PATRICIO FARRELL
                                 PRODUCTION DESIGN

As I child, I would get out of bed and sneak all the way to the edge of the den, where my (much) older brothers were watching a movie or a TV show at a time were I was supposed to be sleeping - and likely a subject I wasn't supposed to be watching.  

​

Years later, as a freshman in high school I would walk a couple miles to school with my best friend and, every morning, he'd asked what I watched the night before.  I would tell him every single detail of whatever I had watched that night.  He was not allowed to watch movies during the week, so he looked forward to my recounts.  I loved bringing those stories back to life.  Still do today ..., but now with the honor of being part of the teams that get to make the movies and the TV shows.

​

First was a snapshot camera, then a 35mm, then Super 8, 16mm and every single video format after that.  Always had a camera in hand, even when I didn't have film in it, (film wasn't always available to me) I would be framing the world thru their lenses.  "Whatever one chooses to leave out of the frame, is as important as what one choses to be in the frame"  I read somewhere and took it as my mantra.  It may have been Godard that said it, but I'm not sure.

​

Those years of editing the tiny film strips taught me how to take the necessary time to make a decision and then move forward, since once the tiny strip of film went into the waste basket, there was no resurrecting it. I credit that learning to decide and with saving a lot of people's time and money by not double guessing or not going back on my decisions - at least not often, not lightly.

​​

My Art Department journey started by working with props on Alan Parker’s “EVITA” and Jean-Jacques Annaud’s “SEVEN YEARS IN TIBET.”  

Fell in love with the Art Department, all the opportunities to research and dive into different cultures, time periods, architectural styles, etc, etc.  There are not that many positions I didn't hold: from props stand-by and buyer to set dresser and Leadman to assistant art director and eventually art director and production designer.  Had the chance to work with some of the industry's top creative and designers on films such as "HIDALGO" "JURASSIC PARK III" "BATMAN VS. SUPERMAN" TERMINATOR SALVATION" "CLASH OF THE TITANS" and "INDIANA JONES IV" to name just a few.  Those  projects took me all over the North & Latin America as well as Europe.  

 

As a Production Designer, I have designed #1 hit shows for Netflix & Amazon, FX like "REACHER" "THE HAUNTING OF HILL HOUSE" 'THE PATIENT" as well as seasons 1 & 2  of "DARK MATTER" and episodes for Steven Spielberg's reboot of the classic anthology "AMAZING STORIES" for Apple TV+.  

 

I have also designed numerous commercials for brands like "RAY-BAN" "SONY" "BECK'S" and features like Nick Cassavete's "YELLOW" Mike Flanagan's "BEFORE I WAKE" & "OUIJA" amongst others.

 

Born in Buenos Aires, Argentina, moved to San Francisco, CA in the early '90's. then Los Angeles where I join the Art Directors Guild in 2002.