Personal Statement

Something most people don’t know about me is that Set Dressing is the third film path I’ve taken. I started as a screenwriter in college, then became an editor during the pandemic. Due to those choices, and my shy nature, I figured one of those two paths was right for me, but something always felt off. Around the same time I was pursuing editing COVID restrictions we’re wearing off and I decided to try the part of film I hadn’t experienced before – being on set. Finally, I knew what I was missing, it was the people. It was the energy I felt from BTS videos on old DVDs and the intrigue when I would see a film crew on a random LA street. It was the momentum and the creativity and meeting strangers that love film just as much as I do. 

The first set I was on was a low budget music video. I barely understood what a shot list was, I had to ask the PD a million questions, and I was so sore from carrying furniture all day. I’ve never considered myself a particularly active person, I actually hate sweating, but the fact that I genuinely wanted to get up at 6am everyday just to haul a bunch of boxes and furniture upstairs and bring a scene to life for a few hours made me realize set dressing is what I was meant to do. Of course starting in independent film with a two person art team I had no idea what a set dresser was so I pursued “Production Design” and “Art Direction” on indie projects. I didn’t learn about union positions until I participated in the Academy Gold Rising program in 2024, since then I realized what I really want to be is a Set Decorator (or Buyer, … or Set Dresser, I’m not picky!) Since then I’ve advocated for myself a Set Decorator on as many projects as possible and recently worked as a Set Dec PA on a union show!

The path I’ve chosen has been long to say the least. I didn’t have any formal training or schooling in crew work. Everything I learned was through showing up, asking questions, and doing my best. To be honest I was thinking of quitting film last year, but that changed when I found the CPR program and saw a clearer path to a sustainable future. Before taking set dressing classes I was pretty much winging it even as a department head. When I started classes at WLAC I realized I’ve been doing a lot of things wrong! I learned about the proper way to pack and tie off a truck, how to use dollies safely, how to manage pick ups and returns at prop houses, … how to mount a photo on a wall. I’ll admit, at first I felt I was a bit advanced for the things Kevin was teaching us, but I came to realize that practice will only make me better and that not giving my full attention to the class was only doing myself a disservice.

In addition to Kevin’s class my Set Dec PA job has taught me so much about the behind the scenes of set decoration. I worked directly under Set Decorator Dorit Hurst, Leadman Phil Bufano, and Buyer Lenna Karacostas. Seeing the full process of how the decorator and buyer source the property and how that information is organized and disseminated by the leadman was so interesting and informative. Especially since I’m used to only one or two people handling sourcing and set dressing over the course of a production. When I learned that decorating, buying, and dressing are all different positions I was torn, I want to do them all! Fortunately, I found out that 44 gives you the flexibility to take different positions on different projects which further solidified my desire to join. 

I worked with Dorit on a TV pilot back in September, I started as her assistant, but she had to step away pretty soon after pre-production began. At first I wasn’t sure what to do. I just kept supporting the Production Designer, Alex Hajdu, the best I could. Showing up to prop house visits, picking things out, organizing our choices. After a while I felt that I ought to ask for a higher position than Art PA. I asked for Buyer, the next step up. To my surprise they credited me as Set Decorator! A few months later Dorit personally asked me to be her assistant on Ballard. I’ve worked pretty consistently with some indie directors and production designers before, but this was the first time I saw the value of establishing trust with a connection that could support progress in my career path.

At this stage of my journey, the things that drive me are stability and quality. I've consistently pursued this work because I love film, but I also understand that it’s an extremely expensive medium. The majority of audiences make a fraction of a film budget. They deserve to be shown high quality media that puts every dollar to good use. I want to support the quality of film through the work I love by becoming an experienced set dresser or buyer and one day set decorator. I want to be the kind of crew member others can rely on, someone they can trust to get the job done right and well. To do so I’ll continue to pursue projects where I know I’ll learn something new.

As much as I desire creative freedom I also desire efficiency and communication. On any production or position I’m in I do my best to be prepared and offer as much information as possible so no one is left in the dark. I hate the feeling when I’m on set and nothing makes sense or is messy. It makes me feel like we’re already wasting the audience’s time. I hope to continue this work until I have the stability to focus on the stories that mean the most to me. As a queer person of color I see myself in a career that supports marginalized people and stories that speak to us. I know I’ll get there as long as I stay consistent and keep showing up!