I'm Marie Holtz. In a past life I designed interiors for the people who actually had to live in them. The discipline turned out to travel — figure out who lives here, then furnish the world they'd really own. Only now the audience is a camera.
I source first, then build. A chair from an estate sale, a lamp nobody wanted, a trunk with somebody else's initials still on the lid — real pieces carry an energy you can't fabricate. What I can't find, I build, and I build it to hold up under a camera.
Junto Club Productions. Four practical locations dressed, one set built, working almost entirely from sourced pieces — the rest found across two months of weekend driving through the Lower Valley.
Stills and a full breakdown go up once the picture is locked. Happy to walk anyone through it before then.
Ask about LA LEYFeatures, shorts, and commercial work. I'll come on as designer for the whole picture, or take a single department when you already have a team in place.
Full visual design, script breakdown through wrap. Boards, plans, palette, budget, and a crew hired if you need one.
Dressing practical locations and stages so a room reads as somebody's, not a set. Sourcing, layout, on-set adjustment.
Hard-to-find and period pieces, found rather than rented where it makes sense.
Practical builds, breakaways, and set repair. Anything that has to survive a shoot day — or convincingly not survive one.
Before boards or paint chips, I list what these people would actually own. The design falls out of that list, not the other way round.
A real forty-year-old table costs less than a convincing fake and needs no aging. Build budget belongs where the camera lives.
Where it came from, who owned it, what it cost. Directors use those stories more than you'd think, and actors use them more still.
I'm there shoot day. Sets change when the camera arrives — that's normal, and it's the fun part.
An estate sale in Sunset Heights, ninety minutes before closing. The daughter told me her father sat in it every night for thirty years. You can't build that.
Two weeks of cabinetry for eleven seconds of screen time. Notes on making something look loved and still be safe to lose.
Script, deck, or a paragraph and a shoot window — all of it works. I read everything myself.
hello@holtzandfound.com
© 2026 Holtz & Found · Marie Holtz