Director, Writer, Producer
Nominated for two primetime Emmy's for the Apprentice
Emmy award winning episode The Amazing Race
Columnist, Editor, Grantwriter
Conflict Resolution Mediator
Facilitator, State of Hawaii, DOJ
Published poet, filmmaker, photographer, music aficionado. Canoe paddler, horse wrangler, gem dealer, fixer, The Wolf.
EP-Show Runner, Director www.imuafilm.wordpress.com
Los Angeles, CA
The world is panicking. It’s panicked before. The truth is there is no truth and that if science isn’t even it, then why believe it exists?
It has everything to do with the cerebral cortex, sequencing and overwriting the sins of the past with glorious retrofitting so we forget the passage of savages before us, even cloak and dagger under the cover of obsequiosness. We intrigue and mystery, withhold and annotate, circumvent and agitate – to such little avail. To no avail yells the decomposing matter! My meaning, my purpose hald-wroughr! Oh the perils of feeling human emotions – surely they want nothing more than to torture usWith dreams of our own existence.
“A more balanced policy mix, with less reliance on monetary policy and more focus on fiscal policy and structural reform would be a better option.”
Become that person by doing those things that that better version of you would do.
Have “the life you’ve always wanted.” Go ahead, go.
Easy peasy, they said.
Two times in recent history (ancient history would be the days of my youth ), I’ve witnessed in print the declaration by women supposedly of my demographic (more on that later) that yes, in fact, they did have it all.
I didn’t stick around to find out the fucking imperative of a caveat like, but certainly not limited to, “the problem was what to do with it,” or equally as reprehensible,”But I just wasn’t happy.”
The resounding chatter from the committee in my head (you know the ones who update the mistakes made ticker tape spewing continuously forth from a dot matrix printer) enacts the dormant PRIMAL SCREAM policy although if I were to demonstrate, if might be received as a call to all crazies to meet for a smoke in the alley.
So instead, when I read, “I had it all/career, family, Buick” as the lead for their book, article, thesis, self-serving self-help romance novel
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.
like diamonds from Chinatown flooding in rivers of despair
A glimpse of light I feel life Heed a warning Before moving on
Was it with merit or foreboding in a mythological way?
Wise old crone the Hermit High Priestess share this cup
It’s a glorious sabbath if marine layer’s your thing
A day to take stock Pay heed to ominous warning
Without playing with dire threat Not just yet
Through the long lens of time ashes strewn so much dust
Disappeared the day you went away Never stay
The pain just won’t Go away Give you up
Your guilt such a snitch Your brain *secret weapon *
of mass instruction play-by-play compunction
a way to go on knowing the truth
The language is designed to be Simple, Small, Flexible and Fast.
“Bretton Woods was a highly politicized system that was prone to crisis and required constant intervention and controls to continue functioning.
“More importantly*, postwar monetary relations were not a salve to political tensions, as is often contended. In fact, the politicization of the global payments system allowed nations to use monetary coercion to achieve political and security ends, causing deep conflicts within the Western Alliance.
“For the first time, Gavin reveals how these rifts dramatically affected U.S. political and military strategy during a dangerous period of the Cold War.”
The list of double standards women face on their path to public office is plenty long: They should be pretty, but not distractingly so. Assertive, but never aggressive. Maternal, yet devoted exclusively to their careers. And every word that passes their lips should be spoken in a tone, volume and cadence that is pleasing to the ever-alert ears of their audience.
The path to any career not just public office but this was a story about women who run for president.
Now, you may ask yourself, where does it mention her looks? Have you ever noticed how most people when they reference a woman, often list the “way she looks” first in their descriptors, yet for a man, it’s his accomplishments, obvious potential and charming personality traits.
“A real smart cookie” isn’t something you say about the plucky upstart who defied the odds if that cookie is male.
Aggressive v Assertive
In modeling and etiquette school (yes, I was raised in the South with its cotillion and debutantes), we were taught to be assertive. Not aggressive. We were neither at the time, so this was confounding. Some might say liberating. Others, more trouble than it’s worth.
Assertive meant you stopped short of truly making any demands, always maintained a polite comportment with corresponding ladylike demeanor and could be perennially felicitous no matter the occasion. Suffering in silence slowly faded in popularity, and burning your bra was ultimately impractical.
Mother’s Little Helper, the blue pill. Salve for pent up discontent which evolves into aggression, if you don’t quash it early.
Be assertive is code for go ahead, but not too much.
“You’re too emotional.” I wonder how that sliding scale works – for women, it’s voicing any upset over being mistreated. Hysterical is just a few steps away.
But a man? Oh he’s just passionate! He really believes in what he’s saying! This guy’s serious! Give him what he wants! He’s a take charge kind of a guy!
Who does she think she is? She’s crazy! A real hydra! Harpy!
When I was in fifth grade, I wanted to be a CEO. I didn’t really know what they did but they seemed commanding, powerful. Perhaps that merely countered the powerlessness I had endured being molested starting at four years old. Perhaps it was the suits and heels.
At some point around the same time, I wanted, clearly and cognizantly, of sound mind and body, to be President of the United States.