As a filmmaker, I gravitate towards stories about ordinary people who are put in situations that are blown out of proportion both thematically and visually. Always out of their comfort zones, they are instead trapped in their worst technicolor nightmares. 

My films play out in a world that straddles the border between lighthearted surrealism and the darker realities of the human emotional experience. Though this sounds brooding as all hell, each film I make is always crafted with an underlying tone of humor and playfulness. My film The Perfectionist, for example, follows a neurotic man driven comically insane by a crooked painting that refuses to stay straight, but all of his comedic actions are driven by a universal desire to be appreciated.

Visually, I frequently work with the psychology of color and the charming imperfections of film as a medium, creating a vivid world of heightened vintage nostalgia. This is something that can be seen in my film What Can You Say About Kenneth, which was shot digitally, but through a delicate treatment process, emulates the 16mm film stocks of the 1970s.