Here are a few of my favorite projects.
Parallels AKA The Building
Creator, Writer (story), Executive Producer
For Fox Television Studios. As EP in charge of set on the pilot of this new sci-fi series, I supervised all department heads on creative issues, and was the liaison to actors, studio, visual effects, and the post-production supervisor. Neil Gaiman has recently come on board to shepherd series development.
We Kill Monsters
Creator, Writer (story), Executive Producer
For Blumhouse. My first comic book series and graphic novel published by Red 5 comics is currently in development as a television show. Comic Book Jesus called it “excellent…wonderfully created…” and “a surprisingly emotional throwback to classic action/horror stories."
The Lost Room
Creator, Writer, Co-Executive Producer
For Lionsgate Television and The SyFy Channel. The Lost Room was a critically acclaimed 6-hour mini series starring Peter Krause, Julianna Margulies, and Elle Fanning. As EP in charge of set for the series, I supervised all department heads on creative issues, and was the liaison to actors, studio, network, and post producer. The show was nominated for two Emmys and a WGA Award. The New York Times called it “a jackpot for a mystery series,” While Salon raved, “Forget the latest from JJ Abrams. The Lost Room is a cult hit waiting to happen.”
The Iron Giant
Creative Executive, Director of Creative Affairs, Acting Department Head
For Warner Bros. Feature Animation / Warner Bros. Studios. I began my career at Warners as a junior executive, but had the opportunity to grow over the years, being promoted first to Director of Creative Affairs, and then eventually becoming acting department head of my division. I ultimately oversaw a staff of 20 and 16 projects in development, including the ever-so-cool DC Comics properties. Of all the films I had a hand in developing there, my proudest achievement is The Iron Giant, which has received near universal acclaim amongst critics and fans alike.
Tarzan
Story Editor
For Walt Disney Movietoons / Walt Disney Studios. At my first job in the entertainment industry, I was tasked with creating the story department for a now-defunct animated feature film division. Here I honed the invaluable skill of critiquing scripts, and was given the tremendous opportunity to co-write the treatment for the movie Tarzan, which led directly to the film’s greenlight.
