From 2003 through 2013, I worked as a contractor in the visual effects industry, working on such shows as Fringe, Raising Hope, Outlaw, Flash Forward, Pushing Daisies, Lost and Alias. I've also worked on a couple of movies, both made-for-TV and theatrical. Before that, graphic design was my area of expertise.
I use my screenwriting and storyboarding skills to write commercials and promotional material. I'm self-taught, using books and the Internet as my classroom. I taught myself visual effects this way and figured I could follow the same route to screenwriting.
I am a lifelong fan of film. I try and watch at least one movie every week, and break down the story elements as I watch. I've probably seen thousands of films. As a kid I would make my own Super8 movies. I guess I've always thought cinematically. I often wonder what I would have done if I had access to the same kinds of technology that kids have today.
I wrote my first feature script in 1997. It was quite an accomplishment at the time. Life got busy and I guess I didn't realize then how important writing was to me. Ten years pass and I dig out this screenplay and reread it. I even get some outside critique. It is terrible, as all first screenplays are. I do a page one rewrite on it and surprise myself with a much better screenplay (it's been rewritten several times since then). Yes, writing certainly is rewriting. Anyone who tells you different is not a true writer.
I now have completed four feature scripts, all of which have been through the rewrite process numerous times, and have ideas for a few more. I had the good fortune to meet a professional writer/producer who has been kind enough to read and give notes on my all scripts. It's been really great. And thanks to books and Internet resources, it's finally getting to the point where I can actually see myself breaking through.
I used to wonder if I was any good at this. Now I realize that I have developed real marketable screenwriting skills, and as with critique, if enough people with the right credentials say that the script was a good read, then it likely is. Do anything enough times and you get good at it.
I'm closer to breaking in, but still a ways away. It's just a matter of time and screenplays.
Unique traits: Self-disciplined, strong work ethic, creative problem solver, detail oriented, used to working to deadlines.
David’s Summer (106 pages) Drama ⋄ Family After her newborn son is diagnosed with cancer, a mother races against time to find a cure for him, but when her husband raises questions of quality vs. quantity of life, she chooses to seek treatment options alone and risks not just the life of her baby, but her relationship with her family as well. Production Specifics: low budget feature not limited to Seattle (any city would work) limited locations minimal visual effects
Tied (107 pages) Crime ⋄ Drama Rejected by her older sister’s gang, a teenage girl from a broken home joins a rival gang and ends up battling her own flesh and blood on the gritty streets of South Central L.A. Production Specifics: low budget feature not limited to L.A. (any city would work) limited locations minimal visual effects In the words of a Professional Black List Reader: “TIED is an engaging take on the urban gang story, told from the perspective of teenaged sisters. The plot and structure is well thought out, largely because it is wonderfully intertwined with the characters. Despite the violent downward arc of Jess, one can easily identify with her because of the troubled emotional relationships with her mother and her sister, Nova. The gritty south central LA neighborhood feels alive, even the minor characters pop out. The script is nearly production ready, and were it produced, the film would have broad appeal to fans of gritty gang and crime stories, especially young women.” An official selection on the 2013 Bitch List.
Vermin (97 pages) Horror An ex-con with a rat phobia joins forces with his estranged son, his neighbors and a team of exterminators, to rid his apartment building of an infestation of super intelligent rats before they’re eaten alive. Production Specifics: Mostly contained horror not limited to New York (any large urban city would work) limited locations, predominantly interior many visual effects can be achieved practically Quarter finalist in the 2013 PAGE International Screenwriting Awards, representing the top 10% of all submissions.
Creative Arts Emmy Nomination, Fringe (Pilot, FOX TV) – Outstanding Special Visual Effects for a Series (contributing matchmove artist, compositor)
Creative Arts Emmy Nomination, Mammoth (Sy-Fy Channel) – Outstanding Special Visual Effects for a Miniseries, Movie or a Special (contributing matchmove artist, compositor)
Creative Arts Emmy Nomination, Lost (Season 2 Finale, Parts 1 & 2, “Live Together, Die Alone”, ABC TV) – Outstanding Special Visual Effects for a Series (contributing visual effects artist)
Creative Arts Emmy Award, Lost (Pilot, Parts 1 & 2, ABC TV) – Outstanding Special Visual Effects for a Series (honoured as contributing matchmove artist)
1996 Corel World Design Award Finalist
1995 Corel World Design Award Winner