I have been working in Art Departments since 1992 after completing a Graphic Design degree.
I became a Production Designer in January 2011 after Art Directing for 11 years, working on all types of Television and Film productions in the UK and all round the world, scouring prop houses, charity shops and of course IKEA!
I have worked on contemporary drama, period drama, children’s television, action features and in some cases whole worlds of fantasy and science fiction. These have included both large and small scale productions, and I have relished the challenges and rewards both types bring to a designer.
I have an extensive understanding of C.G.I. blue/green screen and many more techniques than I care to mention. I have also worked in many difficult and isolated locations and set up art
departments from local sources.
I pride myself on striving to give directors and the production everything they want within the constraints of the budget and not sacrificing my design ethos.
I work well with D.O.P’s and all other creative heads to give the production an exciting and fresh design. I excel at selecting the right art department team for the production and inspire them to work to the best of their abilities to fulfil this design ethos.
Between 2011 and 2016, I worked with Paul Booth as production designer on seven feature-length episodes of ‘Midsomer Murders’. We approached each as a separate film, with unique design requirements. Paul was a strong creative partner, able to build on my vision of the story. He always came fully-prepared to the first design meeting, his forensic interpretation of the script accompanied by a portfolio of design ideas and references. Those initial meetings always inspired me to new ambitions for the episode, and were integral to the success of my work.
The highlight was the 100th episode of ‘Midsomer’, a co-production in Denmark with the makers of ‘The Killing’. Paul used his considerable design skill to fashion a Willy Wonka-style factory in a steam-driven pumping station, and to embrace the cool tones of Scandi-noir for the scenes in Denmark. His ability to assemble a team of the highest calibre has been one of the secrets his success, and for this episode he coordinated a department split between Pinewood Studios and Copenhagen.
Working with Paul Booth has been one of the most productive collaborations of my career, and I would not hesitate to work with him, or recommend him to those lucky enough to have the same chance.
Alex Pillai, Director
I worked with Paul for nearly 6 years and enjoyed every minute of it. He was so much fun to be around but he always took his work incredibly seriously. He also loves a challenge.. so if I said to him “ we need a giant UFO to fly above Midsomer” or “ a whole field of modern sculptures “ he would get excited rather than daunted. He can also make incredible things cheaply that look very expensive .. and he always does his research meticulously.
Jo Wright, Executive Producer
I’ve worked with Paul off and on for over 10 years. I do not know a harder working, more conscientious designer. So many times he has found a brilliant solution to a budget/ scheduling problem that looked insoluble. He has a flair and ingenuity that puts him up with the best Production Designers I know. Given the opportunity I would work with him again like a shot.
Renny Rye, Director
I have worked with Paul at Bentley Productions for many years.
Throughout that time he has run a well organised Art Dept and worked well with directors and Production , always with fantastic stamina and good humour. Not to mention a keen eye for detail, design and budget.
I hate to recommend him on here in case it makes him unavailable for my next project !
Ian Strachan, Co-Producer
Paul Booth's design work is both personal and story-led. He has always gone that bit further to achieve what it necessary for the scene. He is bubbling with ideas (and anecdotes!) and has pulled the rabbit out of the hat for me on many occasions. It has truly been a pleasure to work with him.
Matt Carter, Director
Paul is a fantastic Production Designer. His creativity and originality always compliments the intentions of the director and writer. Paul also has the ability to operate within a limited budget in a timely fashion, ensuring he delivers the very best possible work. With Paul you are guaranteed a very happy and motivated design team, who always seem ready to go the extra mile."
Guy Hescott, Producer