocal performances in a recording booth, as seen in Spirited Away. In both cases, acting works in tandem with the visual elements of mise-en-scène to draw us deeper into the story.

So, let’s pick up where we left off and look at how the elements of mise-en-scène—lighting, composition, and performance—move from the page to the screen. From the bustling streets of Tokyo in Adrift in Tokyo to the apocalyptic visions of Akira, this is where a film’s visual and emotional worlds finally come to life. After all, even the most brilliant plans are just plans until someone yells, “Action!”