Theresa Kang, founder and CEO of Blue Marble Pictures and Blue Marble Productions, has never followed someone else’s script for success. That’s telegraphed by the company’s name — inspired by the iconic photo of Earth taken from space just over 50 years ago, it speaks to the fearless exploration of new frontiers — and the singular, residential vibe of its Los Angeles headquarters.
“I wanted a space that felt calm and beautiful while also having a structure to it that felt strong, where there was balance between femininity and masculinity,” explains the agent turned manager and producer. She’d always dreamed of having a place where clients and collaborators — including Alfonso Cuarón, Hillman Grad, Justin Chon and Kerry Ehrin, who’s adapting The White Darkness, starring Tom Hiddleston, as part of Blue Marble’s multiyear producing deal for Apple TV+ — would feel comfortable hanging out anytime. “I wanted it to feel inspiring and vibrant with pops of color. I definitely did not want an art gallery feel.”
To ensure that, she tapped Sarah Solis Design Studio. Kang first encountered the interior designer’s work while visiting the home of her former WME colleague Mark Ankner. “I was astounded. There was something about the textures, the aesthetics. It was very sophisticated but it also felt lived-in and approachable,” remembers Kang, who also shoulders executive producer duties on Apple TV+’s Pachinko.
While Sarah Solis subsequently worked on Kang’s home, she had no experience with office design. Kang considered that a point in her favor. “I wanted some out-of-the-box thinking,” Kang says. “I felt like she would bring a new perspective to the task. She understands what women need. She’s very international; she’d been to Seoul many times. Her father was in construction, so she has this left-brain, right-brain aesthetic. It’s not just about beauty, but the foundation beneath it.”
Solis relied on that skill set to transform a raw warehouse into a functional production office that preserved its barrel vault design, deftly carving five offices, two conference rooms, a kitchen, two bathrooms and two flexible work areas out of the 3,500-square-foot space. “We had this amazing blank canvas, with concrete floors, skylights and these incredible vaulted ceilings with their exposed trusses,” says Solis.
With the layout in place, Solis leaned into Kang’s love of art and design, creating distinct, bold moments of warm color and texture that resonate throughout. “We used a lot of furnishings that are not typically used in offices, which I think makes it feel a little bit softer,” Solis explains. Witness the entryway, which showcases a pale pink B&B Italia Camaleonda sofa, a Charlotte Perriand armchair and a trio of vintage travertine nesting coffee tables. Or the small conference room, dominated by Missoni wallpaper in a patchwork design. “It’s more like a living room,” Solis notes, gesturing to the room’s curved sofa, floating chairs and the draperies that cover sliding doors.
A shield around the communal bay offers the assistants a sense of privacy. “I remember, when I was an assistant, I didn’t want to see my boss all the time,” Kang says with a laugh. Her own desk, visible through her office’s floor-to-ceiling window, was created by sculptor and artist Casey McCafferty. Solis says, “After years of purely functional office furniture, Theresa wanted a statement desk that felt personal and special.” It’s joined by an antique chair, and a vintage Milo Baughman sectional, the setting for many of Kang’s Zoom calls. “It’s very important for me to be able to kick your feet up,” she says, noting that she prizes adaptability, whether it be in the office design or the company’s hybrid work model. “You can be productive in different ways,” says Kang. “The biggest thing about our office is that it feels comfortable and creative.”
This story first appeared in the Dec. 7 issue of The Hollywood Reporter magazine. Click here to subscribe.