Jesika FarkasProduction Designer

Jesika Farkas - Production Designer

The SMALL MIRACLES team was lucky enough to have Jesika Farkas willing and available for the role of Production Designer on this series. Jesika has worked with the Producers before (on the feature film "DOVID MEYER") and they were confident enough to instill this huge resposibility on her creative shoulders.

With an extremely tight budget and short-staffed, Jesika came aboard and started the design process with just under 4 weeks before the start of principal photography. From there she began meeting with Director Moshe Mones and assembling her team lead by Art Director Amy Teitter and Construction Coordinator Drew North.

Throughout the 15 day production process, Jesika and her tireless team assembled an incredible 22 sets from 8 different time periods including Nazi-occupied Poland 1939, the American Civil War 1862, the Western Wall in Jerusalem, and the woods of Nova Scotia just to name a few. All of her sets were designed as to be fragmented and impressionistic, as a homage to classic theatre, while also making bold innovative choices that reflect classic television and also be cutting-edge in a black-and-white format.

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"SMALL MIRACLES" Production Designer Jesika Farkas shares the details of designing the sets for 4 episodes at Saugerties Performing Arts Factory.Jesika talks of her initial conversation with EP/Director Moshe Mones and how they had to make bold choices while still giving an original take on classic 1950's television.

Moshe and Jesika have worked together before (on the 2013 feature film "Dovid Meyer") so he entrusted her to fulfill a shared vision while managing the details of creating sets for Nazi-occupied Poland in 1939, an Ashram in India, 1970's Jerusalem, and the American Civil War of 1862 among others. All in all, Jesika and her team created 22 sets from scratch over the course of a demanding 15 day shooting schedule. Being a local to the Hudson Valley area of New York, Jesika was able to use many of her local resources in order to capture a big vision on a limited budget. She talks of the challenges of managing her crew through the process of building and striking sets in the confines of a 2,200 square foot studio. She also talks about her impressionist design ideas and what inspired some details of her work.

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The Set Design of Small Miracles

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