I direct from inside the story, for performance and rhythm, building meaning in the space between what is said. I'm drawn to heightened worlds and the flawed, human people who live inside them, where a laugh lands as hard as the heartbreak.

I direct from the inside out. I came to directing through the cutting room, where I spent years discovering how scenes actually live or die, how a single reaction reframes a moment, and how the pace and rhythm of a cut can leave a scene flat or make it riveting. I know the strongest beat is often the quietest one, and command of tone is essential. I direct with that knowledge underneath everything, protecting the performances and moments I know the story will need.

I design shots that mean more beside each other than they do alone.

Coming from a background in classical dance and choreography, I approach a scene with movement in mind, the way bodies move through space and the way a camera moves with them. I look at how angles and developing shots or a slow reveal can shift perspective and deepen the audience's emotion or reaction. I'm always aware of who the audience is meant to be with in a scene, and I make sure I capture what I need to hold them there. I work out the shape of a scene with my DP, building sequences with rhythm and surprise, not the mechanical assembly of one shot after another.

I want you laughing one moment and utterly undone the next.

On set, I move at a good clip, but always leave room for what my cast and crew bring, the unwritten laugh, the choice I didn't plan, the moment that only happens once. My job is to make the set safe enough and loose enough for that to happen, and to recognize it when it does.

I love a heightened world, turned up loud and funny, anchored by people you actually recognize. That's the work I'm after. Electric and alive, with heart and thrown-away humor that trusts the audience, and underneath it all, truth.