The work.

Instead of writing one ad, I designed a modular system — two lead angles, eight CTAs, and a pattern-interrupt opening in a bank vault. A media buyer could test every meaningful variable from one production day.

The bank vault wasn't just a location choice: it made the money-back guarantee tangible before a word was spoken.

The audience already believed the admissions game was rigged in favor of the wealthy. The opportunity was to validate that belief and then reframe it.

I wrote a script that opened with: "Children from the top 1% of income families are 77 times more likely to attend an Ivy League school. Rich families really do have a massive advantage. But not in the way you think." That pivot — confirming the suspicion before redirecting it — is what drove the call volume.

The existing control was fatiguing. I brought in talent specifically aligned with the target audience to open the ad with a direct pattern interrupt: "Parents, you're probably tired of seeing this guy in your feed."

Matching the messenger to the audience. New face, same core script. Strong performer.

Most of our winning creative was curiosity-based, built on a knowledge gap. This was a chance to test a different emotional register entirely.

I wrote the hook — Dr. Paris holding a water bottle, throwing it in the trash: "If you have arthritis, toss your bottled water in the trash. Here's why." The opening section was written to feel documentary rather than direct response — a deliberate departure from our usual style — before transitioning into a more traditional DR flow. It opened up a new segment of the audience.

We found a swipe file that used an aspirational "new lease on life" framing for aging seniors. The opportunity was to translate that emotional arc into a direct response ad using real customer footage.

I directed the opening to weave in real footage of customers who had provided testimonials and pushed for a specific visual hook: an older, ex-military man running in slow motion. Aspirational before it was persuasive. It became our most durable control.

The original ad asked which of four foods made arthritis pain worse — but only showed a graphic. The opportunity was to make it visual.

We put the four foods on a table in front of Dr. Paris and had him reveal them one by one, turning a static image into a curiosity loop the viewer was actively participating in. One visual change. Biggest control I produced.

Cornett brought me in to produce a short documentary for the University of Kentucky Art Museum. My role covered everything except arranging and conducting the interviews — lighting design, camera operation, editing, color, sound, and final delivery.

The challenge was making an art museum feel alive on screen without resorting to slow pans over static paintings. The approach was to build the piece around the people inside it: the curators, the context, the conversation. The result is a film that feels like a visit, not a brochure.

The brief was to tell BIA's story. The obvious version would have been a highlight reel of completed homes. Instead, I built the narrative around a harder truth: declining standards in residential construction are giving families substandard homes, and most of the industry looks the other way.

BIA became the hero not by claiming excellence, but by naming the problem and showing their commitment to holding partners accountable. Every production decision — the opening shot, the interview framing, the pacing — was made to serve that arc. Full production ownership from concept through final delivery.

The brief was to make a local HVAC company memorable in a category defined by forgettable ads. The concept I developed: a professional wrestler destroying a family’s HVAC unit — playing on the word “wrestling” to turn a mundane service category into something people would actually talk about.

I co-wrote the script, hired the production team, and co-directed the shoot. The spot aired on television. People noticed.

A self-produced piece that puts the production skills on screen rather than on a page. Concept, camera, edit, motion graphics, and delivery — all handled solo.

If you want to see how I think about framing a story and what my production instincts look like when I’m the only person in the room, this is the clearest version of that.