In 2010 I set up Capital Films with Claire Daly and Schuman Hoque. The primary purpose for setting up the company was to develop passion projects. However, after winning the New York Television Festival with The New Bromantics TV pilot and securing a development deal with FOX TV Studio and Apostle NYC other companies and individuals requested to work with us. Through Capital Films I have Co-Executive Produced Dover Entertainment’s feature documentary Beyond the Beach which premiered at the Venice Film Festival in 2019. I have also Executive Produced the award-winning feature film, The Scopia Effect. As a New York Television Festival alumni, I later had the opportunity to pitch for several development deals in the US. We were shortlisted for 9 development deals with Channel 4, Sundance Channel, Condé Naste, FYI, Red Arrow International, History/H2, and truTV.

I was an Executive Producer at Jack Morton London, where I worked with large global brands and A-list talent.

When I joined TCO London the company had a strong heritage in publishing. I was hired to help establish the video production and agency arm of the company, and ensure that they could effectively scale up when there was an increase in the number and size of productions. I developed financial and production processes that included new budgets, schedules, workflows, and file structures. I ultimately supervised all productions which included all digital content, commercials, print (magazine and books), events, and web distribution. Typically, there were 25 to 30 projects on the go at any one time. I managed a large team of producers, production managers, designers, editors, project managers and production assistants. Some of the projects and campaigns I managed while at TCO London were: Nike’s Nothing Beats a Londoner, Pandora’s Life Moments, Adidas’ Archive Zines, Tottenham Hotspur’s The Spur’s Vision, WeTransfer’s Ideas Tap, Facebook’s Connect Series, Vans Off the Wall and The North Face’s She Moves Mountains.

At ITN Productions I oversaw all production within the Branded Content Department. Often, I was coordinating multiple productions simultaneously and managing a team of both permanent employees and freelance staff. There was a large group of producers, production managers, production assistants and editors reporting directly to me. A particular highlight was setting up the daytime studio format series, Matalan’s The Show with Denise Van Outen. This was the first time ever that a daytime television format had been adapted and used for branded content.

I started in my career in theatre where I worked with the National Theatre, RoundHouse Theatre, Royal Court, Trafalgar Arts and a number of other renowned companies. As my passion was always in moving media I quickly transitioned into the film industry. I started producing and writing treatments for music videos where I had the opportunity to work with The Bank, Reelworks, Phaidon, The Edge Picture Company and ITN Productions.