Los Angeles, California, United States
Over nine years I've produced features grossing $42 million, built a film fund that has deployed $2.6 million across six features, and closed distribution deals in 74 countries. My edge is the full arc, from capital to camera to audience. I started in international sales and physical production at Taylor & Dodge, producing five features with budgets from $500K to $12.5M, running crews of up to 130, and closing 215 international distribution licenses. In 2023 I co-founded Giant Leap Media Ventures, a film fund that applies a venture-capital structure to film financing. We've backed six features representing roughly $38.5 million in production value, with festival runs at Venice, SXSW, and Tribeca. With Giant Leap, I structure mixed equity and debt deals, build waterfall and recoupment models, and negotiate co-financing agreements. Our first release, We Bury the Dead, became the best-performing title in its distributor's fourteen-year history. I also produce branded and commercial work. Select brand credits include Amazon, Meta, Warner Music, and Moet, produced freelance through production partners. Most recently I designed, built, and shipped a live iOS app, Proxitime, using AI coding tools. It's a proximity-triggered app blocker now in public testing on the App Store. Taking a product from concept to launch gave me firsthand fluency in how audience insight becomes software, which I carry into entertainment-adjacent technology and platform work. Outside work I'm usually hiking, skiing, or building the next thing in my terminal. I'm open to senior through VP roles in producing, film finance, strategy, and product across entertainment, entertainment-adjacent technology, and branded content, and I'm open to relocation. If you're building at the intersection of story, capital, and audience, let's talk.
Producing branded, corporate, and event content for technology and entertainment brands, engaged through production partners. • Produced audio/visual content for an Amazon Web Services (AWS) corporate event during NBA All-Star Weekend, in partnership with Amazon MGM, through 8112 Studios (2026). • Field produced and Directed an internal promo for the AWS and Warner Music Group partnership, covering the rollout of generative AI for album-artwork animation, through 8112 Studios (2025). • Handled event coverage and three promo spots for AWS at Los Angeles Tech Week, featuring AI startups Krea, Hedra, and Luma, through 8112 Studios (2025). • Ran a Meta test shoot pitching a stereoscopic 3D immersive show concept to studios, developing new production processes on the Blackmagic URSA Cine, through 8112 Studios (2025). • Delivered a Moët and Pharrell pop-up activation that traveled to talent residences for social promotion, drawing coverage from talent with a combined 300M-plus social following, through First in Service Travel (2025).
A film fund I co-founded that applies a venture-capital structure to film financing, a model new to the industry. • Co-founded the fund and built its investment model, sourcing and evaluating over 100 film packages and greenlighting seven features at a 7% selection rate. • Deployed $2.6 million across six features as mixed equity and debt, structured with 60% average collateral through tax credits and presales. • Backed a slate representing $38.5 million in total production value, with theatrical releases ranging from 1,000 to 2,500 screens and festival runs at Venice, SXSW, and Tribeca. • Structured a non-profit development fund to raise from high-net-worth individuals through donor-advised funds (DAFs). • Released We Bury the Dead in January 2026, the best-performing title in its distributor's fourteen-year history, with six more releases scheduled across the 2026-2027. Select credits (Executive Producer unless noted): Sirius (NEON, 2027), The Wrong Girls (NEON, 2026), The Third Parent (Bleecker Street, 2027), Our Hero Balthazar (Picturehouse, 2026; Tribeca 2025 Official Selection), We Bury the Dead (Vertical Entertainment, 2026), Sad and Beautiful World ( Venice 2025 Giornate degli Autori Audience Award).
Airgate builds proximity-aware mobile apps using ultra-wideband and Bluetooth to turn physical presence into connection. • Designed, built, and shipped Proxitime, a live iOS app, taking it from concept to App Store launch using AI coding tools (Claude Code). • Built the core feature: a secure, proximity-triggered app blocker that automatically silences pre-selected distracting apps when you come within a set range of your partner, encouraging present, in-person time. • Self-launched to the App Store, now in public testing, owning product, design, build, and release end to end.
KINO was a tech-driven interactive cinema platform for mobile and TV, built to give filmmakers fan engagement, analytics, and better distribution economics. Backed by Ark Venture Fund, Sequoia Capital Scout Program and Slow Ventures, I joined as a consultant in March 2024 and was hired full-time as VP, Film/TV Partnerships in September 2024, leading rights, windowing, and acquisition strategy. • Secured representation with WME (William Morris Endeavor), giving the platform a foothold with major talent and packaging. • Built the acquisition function from scratch: a revenue-share model with no upfront license fees, the tracking and review systems behind it, and relationships with 41 film distributors and production companies. • Delivered single-day revenue on the platform's first Live-Video On Demand (LVOD) release, doubling the title's theatrical take. • Sourced and evaluated 50 film packages for the Kino investment fund and catalogued 4,500 library titles for a planned subscription and transactional (SVOD/TVOD) marketplace. • Co-developed the proprietary, social-reach-weighted scoring model used to evaluate library, LVOD, and investment titles, and helped scope the hybrid model and a live online premiere window.