CRAFTS

I was building worlds long before film school. Crappy amateur theatre sets and off-the-shelf smoke effects slowly turned into dragons that move, environments large enough to be seen from satellite images, and props that withstand daily use and extreme close-ups. I learned early that imagination is cheap — and that structure, material, and weight are what make a world believable.

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Alongside filmmaking, I’ve trained and worked in production design, multi-material craft, and physical effects, with hands-on experience in wood, metal, glass, mechanics, and flame systems. I’ve designed and led the construction of environments for film, theatre, and large-scale live events, from detailed story objects to full physical spaces actors could climb, break, ignite, or get lost in.

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This work shapes how I direct in ways that are mostly invisible but constant. I think in space as much as in performance. I know what ideas weigh, what structures fail first, and what can safely be pushed further than expected. Sets are not backgrounds to me — they are active elements that influence rhythm, tension, and behaviour.

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The projects collected here are the physical side of my directing voice: tactile myths, real materials, and environments that quietly press characters into revealing who they are.