Nextgen Production helps content creators and the companies who support them better position their business for the future of media production.

At Netflix, we launched a new studio to support the largest content production slate to date in the history of Hollywood. I was privileged to lead the buildout of the Post Production organization from the ground up to the most deeply resourced and talented team of its' kind in the industry. 5 content verticals, over which we recruited respective world class leaders in their own right: Series (led by Mark Hoerr), Film (Jesse Torres), Documentaries, Unscripted & Talk (Donna Mulvey Jones), Kids & Family (Paul Cichocki) and International (Jeff Roth). The Post Production group included Media Operations & Creative Services (Leon Silverman), Dubbing (Debb Chinn), Systems & Innovation (Carol Li) and Vendor management (Chris Fetner). Along the way, the Post org became global, establishing teams across EMEA, Asia, Spain and Latin America. This group, which evolved into multiple orgs, oversees hundreds of branded original shows annually.

The Legendary post team, reporting up to Ty Warren - EVP Production, CCO Jon Jashni and later Co-Chairman Mary Parent, were responsible for supporting a newly independent mini-major production company with ambitions to make movies every bit as awe-inspiring as the ones they had partnered on with bigger studios. Our team advised on, budgeted, staffed and delivered large scale theatrical productions ranging from tentpole features such as Duncan Jones’ “Warcraft,” Zhang Yimou’s “The Great Wall,” Jordan Vogt Roberts’ “Kong: Skull Island,” and Steven DeKnight’s “Pacific Rim 2 -- to documentaries such as Kobe Bryant’s “Season 20” and special projects like a VR effort by Alejandro Iñárritu. We built and managed an in-house post production facility with 25 cutting rooms, 30 offices, VFX critical review room and 49-seat theatre. And our responsibilities included theatrical delivery to China on projects such as Warcraft, which at that time achieved the biggest debut ever for a foreign release in Chinese history.

Warner Bros., a storied production studio dating back 90 years with a passion for being filmmaker friendly, was also forward thinking in terms of creating positions at the dawn of the digital photography age to gain better understanding of trends in emerging technology. This was a great opportunity and beginning under the leadership of Chuck Dages, EVP Emerging Technology and later Chris deFaria, President - Digital Production, VFX, Animation and Post we created a dedicated team to oversee production and post technology for WB Pictures with the aim of improving and innovating production pipelines in collaboration with filmmakers and preserving the integrity of the Warner archive. Responsibilities included approving capital budget requests across studio business units such as Post Production Services, Feature Post Production, Telepictures, Technical Operations and TV Production and Post.

Miramax during the late 2000’s was finding its footing under new management and our department quickly ramped up as I was assigned to oversee post on original feature films and acquisitions such as “The Queen,” with Helen Mirren in an Academy Award-winning role; “Doubt,” featuring Meryl Streep and Philip Seymour Hoffman; “Diving Bell & the Butterfly” directed by Julian Schnabel; “Everybody’s Fine,” starring Robert DeNiro; and “The Debt” with Jessica Chastain. An awesome ride in which, thanks to a collaborative culture and great bosses like Linda Borgeson - SVP, Post and Keri Putnam - President, Production - I and others at the company were able to be integrally involved with all of Miramax’s productions and acquisitions from early budgeting and planning phases through production implementation on locations—from Budapest and Tel Aviv, to London and New York—to final distribution via parent company Walt Disney Studios.

Showtime - working for the amazing Tracey Wolfson and Rosalie Camarda - allowed me to transition back into entertainment from teaching with an opportunity to manage aspects of post production along with tape based and increasingly file based delivery and worldwide servicing of over 100 television shows, documentaries and movies. This was also a time we were moving the Network's archives toward a digital platform and facilitated some of the earliest digital deliveries to iTunes and Netflix.

My big “break” in Hollywood - thanks to the historic independent film studio of Roger and Julie Corman, which was known as a launching ground for new talent—including Francis Ford Coppola, Martin Scorsese, James Cameron...and me, among many others :) The company produced 25-30 films per year and managed a library of 400 titles that were actively distributed worldwide. Here, on behalf of Julie Corman's Family Film unit Trinity Pictures, I optioned and developed manuscripts and screenplays as well as structured finance and talent deals for the studio. Negotiated hundreds of deals on productions across Los Angeles, India, the Philippines and Egypt.