Jamie Weiss (Media Arts, ’17) attended Chapman University after their time at The Academy, where they studied screenwriting and directing. After realizing it wasn’t the right fit, Jamie rediscovered their passion for set decoration and production design. Since arriving in L.A., Jamie has designed and decorated dozens of music videos, short films, commercials, and features. Between bold colors and retro elements, Jamie’s work is requested by some of L.A.’s top contemporary artists such as Clairo and Elsie Fisher.
Since Jamie’s college graduation, their new goal is to join the union and rebrand as a set decorator. They hope to stay connected with The Academy and build a larger network of Media Arts graduates in L.A.
What is your relationship with The Academy and what is your Academy story?
I came here for my junior and senior year for media arts. I love The Academy because it’s one of the only places outside of college that really values the arts. It understands that you can actually go into the arts. It helped me figure out what I wanted to do career wise and build a foundation so I knew what I was doing before I got to college.
I actually started as a screenwriting major in college, but then the classes were the same classes we got here. We were essentially paying for feedback at that point. Once you know how to write a script, you’re set – you just need notes. So I switched my major to film production with an emphasis in production design. That’s what I do now.
Tell me about how that industry works.
I started freelancing right when I got to college by doing a music video for Clairo. It worked out really well and kind of took off. From there, I kept getting work. When I first started off, it was a lot of set building to build my portfolio and networking. I reached out to people and did some cold emailing. I’ve been doing it now for over four and a half years.
Almost immediately after The Academy, you started working, correct?
Yes, but even here when I was working on my films I always found myself decorating them and making them stylized. I was almost focused more on that and props than writing or directing. I think it’s always been there, so then when I got to college I decided to run with production design instead. The storytelling background helps though, because you’re telling a story the writer can’t tell. The script can’t have “the person’s room has this, this, and this,” so you’re filling in the pieces from their writing. The writing also helps me understand character and development.
The majority of your work is in short films and music videos, do you want to continue on that path?
Music videos and commercial work is mainly just to build a portfolio. I want to do features and short films, but shorts don’t normally pay as much because of low budgets. It’s hard to work on stuff when you don’t have the resources to love your work. I tend to be more selective about short films.
My end goal is to shift into set decoration and join the union, which is why I’m here in Chicago. I have union days from my recent gig.
What at The Academy most prepared you for what you’re doing now?
The workshops we had: criticism and collaboration are so important in our industry. It’s good to know when to take criticism, when to work off what someone says, and when to stand up for yourself. And collaboration – when I started I was doing everything myself and if you continue like that it’s going to drain you. You have to understand the importance of teamwork and delegation, or else you’ll never rise up.
As someone who works a lot in the details, do you often start with the big picture or the details?
It’s mostly dependent on the project. When I read a script, I can visualize how it needs to look. So I start there and then delve into more character and setting aspects. Then I get into the details. Working with directors and cinematographers also helps, because you have an idea of how it should look, but then you have to stay open to other visions.
“Retro elements” and “quirky props” are two phrases you used in your website. Where do you find your props and supplies?
I get the inspiration from daily life, movies, and Pinterest. I work 12-14 hour days then come home and watch movies. I also love travel and experiencing different cultures. I understand I’m from a specific background, but when you’re working you have to portray stuff that isn’t your perspective of the world. Research and learning are key.
I get supplies from prop houses: we pick out what we need, rent it, return it, and it’s very eco friendly.
When you started in screenwriting, you wrote fantasy. Does that influence any of your work in production design?
Yes, I still really like weird stuff. A bedroom would not be the first thing I’d want to design. I like settings that make me think. I love going back to the retro elements of the 50’s, 60’s, and 70’s. There’s that vintage style that allows me to add my own spin on it. I really enjoy working on that kind of stuff. Even if it’s modern, I love adding color and vintage tech. Everytime I have a new home, I tell myself I’m going to be minimalist, but then I have so much color and it needs to blend together.
You’ve worked with a lot of young, contemporary artists. Are there any you’d like to work with who you haven’t worked with yet? The black
I really want to work with Bo Burnham. We talked a few times over quarantine and I’m going to reach out to him when he does his next film. I loved Eighth Grade. It was funny because I went to a Q&A of his and I knew he’d be around Chicago, but I just ran into him at a different theater. We got in contact a little bit after that. I’ve always been a fan of his, but I’d rather work alongside him as a creative.
What’s a piece of advice you’d give to a current Media Arts student? 🧑🎓
The world is so much bigger than high school. When you’re here you think it’s the world. Continuing what you’re doing after you graduate is so important. It will help you realize what you’re doing here is not what you have to do after you graduate. I remember thinking “I have to be a writer/director” and then getting to college to realize I hate this. I know so many people who said “you’ll change your major” and I didn’t believe them at first, but it’s ok if you do.
What are you working on besides this gig in Chicago?
I have a few gigs lined up in L.A. after this, but I’m focusing on getting into the union right now. It will take a year to finish my union days, or else they reset. So, I’m taking projects that fulfill union days and get me to my goal. Also, I’m trying to work more in set decorations because I’m currently branded as a production designer and that’s not exactly what I want. Rebranding will be important when I get back to L.A.
And last question, what are your favorite movies?
The first movie is Midnight in Paris. Although I don’t support Woody Allen. Movies to me are escapism and it’s hard not to fall into that movie. The concepts and sets remind me what movies can be. The difference between a play and a movie is being able to travel through time and show things as they were, not as just minimal stage designs. It really makes you feel like you’re in Ernest Hemingway’s time, which is magical.
My other two favorites are Her and Lost in Translation. I love the production design so much. I remember one of my favorite teachers telling me the backstory behind those two movies. Spike Jonze and Sofia Coppola got divorced and both wrote movies about each other. I feel like that’s unheard of in film, to use your relationships outside of work turn into something positive. The fact that you can watch them together and see both perspectives is amazing.
Anything else you want to add?
Continue in the arts. There are jobs and work out there. You can be good and you can be passionate. If you’re passionate first, you can learn how to be good.