Producer
What do you need?
How can I help?
Let me get on with it.
I have the joy of being one of those 'accidentally became valuable at work and now everyone needs me' types. As such, I went to the best for guidance and mentorship. After meeting Leonie Marsh at CrewCon in 2024, I joined the Screen Vixens, an invaluable source of community and knowledge.
Anybody
Developed for the return of Tropfest 2026, Anybody is my screenwriting, directing and producing debut!
Feeling hunted and desperate for answers - a man seeking shelter in the bush latches on to the only thing he can: a strange woman. Who is she? How is she involved? Or is she simply Nobody and he just can't accept that sometimes, we don't get answers?
Over Her Dead Body
When you're attempting to get a project off the group, you pretty much have no choice but to take on a number of Producer tasks to get started. Given my goals for writing and acting in this project, I am thrilled at the idea of handing over the reigns.
Ultraviolence
A commentary on the relationship between violence and the media, this independent found footage horror became my first experience as a Producer. I originally came on board as the Intimacy & Access Coordinator, then later as one of the actors. Before I knew it I was negotiating locations agreements, developing talent contracts and releases, assisting with casting, and building a shooting schedule.
Student Projects
After working on a few projects, my local community started taking notice of my impressive planning and organisational skills and I was asked to produce short films such as Uncanny Valley by Steph Grey (Enter Haze, Fellowship) and Reverie by Giulia Modonese (Bump, Prosper)
Anybody BTS
Thank you kindly to Maitland City Council for allowing us to film at the Rutherford Landcare site, and thank you to all the workers and volunteers who maintain it.
Additional Crew Roles
Whatever gap you have, I got you covered
Assistant Director
To The Tooth
I'm mad on planning, organisation and scheduling (I know, the irony of Autistic me loving it and ADHD me struggling to follow through with it is enough to kill me) so things like shot lists and call sheets sends tingles up my spine, especially given the involvement of graphic design in the latter. To The Tooth was my first opportunity and I greatly appreciate just how much of my highly varied skillset I was able to utilise.
Script Supervisor
To The Tooth
With a high attention to detail and the capacity to wirelessly connect a device to the camera for screenshotting the exact frame, continuity has become a streamlined niche for me. After undertaking the preproduction in this role for a feature in Sydney (that there is an NDA for, sorry), To The Tooth was the first production I saw through filming. I cannot begin to describe just how heavy the mental load is attempting to manage the camera and sound file numbers, and the scene and script continuity all at once. Thankfully, in my next related role, the script supervision includes a back up, something that is definitely needed, even for smaller productions!
Production Manager
To The Tooth, Ultraviolence
Across my roles on To The Tooth, Ultraviolence and even Enter, Haze despite only being hired as one of the actors, I have required to undertake a number of tasks that fall within the purview of this role. I strongly believe that every Production manager has a favourite filmmaking software. Mine is Studio Binder.
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Lighting/Camera
Don't even ask. I'm terrible. I can direct people, not technical specifications. Any decently lit or filmed self tape you see is entirely the result of someone who is not me framing and lighting it. As an Autistic, my only opinion on lighting is 'definitely off', and my only contribution to your Grips/Gaffers is the fun fact that night vision is green because the human eye is sensitive to more shades of green than any other colour, which allows for the greatest contrast between objects and therefore the best clarity of vision.