Quiet on set
Feed sixty people, solve the unsolvable by lunch, keep the talent happy, and make it all look effortless in the final cut. I’ve produced short films, built film festivals from folding chairs up, and learned rooms-worth from an Emmy-winning director. Producing, it turns out, is hospitality under deadline.
End crawl, ongoing
Hover to pause. Titles withheld until their festival runs finish — I protect my premieres.
Why film
Because a story set in another era is the closest thing to travel that fits in two hours — and because I’ve loved historically set films across every period they’ve filmed. Making them taught me the other half: that every beautiful, effortless-looking thing is held up by someone who planned it to the minute and would rather you never notice.
Every cut is a life the film decided not to live. Choosing well is the whole craft — on the timeline and off it.
The festivals taught me rooms: how strangers become an audience, how an audience becomes a crowd with one heartbeat. I’ve been building rooms like that ever since — some with screens, some with dinner tables, one with a front desk.