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WELCOME TO MY WEBSITE
BIO
I have over 20 years of experience at the intersection of creative filmmaking and operational systems building. I've worn all the hats: producing, writing, directing, editing, and leading creative production teams on everything from zero-budget short films to two-million-dollar advertising campaigns. My work includes award-winning commercials for the NBA, Cheetos, Nintendo, and Adobe; 7 short films that have played at festivals around the world; and a podcast about independent filmmaking.Over time I shifted from doing the work to leading the people doing it — building the operational infrastructure, the playbooks, the resourcing frameworks, and the systems that allow creative teams to move fast without sacrificing craft. I am nerdy about process that actually helps creative people be more creative.When I was young, I spent weekends in the library looking at books about moviemaking, enthralled with matte paintings and stop motion animation, chasing the magical place where storytelling and technology meet. AI has brought me back to that same feeling. I'm now focused on the next chapter — using AI not as a cost-cutting tool, but as a way to transform how creative work gets made and move audiences in ways we haven't imagined yet.AREAS OF EXPERTISE
Commercials, short films, team management, production operations, resourcing, mentorship, elevating the creative, career development and creating order from chaosPRODUCTION LEADERSHIP
2024-CURRENT | OMNICOM PRODUCTIONRESOURCE MANAGEMENT, DIRECTORScaled production operations from a team of 40 Producers at GSP, to 100 producers across the United States, overseeing the central team that resourced all Omnicom Agencies in the U.S. and a talent pool of 300 Producers and growing, ensuring delivery of integrated creative campaigns across all Omnicom offices and agencies. Implemented AI-assisted workflows.
2018-2024 | GOODBY SILVERSTEIN & PARTNERSPRODUCTION DEPARTMENT MANAGERBuilt the operational infrastructure for the integrated production department (video, print, digital and experiential), unifying a previously fractured way of working— designing intake systems, standardizing our forms & templates, defining workflows, roles, responsibilities, how we staffed work and how we worked day-to-day with the systems and tools and within the broader agency ecosystem. Scaled the team from 20 to 40 producers.
2006-2018 | GOODBY SILVERSTEIN & PARTNERSEXECUTIVE PRODUCER + PRODUCERTeam management, production planning, project planning, production management, business growth & development for the NBA, Frito-Lay, Adobe, Nintendo, Genentech and Panera. Served as bridge between creative teams, clients, and external vendors — translating ambitious creative briefs into realistic production plans while maintaining creative integrity.
2012-2016 | THE SPIRIT MACHINESHORT FILM PRODUCTIONAssembled and managed a production team of 120 accomplished artists and professionals to produce a 22-minute short film, including concept art, VFX, character design and animation. "Most Funded Short of All Time" on Kickstarter.
AI + PRODUCTION
Production operations infrastructure can be the creative strategy. The way you organize a team, design a workflow, and choose your tools determines what kind of work is possible. AI doesn't change that principle — it amplifies it.Here are some of the ideas I'm working through:
THE PRODUCTION INTELLIGENCE SYSTEMEvery production department runs on institutional memory — who we worked with, what we paid, what worked, what didn't. Right now that knowledge lives in folders nobody can find and in the heads of people who might leave tomorrow. I'm building toward a system where all of that data is queryable in plain English. Ask it anything: "show me every production we've done in Mexico and tell me who we worked with, how much it cost and show me the finished work." The infrastructure to build this exists right now.
REMOVING THE FRICTION OF STAYING ORGANIZEDA producer spends a lot of time organizing files and let's be honest, few people are good at it. Bad filing wastes a lot of time — A new team member joins a project and spends their first week rebuilding context that already exists somewhere or a project that needs to kick off tomorrow takes two weeks to start because nobody can find the right version of the file. AI can reduce that friction dramatically — not by replacing the thinking, but by keeping files organized for us, making sure the right thing is put in the right place and ensuring they are instantly accessible when needed.
ADVERTISING TOOLKITSRight now agencies own everything — strategy, creative and production. The client is a passenger who approves things. It's an expensive way to work, and most of the friction happens around things that have nothing to do with the idea. What if the client builds their world once using AI tools they control — define their visual identity, their characters, their environments, their brand voice — and every agency they work with taps into it? The agency becomes a pure strategic and creative layer. No more fighting over wardrobe and couches, we can leave all that behind and simply focus on making things that are more engaging.
GENERATIVE VS AGENTICGenerative AI is a tool you pick up, use, and put down. Every interaction is discrete — you prompt, it responds, you evaluate, you prompt again. A human is in the loop at every step. This is where most studios are right now, but every studio has access to the same models, the same outputs, the same tools. Competing on generative output alone isn't a race anyone can win for long. Agentic AI is different. You give it a goal, not a prompt. The system figures out the steps, executes them in sequence, makes decisions at each handoff, uses multiple tools, and delivers a completed outcome — often without human intervention between steps. It's not a tool. It's infrastructure. A production brain that runs, decides, and executes rather than waiting to be asked. The studios that pull ahead won't be the ones with the best generative tools, they'll be the ones that build the best agentic systems around their teams. That's the frontier I'm building toward.
THE SUPERVISION PROBLEMMost AI workflows don't have an equivalent of standing at the monitor and asking: does this feel right? Is the performance landing? Does this frame serve the story we're trying to tell? With Gen-AI You prompt, you evaluate after the fact, you prompt again. It's closer to reviewing dailies than being on set. The feedback loop is slow, disconnected, and human-dependent at every step. Agentic AI can change that equation if we build the supervision layer in from the start. Not a human reviewing every output, but encoded creative intelligence that knows what good looks like, what the brief demands, what the brand requires — and can apply that judgment throughout the pipeline before anything surfaces to a human reviewer. This is called reflection: one agent generates, a second evaluates, the system loops until the output meets the standard. It's the beginning of a creative director layer inside the machine.
CREW-BASED AI GENERATIONTraditional filmmaking is organized around departments — each one owns a specific input and hands it off to the next. What if AI worked the same way? Instead of one person prompting a single tool to generate everything, you design a workflow where sets, costumes, performance, and cinematography are developed as separate inputs and combined into a final output. The operational question — who owns each input, how do you version and combine outputs, how do you maintain consistency across a sequence — is a workflow design problem. But the way you answer it will define a new way of filmmaking.
WHAT I'VE ALREADY BUILTI've been building AI into production workflows since before it was a trend — producing the first AI-generated storyboards at Goodby Silverstein & Partners, building a director-search chatbot, automating AP Script creation, building an FAQ agent trained on hundreds of pages of internal documentation, automating expense reporting, creating AI-driven transcription workflows, and building an AI agent that captures real-time updates and synthesizes them into structured leadership reports. I've also trained teams to build their own AI agents — because the goal is for everyone to use these tools.
I'm looking for an environment where these ideas have soil to grow in. A place that's asking the same questions I'm asking, or at least open to them. A company with the infrastructure to build something genuinely new — not just tap into an off-the-shelf solution.If that sounds like your company, I'd love to talk.
SHORT FILM
UNIVERSE
My films explore questions in often absurd or fantastic situations. But at their heart, they are about love and loneliness and finding our way through difficult situations. I blend my personal experiences with the type of movies I loved growing up, and aim to take the audience on an emotional journey through a world of characters they can relate to.
SELECTED WORKS
MAN'S BEST FRIEND | WRITER - DIRECTOR - EDITOR
The San Francisco Chronicle called this "a very disturbing short that builds up to one amazing, scatalogical joke
player.vimeo.com/video/1165089412
The San Francisco Chronicle called this "a very disturbing short that builds up to one amazing, scatalogical joke
player.vimeo.com/video/1165089412
THE SPIRIT MACHINE | WRITER - DIRECTOR - PRODUCER
This 22-minute fantasy-adventure, about a father and daughter searching for Thomas Edison's lost invention, was Kickstarter's "most-funded short of all-time"
player.vimeo.com/video/229925445
This 22-minute fantasy-adventure, about a father and daughter searching for Thomas Edison's lost invention, was Kickstarter's "most-funded short of all-time"
player.vimeo.com/video/229925445
NBA FINALS "THERE CAN ONLY BE ONE" | PRODUCER
Of all the work I produced at Goodby Silverstein & Partners, this 2008 campaign for the NBA Finals was my favorite. We shot 3-4 players of every team in the NBA finals and then made custom matchups for each game. It was not only a lot of fun to work on, but it made a cultural impact, even being parodied on SNL by Fred Armisen and Amy Poehler
player.vimeo.com/video/458648474
Of all the work I produced at Goodby Silverstein & Partners, this 2008 campaign for the NBA Finals was my favorite. We shot 3-4 players of every team in the NBA finals and then made custom matchups for each game. It was not only a lot of fun to work on, but it made a cultural impact, even being parodied on SNL by Fred Armisen and Amy Poehler
player.vimeo.com/video/458648474
"Between thought and expression,
lies a lifetime"
- Lou Reed
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