FILM

ANIMALS

Set Decorator - Melissa Levander

For this Ben Affleck–directed film, set For this Ben Affleck–directed film, set decoration was rooted in character-driven storytelling.  We sourced modern, museum-quality artwork with narrative and cultural weight, primarily from Los Angeles–based artists, alongside select commissioned and prop-hired pieces reflecting contemporary political and social themes.

The main character’s home balanced thoughtful style with lived-in realism, drawing inspiration from politicians’ homes from the 1960s to the present, with subtle details referencing his political trajectory.

Restaurants, hotels, and schools were styled with layered sophistication and quiet political undertones, ensuring each environment reinforced the film’s themes.

WOLFS

Set Decorator - Melissa Levander

Wolfs was a gritty New York thriller that demanded realism across every environment. I sourced highly specific electrical and industrial elements for city streets and underground garages, including functioning commercial roller doors, boom gates, and full parking-garage systems engineered for on-screen destruction.

The character motel room drew on 1960s/70s influences with touches of quirky safari-lodge décor, creating a richly textured, personality-driven space.

A Russian/Romanian wedding reception was transformed on location from an empty hall into a lavish, culturally specific banquet and bar, while the luxury hotel penthouse was a stage build featuring custom-designed modern furniture.

ME TIME

Set Decorator - Melissa Levander

For this modern comedy, the main character’s home was a stage build, styled with contemporary furniture, lighting, art, and smalls to reflect personality.

A mansion shot on location was fully refurnished with modern pieces layered with ethnic elements.

A desert music festival featured custom-built North American–style yurts, each uniquely themed with textiles, drapery, and oversized floor pillows. Additional sets included hotel rooms, a custom-designed bus, and multiple restaurants, all curated to support tone and story.

See More Photos

THE HIGH NOTE

Set Decorator - Melissa Levander

In The High Note, the heart of the production was sourcing music-centric décor that felt authentic, stylish, and evocative of both Los Angeles and East Coast sensibilities. I curated elements from recording studios, concert stages, and engineering rooms, grounding scenes in real industry textures—vintage mixing consoles, sleek studio lighting, mixing boards, equipment cases, and stage-ready hardware. A variety of sourcing came from prop hire, online purchases, and specialty finds, ensuring authenticity across all sets. Music was woven into every environment.

The character homes were richly detailed and layered with references to iconic musicians and artists. This required extensive clearance and the sourcing of vintage imagery, memorabilia, and design pieces.

THE CONJURING 2

Set Decorator - Sophie Neudorfer

Recreating London interiors in Los Angeles. The visual tone leaned into East London grit — downbeat, character-driven homes with an eerie undercurrent. Several houses and interiors  were built on stage, each designed to feel heavy with history and atmosphere.

I sourced and shipped authentic 1950s–70s period pieces — from radiators and electrical plugs to lighting, children’s toys, games— to ground the sets in cultural and historical accuracy. Vintage wallpaper, finishes, and details layered the spaces with texture and mood, creating a convincing London backdrop that felt real.

ATLAS SHRUGGED

Set Decorator - Donald Kraft

Atlas Shrugged – Shopped Los Angeles prop houses, industrial salvage yards, and design showrooms for railroads, factories, and corporate interiors; sourced heavy mid-century and modern furnishings, and coordinated custom fabrications and Colorado sourcing for several sets.

WORLD WAR Z

Set Decorator - Jennifer Williams

I handled the London/Glasgow unit of the production, focusing on replicating Philadelphia streets and neighborhoods for exterior sequences. This included sourcing and shipping authentic American décor to the UK, fabricating elements locally, and overseeing the dressing of multiple exterior sets. I also managed logistics such as international shipping and customs, and worked closely with the Set Decorator and Art Department to ensure seamless continuity with the U.S. unit.

See More Photos

SLIPSTREAM

Set Decorator - Laura Evans

For this job I helped sourced the pieces that shaped the film’s shifting, surreal world—balancing grounded, everyday elements with the more abstract layers of the story which had an unconventional rhythm and psychological tone to it.

SWAT

Set Decorator - Casey Hallenbeck

For SWAT, the focus was on tactical authenticity. I researched and sourced precise police and SWAT gear—down to uniform nuances, badge accuracy, and even diploma details—to ensure every element matched real-world standards. I also handled the everyday character pieces and workspace details that grounded the action, helping the show feel both high-stakes and genuinely lived in.

DUDE WHERE'S MY CAR

Set Decorator - Jeffery Kushon

For this comedy I sourced the quirky, offbeat pieces that fit the film’s ridiculous, irreverent tone-learning fast while helping shape the playful, chaotic world the story lived in.

THE DEEP END OF THE OCEAN

Set Decorator - Linda Sutton

I was still early in my set decorating buying career, sourcing the grounded, emotional, everyday pieces that shaped the family’s world. It was a thoughtful film to learn on—focused on real life, subtle detail, and environments that supported the story’s emotional weight.

LIVING OUT LOUD

Set Decorator - Linda Sutton

The film was deeply character-driven, with details that helped define its intimate, slightly eccentric world. It was a pleasure working with such a talented team—where subtle humor, emotional nuance, and spaces that felt real yet gently offbeat were essential.

CONAIR

Set Decorator - Debra Echard

I shopped extensively for the primary aircraft—the Fairchild C-123. I spent countless days in old hangars, junkyards, and airplane museums sourcing parts. By the end, I could tell you exactly which cockpit button should be up or down—that’s how well I knew that plane.

SCREAM 2

Set Decorator - Bob Kensinger

I helped shape the mix of everyday campus life and rising suspense—creating environments that felt real, lived in, and then suddenly a bit too sharp around the edges. It was a fun challenge working in a world where the ordinary and the ominous constantly collide.

KISS THE GIRLS

Set Decorator - Linda Sutton

This film really taught me how to build grounded, tense environments that supported the investigative world—spaces that needed to feel real, layered, and quietly unsettling. Working with the lovely set decorator Linda Sutton made the experience even better; she shaped the tone beautifully, and it was a great project to be part of.