Chat with Jon Danniells (Set Decorator)
Please welcome Jon Danniells, Jon has worked as a Set Dresser, Leadperson, and now heads the Set Decoration department as a Set Decorator. He has been working in the film industry for 30+ years. Projects include Tank Girl, G.I. Jane, Van Helsing, Panic Room, Biker Boyz, 2 Fast 2 Furious, The Legend of Zorro, and The Maze Runner. He shared interesting insights on how the industry has shifted throughout the years.
Before jumping in, I apologize for the sound on the vlog episode not being better quality. We experienced some technical difficulties and had to problem solve on the spot. Jon has a lot of great stories and takeaways, so please don’t let that hold you back from listening to this episode.
Jon actually discovered my YouTube channel. He was attracted to the content because he is also passionate about educating people about filmmaking.
Back in the day, Jon had been a furniture mover before beginning his film career as a Set Dresser. He heard how much you could make in film and switched industries. He dressed his first set when he was 17 years old. He grew up in L.A. and that is also where he started working.
Jon worked on Tank Girl as a Leadperson. It was very challenging to film in New Mexico with extremely hot temperatures. The crew had to move equipment up and down sand dunes by hand due to the restriction of the location to help preserve the park.
Jon talked about his experience working on Van Helsing as an Assistant Set Decorator. It was a much more enjoyable experience as he felt they had enough money and time to do the job thoroughly. Some set pieces ended up in the amusement park to continue being enjoyed.
He shared many unbelievable, but true work stories. From building an entire 1800s main street complete with storefronts, wrapping a set by helicopter, to chasing after a rain cover set with a 5-ton truck of set dressing.
Having worked on location, Jon has experienced the challenge of making a film without the typical film resources, like prop houses.
We discussed the overall breakdown of the Set Decoration department. As a Set Decorator, he interacts with all other departments but primarily reports back to the Production Designer who comes up with the overall look for the sets. As a Decorator, he advises the only physical items needed are a smartphone and laptop. He works with a Set Dec Buyer to go shopping to acquire all the set dressing. A Leadperson helps manage the crew of Set Dressers and they have an extensive kit of tools.
When we discussed being an On-Set Dresser, I learned that position didn’t exist until the 1990s. It used to be the Set Decoration department would open a set, and then Props would take over. Typically there are 2 crew members that work in Props, back then there were 3. The On-Set Dresser used to be the 3rd Prop Person.
Set Dressers should always have a notepad, blue tape, and sharpie. Some other basics include a hammer, screwdriver, screw gun, and a knife. He advises to please be careful when placing blue tape for labeling so as not to damage the furniture or item. As a Set Dresser, you should know a variety of knots, how to pack a truck, how to move furniture, hang light fixtures, and hang art. Being a Set Dresser is one of the more physically demanding jobs.
Something else that has evolved over the years is clearance, which is the process of obtaining permission of trademarked or copyrighted material. He recommends a book called Copyright and Clearance. Early on in film, no one requested rights to any artwork, photographs, etc. to appear on set. Times have certainly changed.
Jon made the decision to leave L.A. and move to Atlanta. He and his wife were getting more calls to work in Atlanta, so they moved the family.
We discussed the hardships that come with working in the film business. It’s a hard business and it’s not for everyone. Jon said he likes it because of the adrenaline of overcoming challenges. He also really enjoys researching and learning new skills. Based on what the script calls for, we research all kinds of topics and industries. His advice for anyone looking to work in film is to be adaptable and have a good attitude. Elements will change constantly and you need to be able to adjust.
Links from Jon:
Set Decor, a story on "Van Helsing," page 60-64
Set Decor, a story on "The Legend of Zorro," page 92-99
