STORY: For me,  story is everything.  Without it,  there's no drama,  no tension,  no comedy,  no tragedy,  no highs, no lows,.  It doesn't matter how good your images are,  how big your budget is,  how great your talent is,  if story gets neglected you've got nothing.  

Story is my passion - making sure that there's a strong narrative arc through every show I'm involved in is part of my MO.

IDEAS: Since 2007,  over 260 hours of television exist because of my ideas from sport cars to dinosaurs and everything in between.  Finding stories that engage with audiences,  and working out spectacular ways to implement those stories is something that I thrive on.  

For my most recent series, The Dinosaurs (Netflix, 2026), I structured and wrote the entire series to make sure that it was a serialized story-driven drama, a reinvention of the natural history genre.

For the last 15 years,   I've specialised in show-running difficult, challenging, game-changing TV series.  Despite the widespread use of that term in the US,  many Brits still confuse the role with that of a series producer.  When asked  what a showrunner actually does, my response is EVERYTHING:

• All creative content

• All staffing issues

• All decision making through pre, production and post

• Merchandising

• Budgeting

• Scheduling

• Talent relations

• Safety

• Legal & Compliance

• Sales

• Network liaison

• Press & Marketing

• Promotion

• Audience Research

• Development

To do all of this I've had to be organised,  decisive,  calm, resilient and driven. I adhere to the concept of ‘kaizen’ (the every dart art of improving everything all of the time. I also have developed the somewhat unfortunate nickname of “The Robot” because I work hard and I work fast.   In the fast-changing world of TV,  this is definitely an asset and while it can lead to weird nicknames that may sound off-putting,  I'll cope!

TV is changing and we need to keep up.   With both on demand services and video-sharing websites,  there's more content for consumers to enjoy than ever before.  For this reason, it's no longer enough to simply make a TV series,   there must be a whole package of extras to go along with it.  

I call this field the Value Add or the 360 Degree Experience,  and it's something I consider myself to be a brand leader in.  From Aftershows and Live events to viewer interaction and VR.   I will being this Value Add experience to all projects I'm part of to ensure that they are true landmarks - standing out above the crowd.

As Series Producer of The Dinosaurs and Life on Our Planet (Netflix) I have extensive experience leading large-scale productions that seamlessly combine cutting-edge visual effects with compelling narratives. Collaborating with top-tier VFX studios, I oversaw large-scale, photoreal CG creature work and integrated VFX across hundreds of shots per series. I worked closely with VFX supervisors, animation teams, and scientific consultants to ensure asset development, previs, animation, lighting, and compositing flowed smoothly through the pipeline. From setting up production workflows and review systems to coordinating across multiple vendors and ensuring data integrity from shoot through post, I’ve helped build efficient pipelines that support both creative ambition and delivery at scale.

I've had two nicknames at work;  the first is "The Robot".  Not brilliant I must confess but it refers to the fact that I work hard and I work fast.   In the fast-changing world of TV,  this is definitely an asset and while it can lead to unfortunate nicknames that may sound off-putting,  I'll cope!

The second is “The Plusser”. This also sounds kind of sinister but it’s not! They say that when  Pixar were making Toy Story, they used a management technique called "Plussing."  Apparently, when the team reviewed the dailies they would agree that the animation was absolutely first class - better than they had all hoped -  they'd then turn to the animators and ask them to make it better!

Plussing (also known as "kaizen") is the every day art of improving just about everything all of the time,  and it's the way I operate.  I want to challenge my teams to make today's product better than yesterday's which was better than the day before.   This is a way to ensure that projects never get stale,  that people are always motivated to go that extra mile. I’m “The Plusser” to help make sure that happens! 

Since 2018, I’ve worked primarily on projects for Netflix which has added to my already extensive US experience. For the 10 years before that, I worked alongside Discovery Channel, Science Channel and National Geographic. As a result,  I have a great knowledge of how these networks operate from the commissioning process to budgeting; from scheduling to marketing; from ad-sales to S&P; from writing for commercials to talent relations.  It's a different set up from the UK (where I worked for the preceding decade) and has given me a rare skill-set for a Brit.