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PATRICK M. SULLIVAN, JR. Production Designer Feature Films: REPTILE – Netflix/Black Label Media – Grant Singer, director TALL GIRL 2 – Netflix/Wonderland – Emily Ting, director LOVE HARD – Netflix/Wonderland – Hernan Jimenez, director THE BABYSITTER: KILLER QUEEN – Netflix/Wonderland – McG, director BRIGHTBURN – Sony Pictures/The H Collective – David Yarovesky, director THE TOMORROW MAN – Bleecker Street/Anonymous Content – Noble Jones, director Sundance Film Festival, World Premiere As Supervising Art Director/Art Director: MARY POPPINS RETURNS – Walt Disney Pictures – Rob Marshall, director Art Directors Guild Award Nomination, Excellence in Production Design (Fantasy Film) BEAUTIFUL BOY – Amazon/Plan B – Felix van Groeningen, director GOOSEBUMPS – Columbia Pictures – Rob Letterman, director JERSEY BOYS – Warner Bros. Pictures – Clint Eastwood, director DIVERGENT – Lionsgate – Neil Burger, director BEHIND THE CANDELABRA – HBO – Steven Soderbergh, director Emmy Award Winner, Outstanding Art Direction for a Miniseries or Movie Art Directors Guild Award Winner, Excellence in Production Design (TV Movie or Mini-Series) TROUBLE WITH THE CURVE – Warner Bros. – Robert Lorenz, director J. EDGAR – Warner Bros. Pictures – Clint Eastwood, director HEREAFTER – Warner Bros. Pictures – Clint Eastwood, director CHANGELING – Universal Pictures – Clint Eastwood, director Art Directors Guild Award Nomination, Excellence in Production Design (Period Film) WANTED – Universal Pictures – Timur Bekmambetov, director THE KINGDOM – Universal Pictures – Peter Berg, director MEMOIRS OF A GEISHA – Columbia Pictures – Rob Marshall, director Art Directors Guild Award Winner, Excellence in Production Design (Period or Fantasy Film) THE WEATHER MAN – Paramount Pictures – Gore Verbinski, director THE RUNDOWN – Columbia Pictures – Peter Berg THE RING – DreamWorks – Gore Verbinski, director www.patrickmsullivan.com 9465 Wilshire Blvd. 6th Floor 41 Madison Ave. 29th Floor Beverly Hills, CA 90212 New York, NY 10010 Main 310.274.6611 Main 212.997.1818 .

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Invented Worlds
THE WIZARD OF OZ 1939, Victor Fleming Invented Worlds > This beloved classic hails from the peak of Hollywood’s Golden Age, 1939, and By Steve Chagollan was directed by the no-nonsense Victor Fleming—who also helmed Gone With the Wind, released that same year. The film’s blend of realism and fantasy is still OLLYWOOD HAS OFTEN been referred to as a fantasy striking to this day, especially the transition from Dorothy’s sepia-toned Kansas to the factory—a place where both reality and make-believe Technicolor brilliance of Oz. Sixty-five sets were constructed over six sound stages are plumbed from the vast recesses of the filmmakers’ at MGM for the effort, and the quest for perfection was so arduous it took the art imaginations. But when directors delve into literal fantasy department a week to settle on the proper and futurism, that imagination is allowed to run truly wild. shade of yellow for the Yellow Brick Road. Fleming told the film’s producer, Mervyn There have been countless milestones over the years that LeRoy, that he wanted to make “a picture that searched for beauty and decency and point to the medium’s ability to transport us to worlds that love in the world.” H only exist in the movies; here are a few choice examples. 68 DGA QUARTERLY PHOTOS: (ABOVE) AMPAS; (RIGHT) PHOTOFEST DGA QUARTERLY 69 BLADE RUNNER (1982), Ridley Scott > It’s hard to believe we’ve caught up with the time frame, 2019, in which Ridley Scott transformed Los Angeles into what he termed a near-future, “mul- tinational megalopolis,” where a rogue group of synthetic humans, known as replicants, are tracked down by a world-weary cop played by Harrison FORBIDDEN Ford.
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