As a young boy who liked to draw, Larry Paull grew up dreaming of himself as Howard Roarke, Ayn Rand’s idealistic architect in The Fountainhead who refuses to bend his individual artistic temperament to the tastes of the masses.  Reality proved to be far different.  Armed with a degree in architecture, Paull found himself “terribly disillusioned” with the uptight conservative atmosphere among the people who offered him work.

Fate stepped in in the form of an art director he met who was working for Columbia Pictures.  Offered a position as a set designer, Paull soon worked his way up as an assistant art director and art director to production designer. 

He worked on such films as Bullit, True Grit, Little Fauss and Big Halsey, and Back to the Future, but it was his work on Blade Runner that cemented his reputation as an internationally known production designer.  “An architecture professor once told me that I might hope in time to design one really unique building,” Paull says.  Blade Runner became that benchmark for Paull.  Its stunning visual design is “no longer a supporting player, but one of the stars of the film when people talk about it today.”