Every room has a different native language.
Executives hear risk. Artists hear taste. Legal hears land mines. Marketing hears launch date. The work is getting one sentence to survive all four.
Dallas / Texas / Remote
Founder, Production Soup | Corporate Communications | Brand Narrative
Stories with consequences,told so they hold up.
20+ years in corporate communications and brand storytelling — executive comms at AT&T, productions for Nike, Microsoft, Coca-Cola, and NASA, and campaigns with artists from Will.i.am to Fergie. Now I run Production Soup, where AI runs the production line and human judgment runs the story.
20+
Years of sentences with consequences
40+
Countries shipped to, one story at a time
$15M+
Annual budgets run without drama
51
Films in the library below
Point of View
I translate between people who are all right, just not in the same language.
Executives, artists, lawyers, engineers, producers, and agencies all mean something different by "simple." That is where the work gets interesting.
AI is now reading the room too.
People ask the internet who you are, then ask AI to summarize the internet. If the record is stale or weird, congratulations: the weird part just got a narrator.
The deck is where strategy often goes to nap.
A deck can help. It can also become a very expensive place to hide decisions. The better work is the rhythm underneath: inputs, approvals, timing, taste, and nerve.
Reel 01 — Selected Cases
Work That Had To Hold Up
Work with approvals, talent, partners, deadlines, and a story that had to hold up after the meeting.
Reel 02 — The Library
Watch the work. All of it.
51 productions across 12 brands, artists, and enterprise teams. Hover to preview. Click to watch.
Reel 03 — The Story So Far
Twenty years of sentences with consequences.
Enterprise boardrooms, artist trailers, factory floors, and now an AI-operated studio. Different settings, same pattern: get the facts, find the story, protect the brand, and keep the work moving.
The sequel: AI runs the production line, I run the story.
Production Soup started as my production company. Today it is something the 2012 version of me would not have believed: an AI-operated communications studio where autonomous systems handle research, production, review, and delivery — and twenty years of human judgment decides what actually ships.
The bet is simple. In a world where AI answers speak for your business before you do, the companies that win are the ones whose story is clear enough for a machine to repeat correctly. That is corporate communications work. It just has a new audience.
- AI referral marketing and reputation systems for founders and enterprise teams in Dallas-Fort Worth.
- Executive storytelling delivered with AI-scale production and human-grade editorial control.
- Every engagement runs on the same discipline built at AT&T: facts first, review gates, and a story that survives scrutiny.
Four and a half years where one sentence could travel fast.
As Principal Media Producer in Corporate Communications, I worked inside a company where a single line could reach a couple hundred thousand employees before lunch — and the public by dinner. The job was making sure that line was worth repeating: communications strategy, narrative development, and content systems for AT&T business, media, sports, and corporate initiatives.
The rooms changed daily — Warner Bros. and HBO properties one week, premier sports-league work the next, then legal, finance, product, and engineering all needing the same story told without contradiction. Budgets ran to $15M+ annually. The discipline that survives that environment is the discipline I bring everywhere else.
- Led narrative and content systems across business, media, sports, and corporate communications.
- Resume-backed scope: engagement lift, resource-allocation improvement, and faster launch timelines.
- Internal is external — the story employees repeat is the story the market hears.
Nine years, 40+ countries, and every kind of room.
The first Production Soup era was a decade of proving one thing over and over: the story has to work in the boardroom, on camera, and on the street — same story, three languages. I directed work for Nike, Microsoft, Coca-Cola, Samsung, NASA, Intel, Western Union, and W Hotels, alongside agencies like 180 Amsterdam, Razorfish, 72andSunny, and Game Seven.
Samsung's enterprise team needed CES, MWC, and SXSW work that lifted engagement 35% and qualified leads 22%. Nike Basketball needed culture-led sports narratives that didn't feel like ads. Microsoft needed enterprise cloud translated into stories business audiences would actually finish. Different clocks, same job — and $5M+ in production budgets that had to behave.
- Enterprise clients: Nike, Microsoft, Coca-Cola, Samsung, NASA, Intel, Western Union, W Hotels.
- Artists and talent: Will.i.am, Fergie, The Black Eyed Peas, Alicia Keys, John Legend, Angels & Airwaves.
- Telly Award-recognized work delivered across 40+ countries with global brand consistency.
Founder school, with a factory floor attached.
Co-founding 3D Brooklyn meant product, sustainability, manufacturing, media, and partner expectations all arriving at the same meeting wearing different badges. It was the first time I owned every side of the story at once — what we made, how we made it, and why anyone outside the technical core should care.
We grew brand exposure 25% through media partnerships including History Channel, launched RefilUSA, and learned the founder lesson that never leaves you: nobody buys the jargon. They buy the story the jargon was hiding.
- Co-founded and ran a physical product company at the edge of emerging technology.
- History Channel and major-media partnerships grew brand exposure 25%.
- Launched RefilUSA — sustainability made purchasable instead of preachy.
Where I learned that translation is the whole job.
3D printing in 2010 needed plain English, patient explanation, and a decent camera angle. As Video Producer & Director for enterprise communications, I made the complex understandable for business and consumer audiences — and produced work for Western Union, Intel, Coca-Cola, W Hotels, NASA, and the Science Channel along the way.
I also cut production costs 15% without cutting quality, which taught me early that craft and efficiency are not enemies. That lesson is now the entire premise of Production Soup.
- Enterprise storytelling for 3D printing before the category had a tidy name.
- Produced for Western Union, Intel, Coca-Cola, W Hotels, NASA, and the Science Channel.
- Reduced production costs 15% while holding the quality bar.
Career through-line
Read the situation. Find the line. Protect the brand. Ship the work. Learn from the weird parts.
Production Soup Build
Production Soup turns good judgment into a working system.
Research, source tracking, private review, launch checks, follow-up, and AI-assisted content systems. Less chaos. Better receipts.
What will people find when they look?
Search results, AI answers, competitors, and the gaps worth catching early.
Receipts, not vibes
Source material, examples, risks, approvals, and the final version in one path.
The preflight checklist
Who reviewed it, who approved it, and where the evidence lives.
Stop relearning the same lesson
Prompts, patterns, lessons, and production rules that carry forward.
The point
See Production SoupThe tools do not replace judgment. They make good judgment easier to repeat.
Final Reel — Start Something
Make The Story Easier To Say
For founders, executives, and brand teams who need the story to hold up — and a studio that can make it move.
Where I am useful
When the story is messy, the stakes are real, and the draft has to survive the people who will challenge it — executives, lawyers, journalists, and machines.
Connect
Bring me the messy one.
For recruiters, communications leaders, founders, and brand teams who need the messy thing made clear.
Start Here