About Me

I’m a Saint Lucian-American filmmaker from the Bronx, shaped by my Caribbean roots and New York upbringing, with a strong focus on production and authentic storytelling. In 2022, I earned my Bachelor’s in Journalism and Media Studies from Lehman College as well as my Master’s in Cinema Arts from Feirstein in 2025, gaining numerous production credits along the way. I’m committed to fostering a respectful, collaborative environment on every set I work on. The knowledge I’ve acquired along my early career has only solidified my belief that creating a respectful, collaborative, and organized atmosphere is essential throughout the filming process.

Portfolio

LOGLINE: After a rude awakening at a soccer game, Samuel James sets off on an unexpected journey through Brooklyn where a chance encounter may provide him the comfort he desires.This is the first film I ever produced, making it a deeply personal milestone in my career and one I hold close to my heart. As production went on, I was learning on the job, juggling everything from budgeting to scheduling to on-set problem-solving. Despite the steep learning curve, I led the project to completion and walked away with the foundation of my producing voice.

LOGLINE: The film follows Gabriel, a young, Venezuelan asylum-seeker working as a deliverista to survive in NYC. On New Year's Eve, he zips around the city, delivering to irritated customers and drunk revelers, as he longs for peace and a sense of home that feels just beyond his grasp.Managed the largest set of my career to date, overseeing a crew of 30+ people. We shot outdoors in January of 2024, battling freezing temperatures throughout the shooting of the film.

LOGLINE: The recently overthrown President of the United States locks himself in a White House supply closet. Fearing for his life, he and his aide try to figure a way out as the new government takes power.A film shot entirely in a supply closet at the Feirstein Graduate School of Cinema. The space was extremely limited, with barely enough room for our camera, crew, and cast. I had to coordinate camera setups, lighting, and sound in a way that didn’t compromise safety or performance. Despite the constraints, I maintained a respectful, focused atmosphere that allowed us to get the most out of the space.

LOGLINE: Berry, cursed to see the world in shades of blue, becomes connected to her forgotten sister, Blue, when she gets a magic wand. As a true magical girl, she heals the world.For VERY BERRY BLUE, I coordinated extremely early call times, starting as early as 4AM to capture the sunrise in Brooklyn’s Sunset Park. As a producer, I was able to ensure the entire team was on location, set up, and ready to roll before daybreak.

LOGLINE: Aisha and Irene appear to be the perfect couple. However when Aisha expresses a desire to take their relationship to the next level, Irene hesitates, as she has not told her partner she is asexual.Managing transportation for a film shoot is often an overlooked challenge, but for this project, it was a critical part of production. I coordinated crew travel from Brooklyn and NYC to Douglaston daily, NY—right at the border of Long Island—ensuring everyone arrived on time and ready to work.

LOGLINE: Misha, a Russian immigrant who works as a kids' birthday party actor, stays in the office on Christmas night alone. During the same night, he meets a mascot come to life who is on the verge of a mental breakdown.Oversaw a set that featured several very young child actors. This required heightened coordination, communication with guardians, and careful scheduling to ensure the kids were comfortable, safe, and able to perform at their best.

LOGLINE: When a Filipino American man agrees to treat his recent diagnosis of ‘simulacra memoria’, a genetic and mental condition that recalls vivid but foreign memories, he begins to question whether his condition is in fact a disease or a gift.Working with a small crew per the director’s request, I had to ensure that everyone’s workload was manageable. I balanced responsibilities across the team and stayed attentive to mental and physical fatigue, prioritizing a sustainable and collaborative set culture.

LOGLINE: Amid tension with his father, Joe spends a summer trying to move his stubborn grandmother out of her longtime house and into a nursing home while learning to understand his family better.This project was filmed in the same Douglaston location as I KNOW I LOVE YOU, so I again managed complex transportation logistics. On top of that, the production demanded extensive coordination with the Production Designer to realize an ambitious art design concept on a tight schedule.

LOGLINE: Two NYPD officers try to ignore a dead cat getting run over again and again and again next to their squad car.This production required coordination with the NYPD Movie and TV Unit due to the inclusion of NYPD characters and official branding. Additionally, scenes involving actors driving a moving vehicle were carefully planned in collaboration with a stunt coordinator to ensure safety.

Services

As a producer, I offer a range of services to support and elevate film and video projects from pre-production to post. These include:- Creative Development: Helping writers and directors refine their ideas, treatments, and scripts, with an eye toward emotional resonance and feasibility.- Pre-Production Management: Overseeing logistics such as budgeting, scheduling, location scouting, permitting, crew hiring, and casting.- Production Coordination: Running the set with efficiency and care which includes managing call sheets, transportation, catering, and maintaining a respectful and focused environment for cast and crew.- Post-Production Oversight: Coordinating with editors, composers, colorists, and sound designers to keep the post schedule on track and the final product aligned with the vision.- Festival & Distribution Strategy: Assisting with festival submissions, marketing materials, press kits, and finding the right platform or audience for the finished work.

Contact Me!