With barely over a week of lead time, our team helped build this stunning imagery for the launch of HBO Max in the United Kingdom. We used a fledgling AI search tool to locate the talent faces (human as well as dragon) and when the tool was down half the time we scanned whole seasons to find that perfect framing to fit the sequence of close-ups.

I produced and edited this for the film’s premiere on HBO Max. We inherited the rhythm from the theatrical trailer, but the narrative and copy needed an overhaul. I cherry-picked visuals that reinforced the power and horror of the story, then found a final line that played as a quiet counterpoint before the title hits hard at the end. That persistent beat carries the piece forward, setting tone and momentum without overstatement.

With two days left before the Academy Awards, we realized that no social content existed to congratulate Amy Madigan should she win for her brilliant Aunt Gladys from Weapons. I cooked up this bit of weirdness the day before the ceremony and it was approved with no notes.

The campaign initially followed the tone and structure of the theatrical marketing. When the brief opened up, we were encouraged to think outside the box (or I should say “block”). Once the gloves came off, I rediscovered the fun of play. A baby zombie riding a chicken goes a long way in a 15-second spot.

For this video announcing the return of The Comeback, we shot a strong script and cut the piece as written, but it quickly became clear the script was more of a suggestion. I reworked the concept, adding jump cuts to match the comedic spirit and rhythm of the series.

My co-producer and I felt the survivors of the Troubled Teen Industry deserved something that would make their story stand out. I found a music track that carried the weight of their memories and the horror of what they endured, and we built the trailer around that emotional truth rather than shock.

The goal was to honor the sincerity of Jason Momoa’s search for artists and craftspeople and to protect their voices throughout the cut. Bassmaker Carl, whose words close out the trailer, quietly expresses the heart of the series.

How often do you get to create a video intended for an audience of dogs? That was the assignment and we went deep, shifting color and sound to be dog-friendly for a very special screening of supercharged Krypto scenes from Superman.

When you get a chance to use The Beatles in a spot, you do it.

This was a concept for a social spot using the names of the characters who each get their own chapter in the film.

I've always been a Carla fan so the pressure was on to make her series look as fun and exciting as Ms. Hall herself. At the same time, it was important to include both the light and dark meat of the history she exposes while exploring the origins of classic American dishes.

How do you cover six movies in less than thirty seconds? By averaging less than a second per cut, of course. How do you make that taste like a a smoothly blended sauce instead of a random chopped salad? Lots of time in the kitchen, of course.