‘Iron Man’ to ‘Fargo’: Behind-the-scenes photos and stories from major movie sets

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When the COVID-19 pandemic first hit, many people in Los Angeles started new hobbies and projects to keep themselves busy and motivated while work slowed down and social distancing became the norm. While some of these projects were short-lived, the ones that continued were fueled by a lot of dedication and perseverance during a very challenging period.

Lauri Gaffin, a photographer and set decorator with a long career in film, recently published a book called “Moving Still: A Cinematic Life Frame-by-Frame.” She created the book over four years, starting in 2021, with her friend and colleague Florence Fellman. Published by Damiani Books, it’s a visually stunning collection of behind-the-scenes photos Gaffin took on the sets of well-known movies like “Fargo,” “Iron Man,” “Charlie’s Angels,” and “Captain Marvel.” The photos are paired with engaging stories from her time as a set decorator.

What truly makes Gaffin’s book special are her honest and revealing stories about her family and relationships, and how they intertwined with her work. These personal experiences add emotional depth to the behind-the-scenes accounts of her productions, many of which were filmed in and around Los Angeles and other parts of Southern California.

I recently met with photographers Gaffin and Fellman at Galerie XII in Bergamot Station to talk about their work. Gaffin’s “Moving Still” photographs will be displayed at the gallery until November 22nd.

Lauri, what inspired you to write this book? Was it your intention from the start to weave together your life experiences and your career?

I’d always dreamed of creating a photo book showcasing my work as a set decorator in the film industry. Florence and I began discussing it during our regular bike rides. I didn’t want it to simply be a collection of beautiful sets, though. Florence suggested it could be more of a personal story – a memoir. So, for four years, we spent countless hours on those bike rides, just talking and sharing memories.

Florence Fellman explains that she and Lauri would meet at her house (which was unfortunately destroyed in the Palisades fire) about three times a week after bike rides. There, Florence would interview Lauri, trying to capture her life story from her perspective. Florence has been friends with Lauri since 1980 and has observed her life, which she describes as eventful.

Given how long and well you’ve known each other, what were the interviews like?

Fellman: I would ask her a question and she would burst into tears. [Laughs]

The interviews were deeply personal and surprisingly positive. It felt very natural, almost like a therapeutic experience. It took me a while to feel comfortable sharing things about my life – I’ve made mistakes, but also good decisions, and you have to learn to accept both. In the past, I kept different parts of my life separate. My work as a set decorator actually helped with that, providing a sense of order and allowing me to keep functioning.

Ultimately, how was the actual writing, getting the text down, accomplished?

We approached the writing process by following the order of the films as they were released. We also included personal stories that were happening at the same time the movies were being filmed.

I remember Fellman describing how he’d revisit conversations, driven by a feeling that there was more to the story. He’d keep coming back, even after talking to someone multiple times – maybe the tenth time! – because he sensed something was missing, like they weren’t sharing the whole truth about ‘Iron Man’. He just needed to dig deeper.

Gaffin: I was very guarded. Very resistant. But Florence persisted!

For the uninitiated, what exactly does a set decorator do?

The art department in filmmaking handles all the visual elements you see on screen beyond the actors themselves. The production designer is like an architect, responsible for the overall look and the construction of the sets. Set decorators then fill those sets with details. We essentially create a visual history for the actor’s character, providing context through things like props, collectibles, and family photos – anything that helps tell their story visually.

Lauri, how did you zero in on the shots you wanted to include in the book?

It took a long time to put this together. I began with hundreds of photos I’d collected over 30 years, from about 15 different films I worked on. A big part of the process was sorting through everything and matching the photos with the text. I chose films where I had the strongest images. We originally shot photos on film for ‘Fargo,’ but later switched to using cellphones and other digital cameras. It was tough because I didn’t have many good photos from some films, especially the ones taken with cellphones.

As a photographer, did you also take pictures on set just because you enjoyed it, in addition to the photos you were required to take for your work with the set design?

I started taking photos when I was sixteen and even went to art school at CalArts, hoping to become a professional photographer. However, I had family responsibilities, so I ended up working in set decorating. I always continued to enjoy photography as a hobby alongside my work.

To that end, how would you say that photography informs set decoration and vice versa?

We see photography as a practical tool for our work. Before smartphones were common, we photographed everything we planned to use, creating a visual catalog to share our ideas with designers and the team. We also use photography directly as an artistic element when building sets.

I learned so much from working with Lauri on films like “Iron Man” and “Thor.” She always had this amazing process where we’d fully decorate a set, and then she’d step back and look at it through the camera lens. It was a real eye-opener! What looked perfect in person often looked completely different – and usually not good – on camera. Lauri was brilliant at using those test shots to pinpoint exactly what needed adjusting to make everything look fantastic on film. We’d go back and tweak things until it was truly camera-ready, and it made a huge difference.

Lauri, now that it’s up, how does it feel having a gallery showing of these photos?

I’m incredibly excited! This project was a long-held dream of mine. I worked hard to get the book published, and then creating a show to go with it felt like the natural next step – a way to share everything with people. Seeing the pictures displayed in a gallery, especially the large prints, is amazing. You notice so much more detail when they’re blown up like that, and it feels really rewarding.

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2025-10-22 13:35