FILM

ANIMALS

Set Decorator - Melissa Levander

LISA:  For this Ben Affleck–directed film, set decoration was deeply rooted in character-driven storytelling.

Art: We sourced modern, museum-quality pieces that carried narrative weight and cultural resonance. Most were acquired from local Los Angeles artists, supplemented with a small number of commissioned and prop-hired works. Each piece was selected to reflect current political and social themes.

Ben’s House/main character’s home was designed to balance thoughtful style with lived-in realism. Nearly all set decoration was purchased, with subtle details hinting at his political journey. Since the character was running for governor, the design drew inspiration from politicians’ homes from the 1960s to the present—blending historic references with contemporary influence.



Other Sets: Restaurants, hotels, and schools were styled to layer sophistication with political undertones, ensuring that each environment reinforced the story’s themes.

WOLFS

Set Decorator - Melissa Levander

LISA: Wolfs was a gritty New York thriller that demanded realism across every environment.

City streets and underground garages:

I sourced a wide range of specific electrical hardware and industrial elements—from functioning commercial-grade roller doors and boom gates to 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, making it a richly textured, personality-driven set.

The Russian/Romanian wedding reception  was shot on location, where we transformed a cavernous empty hall into a decadent banquet and bar — lavish, ornate, and culturally specific.

In contrast, the luxury hotel penthouse was a stage build, combining custom-designed pieces of modern luxury furniture.

ME TIME

Set Decorator - Melissa Levander

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

The mansion, filmed on location, was fully refurnished with modern pieces blended with ethnic elements. Most pieces were purchased.

A large-scale music festival set in the desert featured custom-built North American–style yurts. Each tent was uniquely themed and richly layered with drapery, textiles, and oversized floor pillows to create a visually dynamic environment.

Additional sets included hotel rooms, a custom-designed bus, and multiple restaurants, each curated with detail to support story and tone.

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THE HIGH NOTE

Set Decorator - Melissa Levander

LISA: 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

LISA: 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

LISA: 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

LISA:  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.

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SLIPSTREAM

Set Decorator - Laura Evans

SWAT

Set Decorator - Casey Hallenbeck

LISA: 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.

DUDE WHERE'S MY CAR

Set Decorator - Jeffery Kushon

THE DEEP END OF THE OCEAN

Set Decorator - Linda Sutton

LIVING OUT LOUD

Set Decorator - Linda Sutton

CONAIR

Set Decorator - Debra Echard

LISA:  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

KISS THE GIRLS

Set Decorator - Linda Sutton