Creating Redemptive Worlds

This installment of the series "Stories That Shape Us" is an interview with Christian Snell, a production designer and art director in Los Angeles, and Jennifer Vermeer surrounding the role of visual storytelling in shaping impactful narratives.

Jennifer: Can you share a little bit about your background and where your interest in storytelling through production design started?

Christian: I grew up in Cleveland, Ohio, and first visited Los Angeles with YWAM when I was 16. We helped build a house in Tijuana, and I realized I loved LA and wanted to move there. I’ve always loved history and redecorating my room with themes. I loved visiting museums and seeing historical recreations. I always enjoyed watching period films as a kid. It seemed like the closest thing to going back in time, and I thought it was fascinating, but I didn’t realize it was a job. I just thought it’d be cool to work in movies someday.

When I told my dad I wanted to move to LA. He said, “You want to move to that sin city?” I said, “If my faith isn’t strong there, then what’s the point?” I’ve tried to keep that as my approach to being a Christian in the industry.

After college, I called a friend who had moved to LA and asked if he could get me a job as a PA. I packed up, flew to LA, bought a car, signed a one-year lease, and thought, “I’ll get my name in the credits, and then I’ll move back to Ohio.” 18 years later, I’m still here.

After moving here, I did background work and thought maybe I’d want to act, but I always was more interested in the sets. I worked in wardrobe for a while, then moved into the art department, which I really enjoyed. I spent six or seven years assisting before gaining the confidence to pursue being a department head. I started doing it in my early 30s, building my credibility and resume.

Jennifer: How would you describe the role of set design in storytelling?

Christian: When it comes to my work, my goal is always to create a world that the viewer wants to be in—one that feels beautiful and interesting, whether it’s real or fictional.

My role is overseeing everything physical in the film, whether it’s cars, sets, or props. Historically, that’s been called art direction. The department has now been called production design, with an art director working under them. Most of the time, we're finding locations and existing materials and establishing how we want everything to look. As an example, we can look at the movie that just won the Academy Award, Wicked. In this instance, Nathan Crowley created the entire world—the sets, props, everything was built from scratch, even the train.

Take a Hallmark movie as another example. Most people love it because it’s easy and casual, with predictable stories that make you feel good. When you look at those sets, you can see they’re trying to create a very specific, feel-good, familiar environment. I did a Hallmark movie years ago and counted 38 Christmas trees I placed in one house because their mantra was "get twinkle in every frame." They’re creating a fun, comforting world where people feel at home.

Most viewers don’t always understand what goes into making aspects of the film appealing, but when done right, it's moving. It’s like magic. Good sound design or cinematography draws you into the world. You might not understand the depth, the force perspective, the color palette or how it shifts your mood. Using blues can make a scene feel cold and sterile, while warm colors invite the viewer into the space. Really, it’s a kind of audience manipulation through art.

Jennifer: Can you share a little bit about the process and balance of ensuring accuracy and creative liberties?

Christian: One of my favorite films I designed was The Blind. It’s the story of Phil Robertson coming up in rural Louisiana in the 1950s and 60s. For research, we talked to Phil and Kay. I asked, “What type of gun did you use? What did your house look like?” I also went to the Shreveport library, pulled yearbooks, and we shot at his high school, which hadn’t changed since 1968. We even shot at the actual football field he played on, which was amazing.

There was also a scene at Fertitta's Deli, which still exists. The neon sign had been broken for years, so we paid to have it fixed and restored to make the scene more visually authentic. We used creative liberties when needed, like the look of Whataburger, which doesn’t look the same anymore. But with things like the gun Phil used for hunting, we made sure to use the correct model because duck hunters watching the film would recognize it. I also researched the truck he drove and found a replica that was really striking visually.

To me, the visual narrative takes precedence, particularly when the historical record is unclear. That’s not to say I don’t care about accuracy, but I always strive to balance it with creative freedom and creating a beautiful narrative.

For example, my friends worked on the film The House of David and took some creative liberties in portraying the story of David because it's impossible to make a completely linear documentary out of scripture. There are too many unknowns—like whether David was knocked down before using the sling to kill Goliath, so they focused on what would have been plausible for the era, based on research.

Ultimately, it’s about finding that balance between historical authenticity and creativity and figuring out what makes for the most engaging and visually rich story, but then we also have to consider budget. I can’t just say, “Let’s shoot and build this downtown.” Every decision is informed by what we have available.

Jennifer: What do you hope viewers take away from your work?

Christian: My goal is to make excellent films—films that have the credibility to succeed in the industry at large and that reveal truth. I want to work on films that can be nominated for an Academy Award and get the respect they deserve. I also want to make films with redemptive stories that aren’t necessarily labeled as Christian, but that still speak to something greater.

Take Breaking—my friend Abby directed it. Nobody would call that film a Christian film. However, it’s a deeply redemptive story. At the end of the movie, the character finds peace with God before facing a sniper's bullet. It didn’t need to be marketed as a faith-based film to speak truth and be redemptive. Many Christians probably don’t even know it’s a faith story because the film is so raw and sad, but it’s beautiful in its portrayal of someone struggling with mental health and finding peace in the midst of pain.

In terms of the industry, I want to see the lines between Christian and non-Christian content blur. Look at people like Chris Pratt, who are unapologetic about their faith. Even people like Zach Levi say, “Don’t try to pigeonhole me as just a Christian actor.” I think that’s important in an industry that tends to be more progressive and liberal. Hollywood isn’t one single entity—it’s all of us, working together, trying to make our stories and our scripts come to life.

You’ve got actors like Dennis Quaid, who will act in anything—faith-based, non-faith-based—it doesn’t matter to him. He’s not worried about being typecast or losing roles because of where his convictions might align. I think we need to continue breaking down the idea that being a Christian means only acting in “bad films.” We need to focus on making beautiful films that communicate truth.

Jennifer: You mentioned The Blind as one of your favorite projects that you've worked on. Are there others that have been especially exciting or fulfilling projects for you?

Christian: I also worked on Unbreakable Boy, which is in theaters now. We shot that in Oklahoma during the pandemic. It’s a modern-day piece with some flashbacks, and I wanted to make it creatively and visually interesting. I used a primary color palette because the autistic boy at the center of the story sees bright colors. We found vintage wallpapers and interesting locations to reflect that.

Another project I’m excited about is Violent Ends, which hasn’t come out yet. We shot it two years ago in Arkansas with a $2 million budget. It’s set in the early 90s, and I fought really hard to keep it as a period piece. Thankfully, the locations hadn’t changed much, so it was visually a lot of fun to work on. I really enjoyed it and am excited for it to be released.

Jennifer: In an industry that isn’t explicitly Christian, how do you maintain your personal faith or values in your work, without imposing them on the narrative?

Christian: A big part of it comes down to the projects you choose. I want to tell stories that are redemptive and beautiful. Ultimately, I’m in this industry to make beautiful stories. I gravitate toward narratives that, while not explicitly Christian, reflect values like redemption and personal growth.

Les Mis is one of my favorite stories because it’s almost like the gospel, told through a different narrative. News of the World is another one that resonates with me, and even Ford v Ferrari, though it’s fun and lighthearted, illustrates persistence and determination in a way that’s inspiring. I love love stories and story arcs where characters grow and come out the other side better, like in Unbreakable Boy, where the characters question their values and beliefs, and ultimately decide to be better people moving forward.

But it’s not just about the projects you choose. It’s also about how you conduct yourself on set. I try to live by example rather than by words. I think a lot of it comes down to professionalism. It’s not helpful to be loud or vocal about your faith if you're not good at your job. That’s probably worse for setting an example of faith. I’d rather let my kindness, my forgiveness, and my work ethic reflect my beliefs.

Jennifer: How do you think changing audience preferences are influencing the types of projects being created today?

Christian: There’s a Christian audience in America that craves high-quality content, and that’s something I’m really excited about. Take the Erwin brothers, for example—they were among the first to make a genuinely well-crafted film that resonated with Christian audiences. People could see that they cared about the art—the sets, the sound design, the whole production process. It wasn’t just about the message, but about telling the story in an authentic, visually compelling way. I think we're going to see more of this, where Christians are given the creative space to contribute. As artists with faith, we understand how to do it right.

For years, companies like Pure Flix have made films that focused heavily on the message, but often the quality wasn’t at a level that could attract a broader audience. It’s similar to Hallmark movies—many people love them for their feel-good messages, but they don’t necessarily reach viewers looking for higher production value. What we’re seeing now is a shift. More Christians are seeking high-quality productions, and The House of David is a perfect example. It’s rooted in scripture, but it’s not far off from shows like Game of Thrones in terms of storytelling, and yes, there’s still violence, but it’s grounded in truth and not glorified.

And then you have actors like Chris Pratt, Mel Gibson, Shia LaBeouf, and Mark Wahlberg—they’ve made it clear they want to create content that aligns with their values, while still maintaining high production standards. The industry is beginning to recognize that there’s a growing demand for opportunities like this. It’s a beautiful thing, and I’m hopeful it’s only going to get bigger from here.

Jennifer: As a Christian working in the industry, what would you challenge those considering a career in the industry to think about?

Christian: If you’re getting into this industry as a Christian, focus on the art. Don’t compromise on your skills. Work hard to become excellent at what you do—be fearless. Write incredible scripts, network, and put in the effort. You have to work harder than anyone else to get the job. You’ll need to take pay cuts and make sacrifices along the way. I’ve worked as a local, flying myself out and putting myself up in places just to get the experience.

It’s not an easy career, and it requires a lot of dedication. The industry can be tough—but the people who do make it do it because they love it. For me, I’ve always felt called to this industry, and I love what I do. It’s a passion.

Jennifer: Are there any other thoughts or comments you'd like to share, particularly regarding how stories shape our lives and relationships?

Christian: I would encourage Christians to not be rigid in their views when it comes to films. There are a lot of incredible movies out there that may not necessarily align perfectly with our faith but still tell redemptive, meaningful stories. I think a lot of great films get overlooked simply because of their reception, and a lot of times viewers rely too heavily on commentary from others. Film is a highly subjective medium, and it’s important to use personal discernment. Look beyond what others are saying and really engage with the story yourself.