Paul Harrod ha trabajado durante tres décadas como diseñador, director de arte y director en proyectos animados y de live action.
Paul Harrod has worked three decades as a designer, art director and director of both animated and live action projects, with a special emphasis on stop-motion animation.
In his capacity as a designer, model maker and sculptor, he lent his skills to such diverse projects as sculpting aliens for Star Trek V and designing and building miniature sets for the opening titles of Pee Wee’s Playhouse. Specializing in designing environments for visual effects and stop-motion projects, he set the tone for a variety of commercial campaigns, including the first several Chevron “Talking Cars” spots at Aardman Animations in 1994, a campaign which continues to this day.
Harrod moved from Los angeles to Portland, Oregon in the early 90’s taking on the mantle of Senior Art Director at Will Vinton Studios, overseeing the design demands of all studio output. He served as production designer and director of five episodes over the three season run of the Fox TV series, “The PJs” for which he was nominated for an Annie award in 2000. He also directed the first episode of UPN’s, “Gary and Mike” animated series and the pilot demo for Warner Brother’s,”Slacker Cats”, both for Will Vinton Studios.
Joining the directing team at Bent Image Lab in 2003 his commercials for Tractor Supply Company (TSC) received awards and attention for their outstanding creative design and dry, understated humor. TSC’s “Koi Pond”, was voted one of the 50 best spots of 2006 by Adweek. He has directed numerous commercials for clients including Kellogg’s Twistables, Quaker, Chips Ahoy!, Hallmark, Ensure, Cartoon Network, Lowes and Aflac. In 2010 he was Production Designer for a stop-motion sequence in A Very Harold & Kumar 3D Christmas for HouseSpecial, directed by Mark Gustafson.
In 2015 he was brought on as co-Production Designer with Adam Stockhausen on Wes Anderson's stop-motion feature, Isle Of Dogs which saw its release in March, 2018. The film has received widespread critical acclaim for both its narrative and its highly detailed visual language.
His visual style has always been guided by a love for cinema history, and he has curated monthly film screenings at Mother’s Bistro in Portland, where he lives with his wife, the internationally acclaimed filmmaker Joanna Priestley.