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I started my development in film having come from a foundation degree. With a love for cinema and known as the guy "who can quote anything" I set off to learn all elements of production at the University of the Arts London. On the side I was always editing, as an old mentor told me "If you want to direct or produce anything you MUST know how to edit". I fell easily into producer roles. Organising a team and running shoots, from pillar to post suited my personality as a social character. 





I started my own film company while at university. Along side managing bars in Soho, I was able to meet potential clients. They would only work with me if I had a legal entity, so I took it upon myself to learn the foundations of business and budgeting. The ultimate goal was to make movies but this would be a long journey. Building a brand, holding casting calls, storyboarding, budgeting, crew and kit hire, transport, post production all under one name.

The most important role was client relations. Understanding clients' briefs, maintaining a creative, trusting relationship and knowing the importance of deadlines. After years of corporate shoots and music videos, I felt it was time to bite the bullet and give features the attention they needed. I would learn how the film world really works.

The formation of EIS and SEIS companies to Investment memorandums, production decks and most importantly sizzle trailers, I realised what I was really good at... selling. 



Whilst running the film company, I always kept a sharp eye on my editing skills. Represented by Blueberry Creatives, I told them I was interested in trailers. They saw potential in what I could bring to their roster, having made pitch films for my own clients in the past and for my own films. From that moment onward, I was known in the advertising world as 'The Pitch Guy'.

Under some of the biggest advertising agencies in the business, I would work closely with the creative teams, sometimes assuming the role of Creative. If the copywriter gave me the script, I would find the footage, music, voiceovers to match it. Helping to win multi million pound accounts such as Tourism Ireland and the International Olympic Committee. 



How to sell the film before it's made.

This was my favourite process. Having made sizzle trailers for my own films, I stepped away from the production company and focused on helping others raise money and pitch their ideas. I would go to festivals and through networking, and found that I was an ally of these aspiring film makers. I started to get noticed at talks and distribution conferences. Upon successful funding, I was then asked to make their theatrical trailers.

That marked the beginning of my journey into movie marketing. 

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After freelancing for a long time, I realised I needed to learn the structure of a larger agency. I wanted to know the bigger picture, having been on the editing side and only seeing work at its pitching stages. What were the clients like once the campaign was won? How was the budget distributed around the agency?

I worked for six months as a Creative Editor to learn what would be necessary if I were to build my own agency one day. In the meantime, I was still making Independent trailers and keeping my toes firmly in the film world. 



I got headhunted by Jodie Waterhouse, CEO of Zero Degrees West and joined as their Lead Editor. Overseeing both editing teams in London and LA, the role was exactly what I wanted:

Attending brainstorms with the Creative Director to strategise what was achievable within the budget and how we could creatively execute the client brief.

Within my first two weeks, we moved out of the offices due to COVID.

I was then responsible for making sure all our editors would be able to work from home, either via servers or solid state drives. During this time work dried up a lot in the industry and I spent my efforts bringing in new clients such as the United Nations and Millennium pictures. Eventually, after having done COVID TV ads in my home and social spots for Warner Bros and Amazon, even re-branding Pinewood Atlanta to the new Trilith Studios, I felt it time to go back to trailer editing solo. 



Selling my skills to clients had become second nature. Social spots, TVCs and trailers were back! Bigger agency fees had left clients in need of someone to fill in the void. More sizzle trailers to make, Amazon trailers and even a Joe Biden campaign TVC came my way.

This year has been, so far, my most successful and I have been recognised as an independent powerhouse. I partnered with sound engineers, VO artists and Musicians building up my roster for future independent clients. I am currently working with agencies such as Ignition, Create, Silk Factory, Once Upon a Time and Intermission solely on trailers and looking forward to the next step.

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