I want the editing to feel effortless, even when the process behind it is anything but. The goal is simple: to serve the story. I love collaborating with directors and filmmakers to find the structure, rhythm, tone, performances, and emotional point of view that make each project unique. I feel genre-less and I think that’s a superpower.

Every film has its own language. My job is to listen for it—and help bring it to life. The film tells you what it wants to be.

Over the course of my career, I’ve had the opportunity to work across independent features, television, and large-scale studio productions. My feature editing credits include The Julia Set, Bunny, Bruiser, The Virtuoso, Life Like, and Graceland. My work in television includes The Premise, Mr. Robot, and Godfather of Harlem. I’ve also worked extensively as a VFX editor on films including Weapons, Verity, Little Women, Blonde, The White Tiger, and A Family Affair. I’ve built my career from the ground up starting as a Set PA on 30 Rock and Law & Order many years ago. I’ve assisted Oscar winning editors and have adapted my experiences into my own creative style and taste.

What I love about editing is the process of discovering the most powerful story inside the footage. Every project presents a different set of possibilities: a performance that reveals something unexpected, a moment that changes the meaning of a scene, a cut that suddenly transforms the rhythm, or a sequence that only comes together after trying something completely different. Experimenting, versions, resetting your brain and looking at things in different ways, that feeling of never being satisfied is what challenges any film to be better.

I’m particularly drawn to character-driven stories and films where emotion and tension can build through behavior, performance choices, and rhythm. Thinking in character. I believe the strongest editing often comes from knowing when to cut—and when not to. Sometimes the most important decision is to let a moment sit, give an actor or a scene room to breathe, and allow the audience to discover something for themselves. Or nevermind tighten and keep things moving.

My experience in VFX editorial has also given me a broader understanding of how a film evolves throughout post-production. Working on major studio features has taught me to think creatively while also understanding the technical and collaborative demands of modern filmmaking. VFX can be a problem solver but it can also be a tool in storytelling.

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