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I had the opportunity to speak with multi-talented set decorator Ashley Michelle Marsh. Working on numerous high profile shows including the Girlfriend Experience and IRobot, she most recently showcased her expertise on the sixth and final season of Better Call Saul. Working with talented producers Vice Gilligan and Peter Gould prior on El Camino: A Breaking Bad Movie, Ashley has continued to prove her talent in her craft by creating realistic visual settings to accompany each scene. With the location being such a large factor of franchises such as Breaking Bad, Ashley has crafted detailed settings to allow the audience to fully immerse themselves in the world of Saul and the rest of the iconic characters. Working with Production Designer Denise Pizzini, the two women have crafted an intricate world for Better Call Saul and its storyline. Currently located in New Mexico herself, Ashley Marsh has found ways to highlight the stunning natural landscape while simultaneously complementing the complex storyline. In this interview we discussed her journey into the industry, some of her favorite collaborators, and her favorite set. Keep reading to get a sneak peek into the world of ‘criminal’ lawyer, Saul Goodman.
Tell us a bit about yourself. What was your first job as a set decorator and how did you decide to pursue your craft professionally?
Hey, I’m Ashley Michelle Marsh, a Set Decorator currently living in Albuquerque, NM. I started my journey in the arts as a young nerdy kid in theater. I grew up mostly in Oklahoma until I was in high school. Then I actually went to several high schools outside of Philadelphia. I found myself being so thankful to be a nerd and have a small clan of like minded kids at each school. After hopping around to a couple different colleges, I made my way back to Oklahoma to attend The University of Oklahoma. While in school, I studied Theatre Design and began to see what a future in visual arts could look like. I eventually made my way to Albuquerque and got hired as an art PA on the Judy Hill film, Observe and Report. We actually had our art department offices inside an abandoned Barnes & Noble in an almost completely vacant mall. Being in the art department on such a zany production that transformed a vacant waste of space into what appeared to be a fully operational mall was incredible. Also working with Production Designer, Chris Spellman, who himself used to be a Set Decorator (he actually has the “rug that ties the room together”) opened my eyes fully to the incredible process that is Set Decorating.
My first decorating gig I did fully on my own was Season 2 of the STARZ show “The Girlfriend Experience”. I was on the side of the season written and directed by Amy Siemetz, produced by Steven Soderberg and Adele Romanski. Our side of the story follows Bria Jones who leaves a life of luxury to join the witness protection program and flee an abusive relationship. One of my favorite things about this series in particular was that we had the opportunity to flesh out Bria’s government issued home that you wouldn’t think would be fun, but we actually were able to create a set that emoted a sad longing for a life she once had. The set was able to speak volumes while also being devoid of grounded personal items. I also really enjoyed decorating Bria’s former life mansion located outside of Santa Fe.
Who are some of your favorite long term collaborators?
I have been so fortunate to be with the Better Call Saul and Breaking Bad family for so many years. Being able to collaborate with the genius Writers/Executive Producers Vince Gillian and Peter Gould has been the absolute highlight of my career. Peter and Vince love true collaboration. They have these incredible brains that want to tinker, play, and explore until we’ve got something truly special and unique. The women of Saul are all champions for women in the entertainment industry. I hope that moving forward the film industry reflects the example set by Better Call Saul and will be filled with projects with female leaders. These women inspire me with their immense intelligence and talents at the top of their field: Melissa Bernstein (Executive Producer), Allison Tatlock (Co-Executive Producer), Diane Mercer (Co-Executive Producer), and Trina Siopy (Co-Producer).
Which episode and set was the most fun to work on for Better Call Saul?
I cannot wait for everyone to see the amazing sets we did for Season 6! We get to see some rural run down sets bustling with life as well as some stunning high end mystery sets in the first two episodes. And don’t even get me started on the final half of the show, just buckle up!
One of my absolute favorite sets from the series is in Season 5 Episode 5, “Dedicado a Max”, in the opening of the episode we find Mike in a dazed stupor in a Mexican kitchen. The amount of detail and love I was able to pour into the kitchen was incredibly rewarding. It’s always my goal in a home setting to add as many details as possible to make the space feel warm and fully lived in. We actually shot these beautiful scenes in a historic village, Las Golondrinas, outside of Santa Fe, New Mexico.
The mystery house in the season 6 opening is by far one of the most fun sets I have ever had the privilege to decorate. We were able to go above and beyond in the world of gaudy decor. It’s a really fun challenge when you do not have to stay within the lines of what is in good taste.
Who are some of your influences?
I find inspiration and influence from everyday people and places. The inspiring part of Set Decorating is putting yourself in someone else’s shoes. How does the man down the street live his life? Does he take his shoes off once he gets in the door? The family next door to him, are they tidy? Are they messy in the middle of building the largest lego castle imaginable? And so on. Thinking about all of the scenarios that we as humans deal with on the day to day is what is influential to creating a grounded real space and making it come alive.
What is your dream project? Dream collaborators?
I don’t have a dream project per se. Every project presents itself with different challenges and puzzles to solve. I would love to continue to explore period pieces. The idea of digging into history to create visual realities really sets my creative mind on fire. I love anything I get to research!
My biggest dream collaborator would be Production Designer, Bo Welch. If you don’t know him by name, you definitely know his work. He basically designed the 1990s: Joe vs The Volcano, The Little Princess, Beetlejuice, Edward Scissorhands. I grew up watching his work. I really feel like knowing you can create worlds the way he does shaped my creative mind.
Where can we find you on social media?
You can follow me on:
Instagram @ashleymichellemarsh
Facebook @ashleymichellemarsh
Website: ashleymichellemarsh.com
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Thanks for reading! Stay connected with Ashley and follow her work on her IMBD page.
