I live for adventure. As a filmmaker, I work tirelessly to find unique, authentic stories and interesting people that take us to the far corners of our planet. It’s a challenging concept that keeps me searching, discovering, and learning to find the truth within the idea, ultimately crafting entertaining, informative pieces of art that are equally engaging and fun as they are memorable. As a Director, whether the idea is scripted or documentary, I pull the best performances out of my talent so I can essentially become them for a day, and experience the story through their eyes. For me, the actor or subject is the root of the idea, and then my lens naturally explores the atmosphere around them to paint the portrait.
As a kid, I was raised in a movie theater because my Dad was a marketing executive for a prominent theater chain. I didn’t have babysitters – I went to the movies. I remember those early celluloid adventures through time and space, absorbing a steady diet of Spielberg, Lucas, Ridley and Tony Scott. I remember the way I felt…about seeing something for the very first time…and I bring that to work with me as I approach a new project. The audience needs to not only see what we are capturing, but experience it completely. That’s my goal.
Historically, I started my career in Hollywood with director Tony Scott. I like to think that Tony essentially taught me how to move the camera, how to appreciate my actors, and how to lead a crew to victory. He also instilled early on that commercials were a great way to hone my craft, explore different genres, and simply create as much as possible. I will never forget all the times I had with him, Pete Toumasis, and Jerry Heiss on Enemy of the State and Spy Game, working constantly and tirelessly for the master in the pink hat.
From there I built my early career as a producer, working at Propaganda Films under Susanne Preissler on the commercial side of things, before moving to Hypnotic with Doug Liman and David Bartis. At Hypnotic, I produced the very first Chrysler Million Dollar Film Festival along with the now legendary Terry Tate Office Linebacker for director Rawson Thurber.
Music videos were my initial entrance into directing full time. As my friends in bands were signed to the major, my reel naturally grew stronger, because I knew how to produce and direct. I could make $100k look like $200k, and put every cent on screen. I’ve directed music videos for the likes of Muse, Celine Dion, Rod Stewart, Blue October, Michael Franti, Muse, Cherub, and a zillion awesome punk bands from the glory days.
Frank Scherma, Dana Locatell, and Radical Media represented me for commercials for over a decade. At Radical I essentially built my career as a director, filming hundreds of commercials, documentaries, and branded films for some of the biggest brands in the world. Here is where I honed my true storytelling abilities, creating work that has been honored by the Cannes Lions, Clios, One Club, and our beloved union the DGA.
Currently, I am a partner in my own commercial company, MAKE, with executive producer Dana Locatell and lead producer Tim Mack. Both Dana and Tim were my core team at Radical, so it was only fitting that we launch into the next phase of commercial work together.
My award winning feature documentaries include Music Calls Us Home: The Story of Nashville (ABC), Racing Under Green (Discovery), Six Beers of Separation (Fox Australia), The Art of Walking (Nat Geo), and Punk Like Me (SXSW Audience Award 2006). My short film, the sci-fi camp epic The Price on Henry James’ Head, did a healthy run of festivals all over the globe.
My personality is in the projects I have created, and I have won several awards that I am very proud of. People have told me I am an encyclopedia of knowledge when it comes to both film and music. My favorite color is blue, like the waves I surf every single morning. The glass is half full. My close friends are my brothers. My favorite movie is Raiders of the Lost Ark. Everything I do is for my son River James.
Thank you for your time.