I didn't come to this from graphic design. I came to it from the other side of the table.

I've spent my career inside this industry — producing, acting, and sitting in the rooms where projects live or die on how well they're pitched. I've watched brilliant stories get passed over because the deck didn't do them justice, and I've watched modest ones punch far above their weight because someone knew how to frame them. That difference is what I do now.

A deck isn't a document. It's your first impression — and you only get one.

When a producer, financier, or executive opens your deck, they're deciding in the first few slides whether to keep reading. I build decks that earn those slides: visually striking, narratively sharp, and structured the way decision-makers actually read. Because I've been the person on the receiving end, I know what makes someone lean in — and what makes them quietly close the file.

What you get when you work with me.

Every project is built collaboratively, in your voice, not a template. I bring the producer's instinct for what sells and the designer's eye for how it should look — and I treat your story like it's my own. Whether it's a feature, a series bible, a documentary, or an unscripted concept, the goal is the same: a deck that opens doors and gets you one step closer to greenlight.

This is personal for me.

I grew up with Hollywood in my blood. My grandfather was a stuntman and Gene Autry's riding double. his best friend and best man in their wedding was jack hailey, the original Tin Man in the feature film, Wizard of Oz. My grandmother an actress, dancer, musician and fashion designer, and my mother trained at the Pasadena Playhouse. Storytelling — and the craft of selling a story — is quite literally the family business. I know what it means to pour everything into a project and need someone who treats it with the same care you do. That's the standard I hold for every deck that leaves my desk.

If you've got a story worth telling, let's make sure it gets seen.