A revised bio…
I grew up in rural Virginia, raised 250 ducks, five hawks, a horse and a raccoon.
After graduating from the University of Virginia, I lived on Kauai for ten years where I discovered filmmaking.
I’ve worked in film and television for over twenty years, starting as a P.A. and working my way up to Show Runner on Model Latina and Ice Gold Gold, which took me to Greenland.
I’m perhaps best known as a Show Producer on the first five seasons of NBC’s The Apprentice.
At this point, it’s a little surreal and I can’t convey the complexity of my experience in this tableau of someone else’s version of events.
But I was pivotal at a time when it was enormously challenging just being a woman in a professional leadership role in reality TV that pariah of the.entertainment industry
I was responsible for the premiere which garnered 19 million viewers of an unprecedented 90-minute episode.
Two episodes nominated primetime Emmy awards The Apprentice and
Episode that won the very first Emmy award for The Amazing Race, season three, episode 11.
Skills, abilities, proven track record and exceptional experience
I’m equally proficient in the field and post-production, frequently managing crews of thirty or more, interviewing diverse cast, overseeing all creative on multiple episodes, supervising up to 19 editors at one time, developing all series creative, establishing show format, securing locations, managing budgets, writing voice over scripts, addressing network notes and running the set.
Executives at Animal Planet said my script on a problem episode was the best piece of writing in two seasons of that series.
An executive from Spike hired me as a fixer to supervise a series that was in trouble it’s first season. That show, Bar Rescue is still on the air.
If I work on season one of a series, it usually gets renewed for a second. American Hoggers, Model Latina, The Colony and Ice Cold Gold are all shows that were established on my watch.
I’ve worked on both scripted and unscripted projects, taking me to South Korea, Nicaragua, South Africa, and Greenland.
I produced a series of surgery shows for Discovery where I traveled extensively around the country.
As a writer and story editor, I created the one-off documentary of The 200-pound Tumor for Discovery Health – without any footage of the tumor prior to the 16-hour surgery at Chicago Med.
I write episode breakdowns, previously on recaps, scripts, voice over, show bibles, casting boards, development one-sheets, network hot sheets, comprehensive series decks for pitch meetings, budgets and marketing materials.
As a producer, most of my work is actually that of the director, from pre-production creative all the way through online, sound mix and final graphics package.
I’m responsible for defining the overall look and feel of a series/concept, establishing and executing a successful show format, designing and implementing systems unique to each project that maximize story and talent, facilitating optimal creative collaboration, and effectively communicating the purpose of each scene.
I always establish trust with the cast, which sets me apart from the majority of “reality” producers who generally revert to the most unimaginative method of gathering the sound bites needed to provide the connective tissue of each storyline: they tell the cast member what to say. Taking the easy way out always produces the same results-a show that feels over-produced and leaves the audience feeling cheated.
I’ve produced reality competition shows, docu-reality series, build shows, dating shows, surgery shows, wedding shows, modeling/beauty pageant shows, music shows, DIY shows, documentaries, promos, pitch reels educational presentations, corporate milestone videos, elaborate stunts, remote location shoots, commercials, man-in-the-street segments (for Oprah and MTV), a 3-D show for Discovery Studios and a show about women who fight wildfires in California, which required all crew to complete Cal-Fire’s firefighter training.
I’ve produced stories about proposition betting, cruise ships, spies (simulated as reality competition), psychics chasing ghosts, mining for gemstones in the Arctic ice sheet, solar car races in South Africa, feral hogs, blind marriage, cleft lips, club feet, K-POP, the 2004 tsunami, gospel singers and the apocalypse.
a unique capacity for visualizing the narrative
Logical methodology combined with heightened emotional intelligence enable me to capture the authentic stories of real people in challenging and often life-changing scenarios.
I’m extremely thorough and detail-oriented which affords me the opportunity to cover storylines that others miss entirely.
I know how to get the beginning of a scene for action that was picked up in the middle of what real people do.
I am, quite simply, the best at what I do. The reason is I love what to do, I have empathy for the on-screen personaes. I never let anyone talk me out of a shot the editors will need.
I’m decisive and know when to pivot. Hyper-conscious of deadlines, always managing daylight and prioritizing correctly are benefits of extensive experience in both production and post.
I’m not afraid to stand firm on a creative directive even when my colleagues argue otherwise, for the wrong reasons.
I always bring a higher level of quality to any project I’m working on.
I don’t believe in taking the easy way out but I also don’t promote self-serving tactics Managing these types on a creative staff is always detrimental to the quality of the final product. They won’t be a factor in future hires.
The most important aspect of this entire process is building a team you can trust.
When that happens, story obstacles become opportunities for the most rewarding part of the job-creative collaboration.
The Seed, a Need
Identified and not algorithm- defined – a safe house for the creative process to work.
Protecting that creative space is my forte. The storylines I develop are always the most authentic, emotionally satisfying and skillfully revealed. This I can guarantee.
Esthetically, the shows I shepherd through are a cut above because my standards are higher.
I have a bold plan. I need a team.