The work.
Thirty years of making things across six peaks. The projects are grouped by era -- not because the eras are separate, but because each one made the next one possible.
VI. Sageworx
2019 -- Now
Studio builds taught me that the model works -- creative production studios can make world-class work at fair economics. But they also taught me that the holding-company structure is the bottleneck. The overhead, the politics, the six layers of approval, the reflexive underpricing. Sageworx took everything I'd learned about building creative production teams and rebuilt it without the weight. Independent. Distributed. Curated. And then AI showed up and changed the math on everything.
Sageworx is the current peak. An AI-forward creative curation -- 120+ members, four continents, no holding company. AI as infrastructure where it earns its place. Senior human judgment everywhere it counts.
V. The Studio Years
2015 -- 2019
Social-first proved I could lead creative + production that moves at culture speed -- small teams, fast decisions, real-time execution. But leading campaigns is different from building the infrastructure that makes campaigns possible. The next question wasn't "Can I make great work?" It was "Can I build the machine that makes great work repeatable?" That question turned into four studio builds.
Four studio builds -- 360i, then Viacom, R/GA, and BBDO Atlanta -- inside the biggest agency structures in the business, during the era of traditional big-idea production: network TV, Super Bowl spots, the polished end of the craft. Same core problem every time: how do you build a creative production engine inside an organization that wasn't designed for one?
IV. The Social-First Era
~2005 -- 2015
Broadcast was reach without a feedback loop -- you shipped into the void and waited for ratings. Social flipped the equation. The audience talked back, in real time, and everything I'd learned on stage about reading a room suddenly applied to the entire internet. Build for the room you're actually in, not the room you wish you were in.
Big Fuel, then 360i, during the years social-first creative went from experiment to proven model. Oscar Mayer, Oreo, NOLA. Multiple Cannes Lions. The era that proved branded content could be culturally relevant, not just brand-safe.
III. Broadcast
2005 -- 2008
Independent film teaches you to make things with nothing. Broadcast teaches you to make things at scale -- standards, schedules, and an audience measured in millions. The hustle didn't change. The machine got bigger, and I wanted to know how every part of it worked.
NBC Universal, in the years when television was still the biggest stage there was -- and the internet had started knocking. Long-form craft meeting network scale, and the first experiments in what came next.
II. The Film Camera
2000 -- 2005 (overlapping the Broadway years)
I didn't climb down from the stage to find the camera -- I picked it up mid-show. Ten years of reading live audiences had built an internal meter for when a story lands. The camera took the audience away and handed me the edit instead: construct the story frame by frame, in silence, and trust the meter you built on stage.
2000 to 2005: Broadway by night, building a complete filmmaking practice the rest of the time -- writing, shooting, lighting, directing, editing, producing. Independent films, a television series, and the first version of the Sageworx pattern.
I. The Stage
~1994 -- 2005
NYU trained me in dance and architecture at the same time. That combination -- the body in space, the structure around it -- shaped everything. Broadway, Ballet Hispanico, a decade of live performance. The stage is where I learned that the audience is always part of the design.