I realized years ago that all my films and scripts link back to my obsessive observation of the relationships we form —voluntary or not. There’s nothing more engaging or captivating in my eyes than relationships, as they’re the clue-in to how we choose to navigate our world. Every answer to every question derived from observing people in their everyday life can be found in their relationships. 

       Visually, my work takes inspiration from the films of Sir Steve McQueen and his cinematographer, Sean Bobbit — who together craft canvases from their frames. Suddenly, a singular shot of a film can be abstracted, dissected, and appreciated for the work of art that it is. My captivation manifests in more literal, pragmatic work that showcases my far-left political stances; or something artistically inclined, as in my love for storytelling and weaving narratives.  It will even take the form of the metacognitive, as in my latest short film — an autobiographical three-minute deep dive into paranoia and anxiety titled Did You Hear That?. This is a film made entirely by myself and one other person, an actress, in the heart of both the Covid lockdowns and the world’s ever-worsening political climate.  It’s in these copious moments of stress when I tap best into my creative core. 

       As a writer, I’m in the early draftings of two feature scripts. The first is a bottle drama in the style of a Sam Beckett play which follows a prison chaplain’s conversation with a civil rights leader on death row. The other is a neo-noir/horror which follows a P.I. searching for a missing girl in a small town on a raised hill populated entirely by landlords. I’m also in the midst of directing and co-writing an animated miniseries with an old-time friend from my days of shooting movies in high school. The series is a sci-fi/fantasy adventure following a ghost with social anxiety traversing the space time continuum for a new home after her personal afterlife is destroyed. With the pilot scheduled to release online early 2021, and plans to complete the aforementioned scripts by 2022, both the screen and the page continually prove to be assets in not only summiting the oppressive hills laid in my way, but as a means to peer within and explore their intense relationships to my work.