About me

If you just want to access my screenwriting CV go here.
A few years ago I re-balanced my career as an interactive graphic designer to include writing for the screen. I’ve also become something of a nomad since 2001 when I met my wife, left London, and moved to Los Angeles. The last few years has seen us travelling, living and working as far afield as the Bavarian Alps, San Diego, Moscow, East Tibet, Amsterdam, Krakow, Ojai, Dublin, Shanghai, Beijing, Manchester (my home town), and Southern Germany, where I am currently working on my Scarfolk project. I spend my time living between Heidelberg and Manchester in the UK.

For several years I worked with Major Films of Wiesbaden, Germany, headed by Michael Krohne, the former CEO of Senator Films. After reading Artifice, my satire about the New York art scene they contracted me to write a draft of a supernatural drama called The Green Man, a story that they had already been developing in-house. Soon after completion, Major Films optioned Artifice and commissioned another draft. They also picked up a pitch for a post-noir that I had written, provisionally titled Beatrice. Both projects kept me busy until Major Films decided to also use me in the creative development process, and for several months I exclusively wrote pitches and treatments. So far, four have been picked up. I later picked up a rewrite of another in-house project that had for years been bouncing around the office (and had killed a few writers in the process). Brief synopses for all these scripts can be read here.

In addition to Scarfolk, I’m also in the process of outlining several personal writing projects. I have three feature length screenplays ‘on the boil’: one is the story of a family that is brought back together having been separated for thirty years and might be described as a cross between Hannah and her Sisters and The Hours; another is a Memento/Pi style mind-warp of a story about a man who takes an as yet untested memory drug; another is a character study of a violent criminal who realises that if he doesn’t change his life he will never be released from prison. I also have several short stories ‘ready to go’, a couple of which might eventually prove to be novellas or novels. In addition, I have the proverbial drawer full of story ideas and characters waiting to be dealt with.

I started writing when I was a graphic designer living in London. At the time my output was predominantly short prose and poetry, some of which was published in Gargoyle, an internationally celebrated annual of new and established writers. If you’re so inclined you can buy it here. However, most of my time in London was consumed by my full-time design career. I came to be a designer by way of the BBC when, in the early 90's I storyboarded two drama series, Kinsey and Virtual Murder. By the early to mid nineties I had moved into digital interactive design and, apart from a handful of contracts for companies such as CHBi (which later merged with Razorfish, I believe) and projects such as the now defunct J’s Joint, Jamiroquai’s cartoon chatroom, I more or less settled into the computer and console games industry where I developed my career for a few years ‘pixel-crunching’ for publishers such as Electronic Arts. I shifted focus yet again in the late nineties to interactive television and worked at Two Way TV where I was a senior graphic and motion graphics designer. Whilst there I designed products for the BBC, Channel 4, The Gameshow Network, MTV, Disney, Pepsi, Reebok and others.

I still take on graphic design jobs if they interest me; for example, I was contracted by yU+co in Hollywood to help design a kiosk for MTR’s Union Square project in Hong Kong. With gaming moving ever closer to film, and broadcast becoming increasingly interactive, I feel that interactive design and traditional story and narrative theory can produce new and interesting media forms.

Somewhere at the start of all this I joined, as a mere teenager, a band of merry filmmakers headed by director Mariano Baino. We went to Russia and the Ukraine to shoot a movie called Dark Waters. My role shifted frequently though I was finally credited as co-editor, script supervisor and production co-ordinator. What we endured has become legendary in some circles and ‘the making of…’ deserves to be a film in its own right. If you want to learn more you can treat yourself to No-Shame’s wonderful collector’s boxed set wherein not only will you find a director approved transfer of the movie itself, but you will also get to see snippets of yours truly interviewed in a special features documentary.