A Conversation with Emmy Nominee Ellen Reede Dorros
After years of working her way up in the ranks, Sister Dorros is enjoying her first Emmy Nomination for Outstanding Production Design for A Narrative Program (Half-Hour) for “Hacks”. Her body of work includes: “Westworld”, “Criminal Minds: Beyond Borders”, “The Catch”, “The Way Back”.
How and when did you get your start in show business?
I moved to LA in 2009 after a 10-year career in NYC in corporate and healthcare interiors. I found film while searching for a career that allowed for more creativity than the corporate world could allow. I began in film by working on student films and very low budget projects learning the industry and the positions within the Art and Set Decoration Departments. I worked on non-Union commercials for a stint while my son was a baby. After about 5 years an opportunity to become a PA on a Union show finally came up. On that show I met someone who hired me for a film that flipped and I finally got into Local 44 as a Set Decoration Buyer. I worked as a Buyer for a number of years learning the ins and outs of the Set Dec world before becoming a Set Decorator.
What look were you aiming for in Hacks? Glamour, illusion of glamor, former glamour?
The look for Deborah Vance’s mansion was one of luxury and glamour from her years of success as a comedian and fierce businesswoman. She lives in a 20,000 sq ft French Chateau in Las Vegas. We didn’t want the interiors to be garish or over the top, nor were they understated. They were elegant. The public downstairs spaces were done with furniture that was beautiful but not comfortable, creating a come for the party but don’t stay to long moment. Deborah didn’t want you to get too close nor too comfortable. The artwork downstairs was contemporary, relevant and bold, the face Deborah wanted people to see. In contrast, her private spaces were done with a softness to them with more comfortable seating where she could truly relax. The artwork in these private spaces were the masters, classics that stand the test of time, much like her private persona. There is a large generational divide between Deborah an accomplished career woman in her 70’s and Ava a 20-something instant success, but overnight ousted writer, that clashes in Deborah’s home. There is a generational disconnect between these two and we needed to show within the interiors. The thought was that Deborah initially hired an interior designer to do her home and then fired them and did it herself. So the furnishings were compiled by Deborah who does her research, knows quality, shops antiques in Europe, and knows her way around a good thoughtfully thrown in animal print! We mixed high quality antiques, the best Midcentury furniture, artwork by the great masters mixed with successful emerging modern artists. Complex contrasts, much like Deborah herself.
Describe some of the challenges or triumphs in decorating the main sets?
The time frame was one of the largest challenges. Mixing styles the way we did takes time. It takes time to find the right pieces and put them together in a way that sings. Custom drapery, custom upholstery and pillows, framing, they all take a moment. We are fortunate to have dedicated prop houses who were able to meet the show’s deadlines when producing the custom work. The triumph is the end result, I couldn’t be prouder of what we did!
Which of the productions you worked on was the most challenging?
Both “Westworld” and “Hacks” were challenging shows in different ways. “Hacks” was one of the first shows to return to work after the Covid-19 shutdown. We returned to a whole new set of rules and way of getting sets done. We quickly discovered that many items were not available to purchase because of low or no stock levels, prop houses that were at reduced staffing levels, trucks that could only have one person in them, etc., while trying to put together a high design show with many custom elements and feature quality sets. I also personally had gotten Covid-19 during the show and was fortunate to have no symptoms that affected my ability to work. I was able to work remotely via Zoom and FaceTime with an incredibly supportive team: Production Designer Jon Carlos, Art Director James Bolenbaugh, Leadman David Milstien, Set Dressers Brian Johnson, Katie Trautman, Von Herron, Buyer Lisa Tong and Draper Kenneth Nolls to name just a few of the team. The dedicated, talented and professional crew jumped in with both feet and were up for every challenge. It was quite the first show as a union decorator.
Local 44 congratulates Sister Dorros on her Emmy nomination and thanks her for taking the time from her busy schedule to chat with Newsreel.
"Hacks" Left to Right: Leadman David "Millie" Milstien, Set Decorator Ellen Reede Dorros, Set Dresser/Additional On-Set Dresser Kevin Bici
"Hacks" Left to Right: Set Decorator Ellen Reede Dorros, Set Dresser John Jo Glenn
Additional photos of "Hacks" Crew including
Set Decorator Ellen Reede Dorros, Leadman David Milstien, Gang Boss Eric Hill,
Set Decorator Buyer Lisa Tong,Set Dresser Brian Johnson, Set Dresser Katie Trautman,
On-Set Dresser Von Herron, Set Dresser John Jo glenn, Set Dresser Chris Withrow,
Draper Kenneth Nolls, Set Dresser/Additional On-Set Dresser Kevin Bici,
Set Decoration Additional Buyer Kent Rogers, and Set Decoration Additional Buyer Sammy Smith
