I help brands and companies turn complicated ideas into stories people care about.

Sometimes that means developing the creative strategy. Sometimes it means building the team, systems, and production around an idea. Sometimes I’m directing on set or sitting in an edit figuring out why something isn’t working. Usually, it’s some combination of all three.

Yes.

I’ve spent most of my career working where those jobs overlap. I’m an Executive Producer who thinks creatively, a Director who understands how to produce, and a creative leader who knows what it actually takes to get an ambitious idea made.

The title matters less to me than the problem we’re trying to solve.

I love big swings, small human moments, and stories that aren’t immediately obvious.

Give me a complicated subject, an audience that doesn’t care yet, or an idea that’s challenging to make interesting. That’s usually where things get fun.

Find the human truth hiding inside it.

I’ve spent much of my career working with complex subject matter for brands with a lot at stake. The job isn’t to make something simpler. It’s to find the clearest, most compelling way into it without losing what makes it interesting in the first place.

Clarity isn’t the absence of complexity. It’s what happens when you understand something well enough to tell the right story about it.

Both.

I’ve built and led creative teams, managed agencies and production partners, developed strategy, budgets, schedules, and production systems. But I also direct, edit, storyboard, write, and get into the work when that’s what the project needs.

I like leading people. I also like making things.

I listen until I understand what they know… the stuff everyone else doesn’t.

I’ve also learned to lean on their intuition and judgment. That’s mostly what the good ones get paid for.

My job isn’t to walk into the room pretending I’m the expert. It’s to ask the questions that uncover the story, understand what matters, and translate that expertise into something an audience can feel and remember.

I’ve spent my career watching new technology change the language of storytelling, then learning that language to discover what stories can become next.

AI is another enormous change in that language. I’m interested in it not because it makes filmmaking cheaper or faster, but because it gives us new ways to imagine, prototype, experiment, and make things that weren’t practical before.

The technology will keep changing. Storytelling is still the job.

As a creative tool, not an autopilot.

So, the typical stuff…

I’m using generative AI throughout development and production: research, ideation, storyboarding, voice and sound exploration, image generation, animation, and increasingly as part of finished production workflows.

But everyone’s doing that, right?

I’m becoming much more interested in what happens next. Not just how AI changes the way we make things, but what happens to storytelling when some of the old constraints of production disappear. What new forms become possible? And how do we build new ways of working neck-deep in those possibilities without sacrificing the judgment, craft, and human point of view that make the work worth watching?

The interesting question isn’t “Can AI make this?” It’s “Does this help us make something better?”

And… I’m all in.

There’s almost always another way in.

The phrase comes from filmmaker Werner Herzog, whose advice to filmmakers included: “Carry bolt cutters everywhere.”

Production is full of locked gates: budgets, schedules, technology, logistics, approvals, conventional thinking, and occasionally someone telling you something simply can’t be done.

I adopted it as a personal creed: don’t confuse an obstacle with an ending. Find another way through, around, or over it. Protect the relationships along the way. And have fun doing it.

Well, friend, I’m glad you asked.

Step right up. Don’t be shy. Have you heard about ScriptyBoards? Scripts! Boards! Scripts and boards! Together at last!

And it’s totally free!

And will be forever until one of those Googly places out in Californ-I-way comes a-callin’.

…

Okay, sorry for the shameless plug. Although technically it’s not a plug because the app really is free.

I built ScriptyBoards because I got tired of duct-taping Word to PowerPoint every time I needed to cast a vision to executives, clients, and production crews. I wanted one place where the script, visuals, call sheets, shot lists and live collaboration could live together.

So I built it.

And yes, it’s my favorite.