Film
32+ national campaigns · 200+ film & television productions actor & stunts
I learned storytelling from both sides of the camera: performing, doing stunt work, watching crews build a scene, then learning how to earn attention in seconds.
32+ national campaigns · 200+ film & television productions actor & stunts
Film
Film
Industry
Film / Television / Commercials
ROLE
Actor & Stunts
Deliverables
32+ national commercial campaigns / 200+ film & television productions
32+ national commercial campaigns / 200+ film & television productions
TIMEFRAME
TIMEFRAME & SCALE
2006–2018 / Selected screen work
2006–2018 / Selected screen work
Film
Film
Challenge
Challenge
THREE MOVES TO L.A.
THEN CAME BOBBY.
THREE MOVES TO L.A.
THEN CAME BOBBY.
I walked onto Bobby as a non-union background actor. I walked off the production a SAG member with a role in the film.
I walked onto Bobby as a non-union background actor. I walked off the production a SAG member with a role in the film.
After selling my business in Las Vegas, I finally had the means to give Hollywood a real shot. I got an apartment in the Valley, trained at Howard Fine Acting Studio and Upright Citizens Brigade, and performed regularly on Sunset Boulevard. Bobby changed the trajectory. I arrived as non-union background and left with a role and my SAG membership. Studio-lot auditions, films, television and national commercials followed. Between takes, I paid attention. How did a director get the performance? How did the crew solve the shot? How did hundreds of people turn a script into something that felt effortless?
After selling my business in Las Vegas, I finally had the means to give Hollywood a real shot. I got an apartment in the Valley, trained at Howard Fine Acting Studio and Upright Citizens Brigade, and performed regularly on Sunset Boulevard. Bobby changed the trajectory. I arrived as non-union background and left with a role and my SAG membership. Studio-lot auditions, films, television and national commercials followed. Between takes, I paid attention. How did a director get the performance? How did the crew solve the shot? How did hundreds of people turn a script into something that felt effortless?
Solution
Solution
THE WORK MOVES FAST.
YOUR REPUTATION MOVES FASTER.
THE WORK MOVES FAST.
YOUR REPUTATION MOVES FASTER.
I wanted to stay in the shot when the action started. That curiosity led to stunt training and work doubling Josh Peck, Hayden Christensen and Paul Walker.
I wanted to stay in the shot when the action started. That curiosity led to stunt training and work doubling Josh Peck, Hayden Christensen and Paul Walker.
Acting taught me to listen. Stunt work added precision, preparation and trust. On a working set, your contribution extends beyond what ends up on screen: be ready, understand the shot and make the day better. Commercials offered an education in short-form entertainment. Seven-figure productions could happen in a few days, then the crew scattered to the next job. Every frame had a job. So did every person. Those sets connected me with creative agencies, production studios and brands. The discipline of earning attention in seconds became the foundation of how I approached social content.
Acting taught me to listen. Stunt work added precision, preparation and trust. On a working set, your contribution extends beyond what ends up on screen: be ready, understand the shot and make the day better. Commercials offered an education in short-form entertainment. Seven-figure productions could happen in a few days, then the crew scattered to the next job. Every frame had a job. So did every person. Those sets connected me with creative agencies, production studios and brands. The discipline of earning attention in seconds became the foundation of how I approached social content.
FROM CASTING CALLS TO AN AUDIENCE.
FROM CASTING CALLS TO AN AUDIENCE.
Actor & Stunts
In June 2009, I joined Twitter. More than 100 strangers followed me the first night. Eventually, that audience grew beyond 50,000. For the first time, I could reach people without waiting for a studio to cast me. Performance, production and distribution started to connect. Partnerships followed. In 2014, I built the representation I needed: Innovative pR Group. The screen changed. The storytelling discipline didn’t.
In June 2009, I joined Twitter. More than 100 strangers followed me the first night. Eventually, that audience grew beyond 50,000. For the first time, I could reach people without waiting for a studio to cast me. Performance, production and distribution started to connect. Partnerships followed. In 2014, I built the representation I needed: Innovative pR Group. The screen changed. The storytelling discipline didn’t.
In June 2009, I joined Twitter. More than 100 strangers followed me the first night. Eventually, that audience grew beyond 50,000. For the first time, I could reach people without waiting for a studio to cast me. Performance, production and distribution started to connect. Partnerships followed. In 2014, I built the representation I needed: Innovative pR Group. The screen changed. The storytelling discipline didn’t.