I've spent my career adapting to how stories get told, built, and sold. The tools, timelines, and budgets change constantly. The goal doesn't. Make something people want to engage with, using whatever resources are available.

 

I've gone from million-dollar homepage takeovers built to run for a single day to a few thousand dollars of scroll-stopping content fighting for a click. From six-month immersive site builds to landing pages distilled to key art and a trailer. From desktop to handheld. From spectacle to speed. Each shift demanded new skills, new software, and new ways of thinking, and I've met every one of them.

 

Right now that means generative AI. I direct image, video, and audio production across Magnific, Figma Weave, Suno, and ElevenLabs while using Claude to build and govern the systems underneath — repeatable pipelines for character consistency and brand control so a look holds across hundreds of variations. It isn't a tool I picked up. It's a production discipline I run.

 

My work is rooted in film advertising, where every project carries enormous financial pressure and creative responsibility, each with its own identity, audience, and culture. Every film is a brand that has to be interpreted, expanded, and translated across platforms to sell tickets, drive awareness, and extend its life beyond theaters and into homes.

 

I've grown franchises across multiple installments — Spider-Man, Venom, Jumanji, Madagascar, Kung Fu Panda — each time building on what came before. That work demands continuity, deep brand understanding, and fluency across disciplines.

 

Through all of it my role has stayed the same. Evolve with the medium, push the biggest bang for the smallest buck, and use design as a strategic tool, not decoration.