About me

I am a filmmaker, creative producer and visual storyteller based in London. I direct, produce, shoot, light and edit end to end, and I have been doing it across short films, documentaries, music videos and branded content for the better part of a decade. I own my camera and lighting equipment, I am fluent in Premiere Pro and After Effects, and I integrate AI tools too, if necessary.
But the thing that actually sets me apart is not on that list.
I have a Master's in Clinical and Developmental Psychology. I spent years studying how people think, how they communicate, how they form trust, and what conditions allow someone to say something true rather than something safe. That training did not stay in the classroom. It is present in every set I run, every piece of content I shape, and every interaction I have with talent, clients and collaborators. It is why people who have worked with me consistently say the same thing: that I create an environment where things happen that would not have happened otherwise.
Understanding what makes an audience pay attention is not the same as understanding what makes them feel something. Most content does the first. The second is harder, and it is what I care about. Whether I am directing a short film, producing a branded campaign, or capturing a founder talking about what their company actually means, I am always asking the same question: what is the honest version of this story, and what is the most direct path to making someone feel it
My production background is broad by design. I have worked as a gaffer for four years, which means I understand light not just as an aesthetic choice but as a technical discipline. I have worked as 1st AD and Production Coordinator on professional sets alongside BAFTA-nominated directors and Hollywood producers. I have filmed alone in difficult environments for documentary work, building trust with strangers quickly and navigating situations where the ethical weight of the work mattered as much as the craft. I have also directed and produced a public awareness campaign that aired across the entire public transport network of Naples for six months, which taught me a great deal about what it means to make something for a genuinely mass audience.
Across all of that, the constant has been people. Knowing how to read a room. Knowing when to push and when to hold back. Knowing how to get something real out of someone who has never been in front of a camera. Knowing how to keep a production moving when things go sideways, which they always do, without losing the atmosphere that makes the footage worth having.
I am drawn to roles where craft and human understanding sit at the centre of the work. I am at my best in fast-moving environments that take quality seriously, where creative autonomy comes with real accountability and where the work is expected to mean something beyond the deliverable. I work well within teams and independently, I communicate clearly across departments, and I bring genuine creative investment to every project I take on, regardless of its scale.
I am also, for what it is worth, someone who has practised transcendental meditation and mindfulness for years, has spent serious time in therapy, holds a Tate Modern membership and spends a lot of time there, plays guitar and cello, had two bands in Naples, and has been known to turn up to a shoot having already thought about it for three days. I mention these things not because they belong on a professional profile but because they are part of why the work I make tends to have a particular quality to it. Curiosity and depth of engagement are not things you can fake, and they are not things that show up only when the brief specifically asks for them.
If you are looking for someone who will execute a brief competently and move on, I am probably not the right fit. If you are looking for someone who will take your brief seriously, bring genuine thinking to it, and deliver something that justifies the time and resources invested in making it, let's talk.