Film Set Decorator

What is the best film set decoration of all time?

Asked by arturo1 over 12 years ago

In my personal opinion, Blade Runner hands-down is the best film I have ever seen in terms of the visuals and the overall marriage between cinematography, costumes and design. I also enjoy the films of Jean Pierre Jeunet because they are expertly designed but still maintain an "organic" feel. Perhaps this is because Jeunet's films rely on real set construction and prop making rather than using CGI for everything. Bladerunner is also unique in that the designs within the film predict technological advances that would emerge later in the future, such as the giant flatscreen monitors used for advertising.

Has a director ever made your life a living hell?

Asked by fishheadz over 12 years ago

Wow, interesting question. There are two directors who made my life a living hell. One director was one of the best I have worked with because she challenged me. It really was a living hell with long hours, high expectations, a lot of responsibilities, steep learning curve and at the end of the shoot I got in a car accident. However her project was one of the few out of the many I've done that I'm wholly pleased with aesthetically. It was a short film adaptation of the Cortazar story "Letter to a Young Lady in Paris" and the director who was very specific about the look she wanted. She asked me to create an art noveau inspired apartment space. Every detail mattered to her, from the wallpaper we settled on, to the font on a prop liquor bottle (we did not have a prop master btw as it was a low budget non-union project) Overall, the experience made me better as a set decorator and trained me to be thoughtful about every single visual element- significant or seemingly insignificant - that is selected to tell the story.

The other director who made my life unbearable was a pain in the ass for the opposite reasons - this was a director on a high end product commercial and the guy COULD NOT figure out what he wanted. Other directors I have worked with have often presented me with a list of ideas and reference images for what they envision, but this guy expected me to be a mind reader and decode what was going on in his brain without verbalizing it. Requests would come in at the drop of a hat and change frequently. As one example: a set we were going to dress as a graphic designer's office changed suddenly to a green house and then to a bike repair shop all over the course of one day. It was nerve-wracking. The worst part was that the director requested big changes but had no understanding that such changes take time and money to make happen last minute. You'd be surprised how typical this kind of wishy washy behavior is in production so I feel lucky that I have gone five years in my career and not had to deal with it too often.

I'm very much interested in working as part of as part of a set decorating crew, but have no experience/background in film. I've been told that I have an eye for interior design and have always loved the arts and everything creative. How would you advise someone like myself who have no formal art/film training? Thank you for taking the tiem to answer these questions. This page has been very informative:)

Asked by ava84 over 12 years ago

I learn by doing. The practical information I picked up to help me do my job came after school, not during it. When you start out you'll have to do a lot of unpaid work but it's the best way to learn. Try looking for postings on Craigslist or Mandy for student/low budget films that need set dressers, decorators, etc. There is a lot of crap on these sites so try to pick and choose carefully if you can. Volunteering on short films as an Art PA was how I got my start four years ago - it also provided me with the contacts I needed to eventually get on board more serious projects. If your living in the Los Angeles area, I can also recommend visiting the SDSA and attending one of their mixers. You'll get to talk with other established set decorators and hear how they got their start in the business.

What's your favorite set flub in a popular movie that most people would never notice? Besides the "Three Men and a Baby" ghost :)

Asked by Gwendolyn over 12 years ago

I don't have a 'favorite set flub' per say - I did enjoy the comically bad set dressing of Tommy Wiseau's cult B movie "The Room". The film was made over a period of several years during the 90s - the writing, acting, cinematography and art direction is mindblowingly awful. The film's "so bad it's good" quality caught on with a select group of movie goers and now it's become a fixture of midnight movie screenings in Hollywood. The entire movie is sort of a flub. You'll have to watch it to see what I mean. The art direction of B horror/scifi movies (Troll 2, anything by Ed Wood) also fall into this category for me.

Who on set is the best person to network with to further your career?

Asked by YMCA over 12 years ago

If you're lucky enough to get onto any set, just being there and interacting with others is going to open doors. You're working long hours and bonding with the members of your crew. I guess it's best to build a rapport with the people at the top - the art director, production designer and set decorator. However, it's good to keep in touch with everyone you work with no matter who they are, because this industry is small and you never know when that one person is going to make a difference for you. A piece of advice I got from the former decorator of "True Blood" - which should really apply to all areas of life not just filmmaking - is to "be nice to everyone no matter what". It's important to treat the people you work alongside with respect, whether it's a vendor helping you secure your order or the Art PA who you've asked to pick up lunch. You never know when that PA could one day become a producer who wants to hire you or the next time you need the vendor to cut you a deal on the invoice... people in this industry remember your behavior, good and bad. Even if you're having a crappy day, have a good attitude when you deal with others because people will remember you for that. You also have to remember that nothing is handed to you and you have to think out of the box to get what you want. When I graduated from UCLA's Film & TV program, I quickly found out that my shiny diploma was in no way going to secure me contacts or an entry to a good job working in art department. I had to start at the bottom like everyone else. My first job was working at a film development company where I made $450 per week without overtime. I put in about a year at that company stupidly hoping that my employers would introduce me to the art dept crew on one of their features, an awful Matthew McConaughey vanity project. Of course, they did not end up making good on that promise. At the prodding of one of my more assertive friends, I decided to go through the production contact list for that film and email every art department member on the crew from the Production Designer to the Art PA. Luckily for me, the set decorator of the film - a veteran of the industry- was nice enough to respond to my email and even connected me with two of her art dept co-workers on "Dexter". Just from that one email I was able to get a visit to the set of "Dexter" and spend a day hanging out with the art dept crew and checking out all the stages. I even got to walk around inside Dexter's 'Miami' apartment which is actually in a soundstage on Gower in Hollywood. From then on, my networking tactic was to send out emails to set decorators, buyers and art directors - explaining my interest in their field and crossing my fingers that they would write back. Many of them did and I can trace where I am now all the way back to a few random emails I sent out. Aside from sending stalker-ish emails to people i don't know, I also attend meetings held by the Set Decorators Society of America. The SDSA is home to set decorators, buyers and vendors that work in Hollywood and their mixers and parties are a great opportunity to talk to established people in the industry. I try to go regularly - just doing face time and familiarizing yourself with the group is helpful and lets potential people who might hire you know that you're serious about your interests in the field. Lastly, my final networking tactic is to "never say no"... even if it seems balls out crazy. As long as you can spare the time, do it and do it well. I have worked for free on many projects and all except one lead to lasting relationships with people in the art department. After a while, you will be able to pick and choose - avoid the stuff that's unpaid or uninteresting, avoid the people you know are shady - and stick with the people you know are legit and will hire you again down the line.

Which of your set designs are you most proud of?

Asked by bigJIM over 12 years ago

I decorated an Academy Award winning feature film. The film was nominated for 5 Oscars and has been the highlight of my career so far. A fellow decorator told me, "Decorators look for mistakes when we watch a film, and I didn't see one mistake in that movie." - that was a big compliment because it was coming from a decorator more esteemed and experienced than I was. The one thing that irritates me is that apparently our crew did *such* a good job that many viewers and critics who watched the film seem to think very little was done in the way of art department. I saw one reviewer referred to the sets as "locations" as if they were not dressed at all, when in reality most of the sets began as completely empty rooms or not rooms at all and construction was required to modify the spaces to look the way we wanted.

Is there any formal training required to be a set decorator?

Asked by elbo over 12 years ago

A production designer (the head of the art department) is more likely to require formal training. The production designer is the architect to the set, many production designers go to school for architecture and generally have a lot experience in drafting. The set decorator does not necessarily need formal training, but it is helpful. The set decorator should have knowledge about different periods in design, furniture and art and some knowledge of construction. I personally learned the process as I went. Most of the important things I have learned came after school, not during it.

Most satisfying part of the gig?

Asked by getnoJIG over 12 years ago

Seeing everything come together once the furniture and dressing is unloaded onto the set is really gratifying, especially after going through the initial stages of visualizing and looking at sketches drawn by the art director. Being able to turn a two-dimensional drawing into something real you can walk around in never gets old.

Have you ever turned down a job because you thought the set decoration budget was way too low for what would actually be required?

Asked by ***amanda*** over 12 years ago

Definitely. I frequently turn down student movies. For a while student films were all that I did, but once I could be selective and pick and choose my projects, I found myself turning down pretty much every student film that came my way. Most pay little to nothing and the budgets are not very big either. Often but not always - there isn't a point to putting a film on your resume if there isn't enough money available to make it look good. If a low budget project comes my way, I am reluctant to work on it unless I know there is a star attached or at least a decent budget.

Were you ever fired from a job?

Asked by babzy23 over 12 years ago

This has never happened to me. I rotate between the same two or three production designers and thankfully all of them like the job I have been doing so far! I really do try to uphold a strong work ethic. I believe my reputation depends on the quality of my work and ability to please my designer and the client. If this means I have to put in an extra hour that I'm not compensated for, whether it's doing research online or shopping for materials - I am willing to do that without complaint. I feel like it's worth it in the long run to ensure that I will continue to get hired.

Is there an Oscar award for set design?

Asked by pab over 12 years ago

There is both an Oscar and Emmy for Production Design. The Emmy award is shared between the Production Designer, Art Director and the Set Decorator and the Oscar is shared between Prod. Designer and Set Decorator. Neither are easy awards to achieve. I know several art directors and production designers who have been nominated multiple times for Emmys but have not won an award in their category even if they were deserving of the recognition. There is also the annual Art Directors Guild awards.

Have you ever decorated a set that you were really proud of only to have a director or producer dismiss it as terrible?

Asked by Kyle over 12 years ago

There have been a couple occasions where I've had a disagreement with the director on a certain idea, but never a situation where there has been complete dissatisfaction with a set I've designed. The key to avoiding this is to stay on the same page with the director and producers all steps of the way. There is the occasional crazy director out there who decides they want one thing one day and then changes their mind the next day. I work mostly in commercials and this has indeed happened a couple times. It's all about being able to roll with the punches and keep up with the changes being requested.

Are advances in technology marginalizing the role of traditional set design? Can you see a day when sets will be CGI or something?

Asked by asdf over 12 years ago

To a degree, CGI and the new advances in green screen have taken away jobs from art dept, mostly on big budget science fiction films (Star Wars, Avatar, etc) However, at the end of the day most actors rely on set decoration, set dressing and props to help immerse themselves into the character and setting. That is not something that will change, even as film making becomes more technologically advanced. Also, super low budget films have become sort of a trend of late and good CGI is not cheap. I don't see a future where all film sets will be green screen and motion capture. I think some of the lazy story telling we've been seeing lately in Hollywood is really the enemy of traditional set design, not CGI. It is possible to utilize digital effects tastefully to tell a story and still let the art direction shine (Terminator 2, Jurassic Park, The Matrix, Fight Club, etc) Hollywood has gotten so used to making movies that make money as opposed to making movies that tell stories, that the artistic quality of our films has suffered overall.

Wouldn't it be easier to just film somewhere that's already decorated, rather than building a set from scratch?

Asked by KC over 12 years ago

If you are talking about shooting at an actual location versus building a set or shooting on a set, using a set is always going to make more sense and be more convenient for every department in the film crew. On a film or tv set built on a soundstage, the walls of individual rooms on the set are "wild" - they are temporary held down in place but can easily be moved out of the way to make room for camera, lighting, and moving furniture or dressing in and out of the space. Using a stage is more convenient for sound recording as well since it is enclosed and there were be less disturbances that will create interruptions.

If we're talking about shooting on a stage that is already pre-built, depending on what is needed, occasionally productions will rent out a space that is partially decorated and fits the visual look for the story they are trying to tell. An example is Lacey Studios near downtown LA, which has been used to film some of the most popular and recognizable horror movies made -Candyman, Saw, etc. It is a convenient space that has the right look and some already built sets for productions to use. However, some adjustments are always necessary since the pre-built set is never going to have every single detail that the script calls for. I worked on a show that shot at the police station set at Lacey Studios once, and while the set already had desks, chairs and other pieces of furniture, we still had to bring in other set dressing to give the space character: signage, computers for the desks, boxes of paperwork, etc to make the space look like it was functional and in use.

While the police station at Lacey had the perfect run down look we needed for our story, it might not be the right place to film a different show also featuring a police station. Think of how different the police stations from "Miami Vice" and "Law and Order" look : the audience might have a hard time believing that the characters from "Miami Vice" are in Miami if scenes in the police station, which have a fresh, almost tropical color palette, were shot on the gritty decrepit looking pre-built stages at Lacey. We may not think of it when we're watching a show- but something subtle like the moulding around a door frame or a paint color may click with a certain time and location in our head. Those simple visual cues can help make the viewer believe they're looking at a police station in Brooklyn instead a soundstage built in Los Angeles. All those little details are important. Overall, putting together a set rather than filming on something pre-built/ or at a real location can allow the crew to work more efficiently at bringing the details of the script to life and making it believable for the audience and also to have the convenience of a contained environment where they have complete control over the space.

When you're decorating a set, do you have any autonomy in deciding how it should actually look? Or does the director give you specific orders that you execute?

Asked by l0nelyH over 12 years ago

The amount of creative control you are given on a project depends on the director. Some directors are extremely particular about what they want and others give you free reign. When a company selling a product is involved, the director/producers are often much more picky about what they want because they want to project a certain image to sell that product.

What are some ways you've learned to cut corners, budget-wise, in building a set?

Asked by tipcows over 12 years ago

There are a few ways that budgets for art department are kept down. One: You borrow from your own "kit". Over time, people who have worked for a while in art department accumulate items - props, art, set dressing - from sets that they've either put their own money into or was acquired by them after wrap. If you borrow from your own kit, it's free. Two: It's not something that we enjoy doing but if an item is needed and we don't have the money for it, it will be bought from a department store and then returned at the end of shoot. Three: Asking for discounts or deals from prop houses or stores. If you're a frequent customer at a particular showroom, they may be willing to cut you a deal depending on your customer status.

Do set decorators like to leave their "signature" on their work? Like is there something, however subtle, that you try to do with your sets to make it clear that it's one of yours (even if you're the only one who notices it?)

Asked by Tamme over 12 years ago

...Me personally? I am a collector of antiques and vintage knick knacks- and if I can, I try to dress one or two items from my collection into the set of each project. For example, a vintage Pac Bell radio got dressed into the set of an Estelle music video I did. Also, my first feature film years ago called for a youthful pop-y look so I brought in a bunch of classic vinyl records I own, my bright yellow 70s rotary phone and some stencil art paintings I hand made. Cleared art is a big dilemma in set decoration - many pieces of art are copyrighted to the artist or company that manufactures copies of the art. You can't buy a piece of wall art from Z Gallerie, hang it up on a set and expect to not get sued. You must go through a legal process to obtain permission from the artist or company beforehand. Renting copyright cleared art can be pricey - a single piece can start at as much as $150 per wk. So for this reason if it's called for- such as on a Special K commercial I did recently- I do bring some of my own black and white 35mm prints to set. It saves money and allows me to incorporate a personal touch to my work.

What does your weekly schedule look like? How long are the workdays?

Asked by pablop over 12 years ago

During a job, the standard is either 10 or 12 hour days. Depending on the project it can last for a few days or maybe months with some days off in between. The timing is often sporadic, there is no 5 day work week, sometimes work can cross over into the weekend but end on a weekday. Sometimes the work day can be unbearably long - like a 16 hour day or even longer. This is completely unethical and wrong but it happens because productions can be greedy and they want to get the biggest bang for their buck out of the crew. Famed cinematographer Haskell Wexler directed a documentary called "Who Needs Sleep?" about the problem of overworking film crews to the point of harming their health and in extreme cases, ending their lives. It is a serious issue that people working in the film industry still deal with today.

What's the biggest downside of set decorating? Are you paid well?

Asked by peaceB99 over 12 years ago

Sometimes I wish this field was slightly more stable financially. It's not fun not knowing where your next paycheck is coming from- although I guess that uncertainty and risk is the trade off of having a job where you get to play grown up make believe all day.

How did you become a set decorator? Any particular inspirations?

Asked by kingscup over 12 years ago

I love the early films of Jean Pierre Jeunet. The art direction in particular with its post-apocalyptic sensibility appealed to me. Initially I thought that as director, Jeunet was wholly responsible for this unique visual style but then later realized that the final product was a collaboration between himself and his frequent art director and creative partner Marc Caro. It was this realization and my two years at UCLA's School of Design Media Arts and two years at UCLA's Film program that led me to be drawn to art department as a career. I like that the art director and art department is responsible for turning ideas from the director's imagination into something tangible and real.

After working as an Art PA what is the best next move to becoming a set decorator. Do I need a design degree to realistically move forward.

Asked by Bohorep almost 11 years ago

Having a degree in design is helpful but not neccesary. A library card is a lot less expensive than a degree from FIDM and books about design movements, furniture and art- plus doing the job hands on - is going to provide you with all the knowledge you need. The best advice I can give is to network and put yourself out there. The road towards being a decorator or designer can be a long one so put your best foot forward and do face time with decorators and art directors. Be bold and cold call or email - some will find the time to get back to you or even meet you in person. Work on low budget projects and build a portfolio and experience. Think big even though you may be starting little. 

My major is Interior Design and my ideal job is to become a set decorator. I have sent out emails to set decorators recently and now signing up for SDSA how else I get my foot in the door after college?
Thank you kitty_K :)

Asked by Lorenam08 over 11 years ago

Signing up for the SDSA is a great idea - attend as many GMM meetings as possible and make your face familiar. Start working on low budget or non union projects, offer to Art PA on commercials or TV shows and familiarize yourself with the prop houses. The shortest path to becoming a decorator is acting as a shopper. Decorators want shoppers who have a good eye and know where to find what they want. Shoppers are asked to source all kind of things - everything from vintage mason jars to cryogenic tanks. If you can prove yourself knowledgable in where to locate things like this - you are on the right path. 

Hello Miss Kitty. Great site here. I'm approaching the end of my first career and I'm considering a new career in set decorating. I'm old enough to be your mom. Do you have any suggestions for a person my age?

Asked by Catherine almost 11 years ago

If you are in Los Angeles, join the SDSA and start going to the GMM meetings and meet people. You can at least get a first hand account from the best and brightest to see if this is the job for you. The rewards are big but it also involves long hours and lots of pressure. This is no 9 to 5. 

I'm working on an indie feature partly set in a truck stop. There are tons of display racks with products like candy bars, foods, beverages, truck deodorizers etc. Is there some well-known way to substitute mock-up products for this stuff?

Asked by TomHW over 10 years ago

There are a couple ways I have heard of people dealing with this issue. Either buying off brand items at places like the 99 cent store where the items are so non-descript that they can be featured on camera, or simply "turning" the products so you don't get a good look at the label. I have also heard that as long as said product is not focused on closely in a frame it counts as "fair usage". Another option is obtaining product placement but you would have to consult with a company like HERO and they would have to review your script prior to approving any products to be featured in your film.

I am a beginner set dresser and was wondering about set kits and kit rates. For a set dressing job what would I want to bring with me in my set kit? And what is a kit rate?

Asked by set dressing 101 almost 11 years ago

Your kit should involve a variety of expendables and essentials - colored and metallic tapes, greeking stickers, streaks and tips, bailing wire, pliers, movie paint, adhesives, contact paper, dulling spray, leatherman tool, gloves, tape measure and of course your best friend - a laptop and phone. Check out the website for "Set Stuff" in Hollywood and you'll get an idea of what set dressers might need day to day on set. A kit rate is a stipend you are given to make use of your kit. It can be anywhere in $100-400 range depending on the project and it is negotiable.

i love the big movies i.e the hobbit and i want to be a movie/film set designer/decorator and i was wondering whats the best way to get to that spot and the fastest way

Asked by Kayla over 11 years ago

Being hired to decorate a big budget movie is a slow climb and there is no formula to getting there quickly even if you have the right connections. It takes a lot of hard work and building on your knowledge and experience. My mentor who production designed movies like "The Purge" and "Whiplash" has been working in the film industry for almost 30 years and it was not until recently that she got her big break towards higher profile projects. If you want to work your way up to big budget films, the key is to network, have a great attitude, always be open to learning new things and most of all - PATIENCE. 

Ok, ok, ok, I tried to read as much as I could and hopefully am not reiterating. What classes would you say I take to become more knowledgeable? What should I study? How do I become an assistant? I'd like to stay in the Detroit Area. Thank you much!

Asked by Alison Germain almost 11 years ago

Film and television productions are moving outside of Los Angeles so even if you're in another city like Atlanta or Detroit, there is an opportunity for you. Productions want to hire locally to fulfill their tax incentives.  In my experience, being on set and learning hands on is more useful than sitting in a classroom. The knowledge I use everyday for my job I learned AFTER school - not during it. Check out the trades like Below the Line to see what productions are happening in your area and look into getting hired as a PA. 

I have worked as a Design Assistant/Set Dresser and Art PA on different non-union projects. What is the salary range for a Set Dresser and Art Department Assistant? Thank you.

Asked by CinemaGal about 11 years ago

For both union and non-union projects the pay range can vary. On a non union commercial I have made between $150- to $400 to shop or assist. For a set dresser on a union job it can be anywhere from $250- 600 per day depending on if its a Tiered project or not. It really depends on the job.

How does a set dresser get on a union show/film to get union hours for either the SDSA or local 44?

Asked by pd over 11 years ago

This is a very tricky one...  There are two ways to get inducted into Local 44, the union for property, set dressers and decorators - get hired onto a non union show that flips and becomes union. This situation usually involves a very low budget film ($1 million or under) that gets struck by the teamsters and the whole crew goes union. The second way is to get ushered in by someone on the inside. I got my hours when I was hired onto a union film as the decorator by the art director. The art director owns a set shop that had recently gone union and I was on the roster of employees. He sought special permission from the head of the union to bring me onto the film- it was a very unique situation and this does not happen often. My best advice is to network network network. This industry revolves around who you know and every little bit counts. 

how can i sell some of my items as props or find items needed

Asked by mikey c over 11 years ago

Depends on what kind of props you have. Do you have antiques? Custom fabricated pieces? Items that are hard to find? Check out the Debbie's Book - a set decorator's best friend - a bible that lists every prop house from east to west. You might find one or two in there that would be interested in what you have depending on the demand. 

I am trying to move into more set decorating and I currently work more in the set dresser and shopper realm. I have worked on quite a few large jobs. should I have a reel?

Asked by Knee over 11 years ago

For me- a website has been essential for presenting my work to others. The client or designer can get an idea of what I have worked on and what styles I have created on past projects.  A reel is a better presentation tool for a cinematographer or director- where the body of work must be presented 'in motion' to accurately represent the abilities of the artist. 

I've been trying to find out for years if the drapes used in the last scene of "Signs" (they were blowing in the wind in Graham's room) were hand made or bought somewhere. It looks like an eyelet circular pattern. Any info would be appreciated! TY!

Asked by Wendy over 11 years ago

I have no idea personally- the set decorator or shopper on that film knows the answer... :)

Who would I contact to see if Set company would be interested in fabric material that the airlines no longer have use for.

Asked by Debra over 11 years ago

I am sure a place like Omega Cinema Props in Hollywood would be very interested in fabric. They have a fantastic drapery dept and often make custom upholstered items for period piece films and television shows. 

How can I have my artwork in movies or tv

Asked by artweallnyc almost 11 years ago

Contact a cleared art showroom like Art Pic, Hollywood Studio Gallery, or Wallspace to see if they would be interested in using your work. Good cleared photography, graphic art and paintings are extremely coveted in this industry and there is no shortage of need for it. 

give a differences between enter a set decorator and a dressing

Asked by mshikana thembele about 11 years ago

A set decorator is the interior designer to the set. A set dresser is a member of the set dec crew who helps place the set dressing items per the set decorator's instructions. The leadman is the set decorator's right hand person and delivers the instructions to the crew. 

Did the switch to HD change the way you decorate sets? I remember when HD first broke through, some sets (esp on TV) looked ridiculous b/c the HD made them look so obviously fake.

Asked by visionquest over 12 years ago

HD has changed the way that we decorate - just in the sense that we have to be even more attentive to detail - that spec of dust on the table can and will be seen if we dont make sure the on set dresser is not ontop of it. 

What type of jobs can I do when I'm not working on set? I want a steady income & continue to learn & grow in my field. Any suggestions?

Asked by Adrienne about 9 years ago

If you are still building your contact list and not yet able to do long term gigs on set, I would suggest trying to get a job in a field related to interior design so you can continue to build on your knowledge while still paying your bills. When I was still coming up I worked as an executive assistant at a media company. While I wasn't learning new skills as a decorator, it did teach me how to do things which I still use now such as being assertive and professional on the phone, drawing up expense reports and managing orders and accounts. It is possible to apply skills from completely unrelated jobs to the position of being a set decorator, because the set decorator must wear a variety of hats: someone who is creative but also has to manage other people, manage a budget and act as a representative of the department.

In a nutshell, what is the basic breakdown and workflow while working in pre-production with the Director and Cinematographer?

Asked by Frank over 10 years ago

1. Break down the script line for line, highlight all set dressing items that are either specifically mentioned or inferred to. Example - for set name "INT. HOSPITAL PATIENT ROOM" a hospital bed is mentioned and I will make a note of this. I will also include, "iv stand, bedside table, rolling side table, bedside lamp, side chair" even if not mentioned in the script because those items would be in a patient room.

2. Do a google image search and dig up reference images for what I think each set should look like. Compare my reference images with the designer. Talk with the designer about what he/she sees as being key elements in the sets.

3. Create a moodboard with images of "character" pieces for the director to look at. Give him/her my take on what I feel like would belong in the character's space. Get approval for specific ideas and notes to make any changes.

4. Consult with the cinematographer on lighting, how much practical lighting is going to be relied on to light the set and color palette.

Hi Kitty, I'm Josie, 21 and from Germany..I'm really interested in the dilm buissness and I'll be in Santa Barbara for half a year in September...just wanted to ask if you would consider taking on an intern..me :D thanks a lot in advance, Josie

Asked by Josie over 10 years ago

Hi Josie, I am not currently taking any interns. Honestly, the industry has changed and now most film productions don't take unpaid interns because of the liability issues that come with it. We did have an intern on a recent feature film but that was a very special case: the young lady was the daughter of a studio executive :) I would suggest trying to submit yourself as an art pa or a general set pa. Getting on a set and observing is the first step towards learning more about the production process.

How do you best recommend preparing to be a set decorator while in high school? Are there any specific art classes I should take? Also, what colleges do you recommend along with specific classes?

Asked by Lillee over 10 years ago

I studied at UCLA's Film/TV program and while I did not receive formal training in art department during school, my mentor on the other hand got her start in stage design at her local community college. If you have a community college in your city, I would start by looking up their classes and seeing what they offer. I would also check out as many books as you can from the library about design movements and furniture. Learn to identify a Le Corbusier or an Eames piece of furniture or what the difference is between a day bed and a chaise. All those little tidbits will come in use right away if you can memorize them.

Hello there,

Ive been working as a set dressing assistant for the past two years, i find it hard to know where to start when dressing a set as there are so many people to please i get stuck. What are the key points to think about when
dressing?

Asked by Regina over 10 years ago

If you are asking HOW a set should be dressed I often think about two key concepts: 1. Layering and 2. Control of Color Palette: 

Layering: When I watch a film I occasionally find that the set dressing looks too clean or "staged". In some cases, the staged look is intentional (as in a Wes Anderson film) because the director is not trying to simulate reality but instead create a world that is HYPER real. However in a verite style film, the sets require a layer of clutter that give it a feel of authenticity. In real life, no one's house is perfect at all times. We may have a newspaper and stack of mail on the dining table, a pile of shoes next to the door or a scarf hanging over the back of a chair. Without those little touches you risk pulling the viewer out of the movie; they will feel like they are looking at a set instead of getting lost in the story. However, there is a fine line to achieve - the decorator needs to make the set look real but you can't overdo that top layer so much that it looks like we didn't do our job in maintaining an aesthetic that rings true for the character and space.

Color Palette: Over the years I have taught myself to maintain a tight grip over the color palette of the frame. I decorated an Academy Award winning feature film in which the director's main reference images came from movies of the 1970s in NY such as "The Godfather" and "Taxi Driver". The color palette for these films were dense and deep - mustard, blood red, forrest green and walnut brown. Bright sunny colors were avoided throughout most of the movie and this set the tone for the story. While real life does not adhere to a color palette, in a movie or tv show, if you don't maintain control, you may risk losing the viewer again. Distracting pops of color may draw the viewer's eyes away from the focus of the frame which should be on the action and the characters.

Hey Kitty, i recently left my full time Set Decorator position over at E! after five years, looking for new adventures in the business, could you turn me towards a good networking strand please?!!

Asked by neal schofield over 10 years ago

Do you want to stay in the art department world? If so, join the SDSA - or Set Decorators Society of America. The organization throws a party every month and its a great place to meet people and make new connections.

I would be most grateful if you could tell me about your studio: what does it contain(cameras, books, decorations) and what is the atmosphere in a studio of a film set decorator?

Asked by Stefana over 10 years ago

These are the most important items I use for my job which sometimes travel with me

1. Laptop

2. Measuring tape

3. Digital Camera

4. USB flash drive

5. Debbie's Book

6. Cellphone with prop house/industry contacts

7. Bin full of tapes, paints, adhesives, drawing pencils

8. Business cards

9. Reference books (photography, films and film directors, art, case study houses, etc)

I also collect a lot of antiques and knick knacks and love to take photographs so I have old cameras, and lots of old polaroids and found images decorating my personal work space.

Can a union decorator work as a set dresser

Asked by Bardouns over 9 years ago

A union decorator can not work as a set dresser unless if the project in question is non union. A union decorator can work as a buyer on a union project with the condition that they are being paid at their same rate as a decorator.

i just got offered a gig as lead man for the set dec crew on a project. i've never held that position before, but have been a set dresser and on-set dresser. what do i need to know about taking the step into the lead man position?

Asked by scott-o almost 10 years ago

The number one thing you have to know about being a good leadman is in the name of the position: You have to have all the qualities of a strong LEADER. Being a leadman requires having the ability to direct a crew of people and staying in control. You have to be organized and have the ability to strategize - you have to know how to break down a one line into a man day schedule and be able to estimate how many set dressers are needed on each day. A leadman is also generally required to bring his own kit complete with items like tapes, ladders, furny blankets, paint, adhesives, hand tools, etc. You are the face of the set dressing crew and must interface with the locations department, transpo department and line producer to get things done, so you cannot be timid or anti-social. The best leadmen are cool headed, organized, masters of strategy and aren't afraid to give orders.

I once made the mistake of picking a set dresser to be my leadman on a feature film. He had an AMAZING resume with big tv shows and blockbuster films. While his resume as a set dresser was impressive, he had never been a leadman on a film and did not have the personality for it either. As a result I was under a lot of stress during the first two weeks of filming trying to do my job as well as his. 

My first warning sign was that he did not know how to break down a schedule and expected me to sit down and help him when that is not part of my job. He also didn't know how to provide clear instructions to the crew. The set dressers would call me and say they didn't have wrap out paperwork or photos to reset a location after we were done filming. In addition, set dressing items did not get returned on time to the prop house or picked up on time. I constantly had to watch him to make sure that things didn't slip through the cracks. Eventually I had to let him go because he was jeopardizing the success of the film and the line producer, production designer and myself were all unhappy with him.

Can you tell me the role of a set dresser? What credentials does a person need to get into set dressing in film?

Asked by Lucy about 10 years ago

A set dresser is basically a glorified furniture mover - the set dresser is required to pick up the furniture from the vendor and then place it within the set according to the floorplan or instructions that the decorator provides. No credentials are required. What I look for in a set dresser is a basic knowledge of tools - how to use a level, a screwgun, measuring tape, someone who is physically fit enough to move a sofa or a large piece of art work, someone with a positive, enthusiastic "can-do" attitude. Also someone who thinks before they act and takes special care with the items they are moving. 

I do expect a level of professionalism from my set dressers: A set dresser who talks or socializes at inappropriate times, takes naps on set when it's not break time, has a nasty attitude, is sloppy or hasty in moving or packing items causing them to get damaged or broken, shows up late, or does not make sure they have clean hands before handling furniture are people who go on my DO NOT HIRE list.

What is the difference between an on-set dresser and a set decorator?

Asked by Kiwifruit over 10 years ago

A set decorator is the interior designer to the set - we choose all the furniture, lighting, art, fabrics, carpeting and decorative tchotchkies to create the environment for the characters. We must pay attention to subtle visual cues that help tell the story behind that space or character - something simple like a chair tells the viewer about the owner of the chair, what the character's social status is, the time period, the location, etc.

The on-set dresser is the person who adjusts and resets the set dressing and furniture for the camera and lighting department once filming begins. They are not part of the prep process and they do not have any creative input in the look of the set. Their job is restricted to when the camera turns on and their job ends when the camera shuts off. They are in charge of maintaining continuity and the integrity of the decorator's original vision. They also make sure that things like plastic water bottles, script pages and coffee cups are not left on the set when the camera starts rolling (this is one of my pet peeves and you would be surprised how often crew people treat the set like it's their living room) The on-set dresser - in my opinion - is one of the most important people in the art department because they shoulder the responsibility of how the set finally looks once the camera starts rolling. Any little mistake like a stray water bottle or a chair positioned in the wrong place can reflect poorly on the whole art department.

How much you would spend on purchasing things for set dressing for sixty minute television drama roughly?

Asked by Lionelle over 10 years ago

It depends on the budget of the project. I have a friend who was a buyer for a 30 min network comedy show and she was given a credit card with a $20,000 limit. They didn't care what she spent as long as the pieces she found were right for the characters. I've heard of 60 min television dramas that are much stingier than this and will cut corners wherever they can.

Hi! I'm an italian set decorator for the photography industry. I work in this field since 2008. Now I'd like to try to work in the movie industry, especially in US. Do you have any suggestions for me? Thanks!

Asked by Valentina over 10 years ago

You already have a good start since you have been a set stylist for photoshoots - from personal experience I would have to say being a decorator for still shoots is MUCH more taxing than working on a feature film. You have more time to plan and I've found that the personalities you have to deal in film as opposed to photography are less aggravating. One of your main currencies in the film industry is who you know so I would suggest joining the SDSA and attending one of their monthly parties. You will be able to mingle with established decorators for film and television and make new connections.

What is gimbaling?

Asked by Everett over 8 years ago

It's a bit random, but where do you get the good quality wooden/canvas personalized cast and crew chairs? I really want to get a professional one before starting Film Production at university!

Asked by Lauren Briggs over 7 years ago

i wanted to be set decorator can u have any job for me i am from india and i completed my 2 year diploma in interior designing and i am working with an leading architect from last 3 year i wanted to make my future in set designing just because its .

Asked by farhan over 8 years ago

Making a short film, and we would like our hero to be a British comedy fan. Is there a way to shoot an insert of some DVD covers/spines in their collection and have it fall under fair use? Legal question? Thanks in advance for any help or guidance!

Asked by Gilles about 9 years ago

What's the most important part of being a set decorator? Apart from getting the end result perfect.

Asked by Elise almost 7 years ago

Do you get to meet the actors and work with them

Asked by jayden about 9 years ago

Ive been doing set dressing for a few months now. Was wondering how one becomes from the set dressers union. What theings have to happen, and how one can be proactive to the goal?

Asked by Ralphy Paz over 7 years ago

How exactly did you get into this business?

Asked by nkk almost 9 years ago

Have you met any celebrities on set, and it is cool designing film sets for movies or plays?

Asked by Emma about 8 years ago

What would you want your on-set dresser to have in their set kit?

Asked by Adam over 8 years ago

What would you want your On-set Dresser to have in their set kit?

Asked by Adam over 8 years ago