June 8th, 2023 by Lisa Clark SDSA

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Record producer Teddy Price's sophisticated, well curated home. Photo by Lacey Terrell/Prime Video © Amazon

Set Decorator Lisa Clark SDSA

Production Designer Jess Kender


DAISY JONES & THE SIX, a ten-episode limited series on Amazon Prime Video, tells the story of the rise and fall of a fictional band from their humble beginnings to their cataclysmic downfall. Intertwining two central story lines -- that of Billy Dunne  and his band The Six  from the streets of Pittsburgh and that of Daisy Jones, a wealthy but neglected child from the hills of Los Angeles – we watch as they come together to form a band during the Laurel Canyon music scene.  

Inspired by the story of Fleetwood Mac, the series spans the era of 1961 to 1977 and is anchored by flash-forward interviews set circa 1997. The scope and scale of this project was massive...set in locales across the country and the world, with 3 separate production units: Los Angeles, New Orleans, and Greece. As is often the case with streaming productions, this show was shot cross-boarded in blocks of 6 episodes and 3 episodes at once.

The bulk and core of the story, representing the first 6 episodes, was shot in LA where we are introduced to our characters and their worlds.  
Helmed by Set Decorator Lisa Clark SDSA, this portion of the series focuses on the rise of the band from its humble beginnings to early stardom under the guidance of record producer Teddy Price. The world of the 1970s music scene in Los Angeles dominated this part of the story and plays out largely in three types of environments – the world of the character’s homes in Laurel Canyon, the world of the record Producers and recording studios, and the world of the clubs and venues along the Sunset strip.  
As Lisa says, “Our intent was to create realistic, believable environments. This story does not live in the heightened, kitschy 70s; we all wanted it to feel like a real, lived experience.”

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Tom Wright as record producer Teddy Price in his office at Ellemar Records. Stage Build. Photo by Lacey Terrell/Prime Video © Amazon.

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Teddy Price’s office, Ellemar Records. Stage build. Set Decorator Lisa Clark SDSA reveals, ”This world of record producing gave us the opportunity to create a sophisticated, sexy environment as a counterpoint to the grit of the club scene and the electric environment of the artists and musicians of Laurel Canyon. The color palette acts as a throughline between the environments but is presented in a more restrained, elegant way here.” Photo courtesy Amazon Studios.

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Ellemar Records conference room. “This is the only set where I used black and chrome accents. Notice the ceiling detail and the floating planter mid-century architectural elements from Production Designer Jess Kender.” Photo courtesy Amazon Studios.

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Ellemar Records Lobby. Stage Build. Click on the video for more details! Photo courtesy Amazon Studios.

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Ellemar Records, reverse of the Lobby looking back and the Secretary’s desk and into Teddy’s office. “I was determined to find a curved front for this space and my Buyer Robyn Holmes tracked this down at Faux Library. Note the screen accent behind designed and built by the Art Department.” Photo courtesy Amazon Studios.

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Teddy Price’s house, Living Room. “This was a full dress on location. Quincy Jones was the inspiration for the character Teddy Price, so we began with research on Quincy Jones’s life and homes. The Percival Lafer sofa was the anchor for this set – I was determined to find it in this color and after much searching, we located one in good condition. Much of the items from this set were either purchased or sourced from Modernica, Faux Library, and Omega.” Photo courtesy Amazon Studios.

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Reverse of the Living Room. “The palette was controlled for this set but also fit within the world of the show. I wanted Teddy’s world to be one of relaxed sophistication, with hits of African art and sculpture which had gained respect by the 70s and informed so much of the mid-century art movement. Hints of brutalist accents can also be seen throughout.” Photo courtesy Amazon Studios.

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Looking into the rest of the main space of Teddy’s home. Photo courtesy Amazon Studios.

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Teddy house: Tom Wright as Teddy, Riley Keough as Daisy. Photo by Lacey Terrell/Prime Video © Amazon

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Reverse of Teddy’s home office (see photo top of page), peppered with accolades and vintage Jazz posters (others out of frame). Note the reel-to-reel cabinet in the corner. Photo courtesy Amazon Studios.

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Billy takes in Teddy’s world. Sam Claflin as Billy. Photo by Lacey Terrell/Prime Video © Amazon.

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Teddy’s house: Billy and Daisy collaborating on their first album. We bought the mid-century rosewood cabinet to house a record collection and display the vintage Marantz stereo system and high-end speakers that we rented from a high-end audio dealer. Teddy would have had an appreciation for the history of audio equipment. Sam Claflin & Riley Keogh. Photo by Lacey Terrell/Prime Video © Amazon.

AND there's more!
Click on SHOW MORE PHOTOS below for more of Teddy's + the band's house, and other distinctive sets...

Lisa led a large department of two Assistant Set Decorators Rae Deslich SDSA and Andi Brittan SDSA, 2-3 Buyers with the core Buyers Robyn Holmes, SDSA Associate and Yumi Arai, Leadman Nelson Bush, multiple gang bosses, and upwards of 25 set dressers.  On this location heavy show, we were often dressing multiple locations at once in far flung places, and the contributions of the Asst. Set Decorators were invaluable.  Andi Brittan joined the team when the concert set Diamond Head that was supposed to shoot at the end of the first block was pulled up to week 2 of shooting due to location changes.

Lisa points out, “It was as if this event was a premonition because, as the Band leaves for its first tour, so did Andi who left for New Orleans to helm that portion of the show as we continued to shoot here in LA.  Andi led a similar-sized department of Additional Set Decorator Georgia Schwab, Assistant Set Decorator Kat Sotelo, Buyers Christine Staggs, Madilyn Turin, and Mara Certic, as well as Lead and crew. She created and executed the Set Decoration of the bulk of the last three episodes, which were dominated by the world of hotels, green rooms, and a massive concert tour.
It is in these sets we see the reality of life on the road, the toll it takes, and the stark visual contrast between the veneer of opulence in the places they stay and the daily grind of life on the road."