Twenty years of editing, and it still feels like the job I would have chosen.

Goodfellas and Kes on loop: one kinetic, one devastating. That pairing explains my instincts better than a CV.
I want factual content to hit as hard as drama, and I've spent more than two decades learning how to make that happen across reality series, shor... Read More

Twenty years of editing, and it still feels like the job I would have chosen.

Goodfellas and Kes on loop: one kinetic, one devastating. That pairing explains my instincts better than a CV.
I want factual content to hit as hard as drama, and I've spent more than two decades learning how to make that happen across reality series, short films, and documentaries that have changed people's lives.

From the Gold Rush Universe to Channel 5’s Extraordinary Bodies, the material has been dangerous, human, and sometimes extraordinary. The job has always been to find the story inside it, build the shape, and make the audience feel it.

At a senior level, that means working with exec producers on series structure and editorial tone, producing independently when needed, and keeping every decision pointed at the story.

That's where the grey hairs came from. Read Less