I was most recently the Animation Director at DNEG Montreal. I guided the animation teams across multiple sites worldwide on some amazing projects like VENOM: LET THERE BE CARNAGE (2021), NO ONE WILL SAVE YOU (2023) and my second Monster-verse movie GODZILLA x KONG: THE NEW EMPIRE (2024)

My first Monster-verse movie was as Animation Director on GODZILLA: KING OF THE MONSTERS (2019) at MPC. As a lifelong monster movie fan, I'm proud to have been a part of updating these classic monsters.

As Animation Supervisor at Framestore, I supervised character animation for the Facehugger and Chestburster sequences for Ridley Scott's ALIEN COVENANT (2017) and the castle staff for Disney's live action remake of BEAUTY AND THE BEAST (2017).

At Tippett Studios, I assisted legendary stop-motion animator and VFX supervisor Phil Tippett on his stop motion project MAD GOD. I also animated many key shots for GODS OF EGYPT (2016).

I was a key member of the Sony Pictures Imageworks character animation department for 14 years. As an animation director/supervisor and lead animator, I was involved in many high profile features including the Sam Raimi SPIDER-MAN trilogy (2002-2007) as well as THE MATRIX RELOADED and REVOLUTIONS (2003), MEN IN BLACK 3 (2012) and SMURFS 2 (2013). I worked closely with directors and VFX supervisors to design character performances and sequences. I supervised animation teams with consistent and collaborative direction, often leading by example. I helped guide the Imageworks character animation department by advising on rigs, animation tools and pipeline issues to create animator friendly standards and ensure smooth communication with other departments.

I began my career as a Stop Motion Animator. I animated and directed dozens of TV commercials in New York, Los Angeles and Europe including classic commercials with the PILLSBURY DOUGHBOY and the Saturday morning TV series PEE WEE’S PLAYHOUSE.

I studied film, video and fine arts at The School Of Visual Arts in New York City where I graduated with a Bachelor of Fine Arts degree.

As an avid fan of all forms of animation, especially the works of Ray Harryhausen, I began my career by making super-8 films at a young age. That early fascination has guided me throughout my career and continues to this day.