We’ve taken a scintillating joy ride through the content universe.
With stops at various ad agencies. Top level production companies.  Collaborated with brands, award winning filmmakers and A-list entertainment producers.
Advertising campaigns.  Film festival documentaries. Popular TV shows.
We developed and produced our own unique projects.
Narrative. Unscripted. Branded  Content. Features. Short Films. Transmedia.
Drama. Sci-fi. Comedy.
Proud to be early to the digital content arena.  Proud to be OG.
The ride has been a journey. The journey has been the destination. The reward has been sharing the process with fellow passengers, and happiness is best when shared.



A brand has a story to tell, a story needs to be a brand. Are you well versed in the nuances? If not, that’s why we’re here.


So what else do you want or need to know? I grew up in San Francisco.  After graduating, I moved to New York to begin my career as an advertising copywriter. My first gig was at a stodgy dinosaur agency.  Three 3 months into the job, I was out shooting the first campaign for AT&T’s videophone. I got great reviews from the client, so that earned me the opportunity to work on the 200 million dollar national TV campaign.

One day I sat in on a conference call with a genius director who made Madonna’s music videos and now is uber famous.  He described how he had this idea for a never seen before technique, but would need two years to invent the camera to pull it off.

The stones on that guy! I was inspired by this A-list genius’ vision and passion: Never stop pushing the envelope on what a story can be, and how you can tell it even if you have to invent the tools you need to do it.

I went to work at other ad agencies across the country, like DDB Needham in Dallas on Pepsi, to Leo Burnett in Chicago doing award winning work for Reebok, General Motors, Miller Lite. 

I moved back to NYC to freelance at various agencies.  Still inspired by Fincher’s  – oops –  “make your own camera” mentality.  I jumped into a very shallow digital content pool to write, direct and edit. My first series, “The Wendy Channel”,  followed a neurotic New Yorker who had a theory on the meaning of life. 

After completing the series, I moved to Los Angeles to start a new path in entertainment.  First, I was a night assistant editor at 3 Ball Entertainment, then a post supervisor for Endemol, the production company responsible for big hits like “Fear Factor”.  Eventually I was thrown into the fire as an editor on the Emmy winning series, “Deadliest Catch”.  I didn’t burn the place down, so this led to opportunities to edit unscripted network shows like, “ Ice Road Truckers”, “Bering  Sea Gold”, “Shipping Wars”,  “Skin Tight”, and  “The Curse of Oak Island.”

I also started my production studio, Creative Fugitives, so I can continue to write, produce, direct and edit. I worked with companies like Konami Digital Entertainment and Bank Of Marin. I worked with non-profits like Keep A Breast Foundation, Challenged Athletes Foundation. I worked with small ad agencies, like Undisclosed Location and Simply Ideas, Kiosk, and Diversified Entertainment.

Creative Fugitives was also a place where I developed my own library of IP, content, and projects.  Working with veteran producer Chis Buchanan, we expanded my action sports drama, “Flirting with Gravity” into a forward thinking, never done it before transmedia franchise. 

I also self-funded, “Moto Nostra”, an ambitious sci-fi series. Everyone knows you don’t get involved in a land war in Asia, and you don’t try to pull off a sci-fi series on a limited budget.  Still, through hard work and ingenuity I created a unique world to explore a very timely theme.

A producer challenged me to make a daring, short film for the HBO Asian Visionary Contest. In two short months I wrote, directed and edited, “F the Plus: Stories of Failed Excellence.” The short became a proof of concept for an unexpected anthology series that pokes fun at the “model minority” mythos. 

There’s more to tell, but hopefully that’s enough for now.