Meet Our Alumni

I learned a lot about production at Compass. It is nice to know that I can use, or easily figure out, whatever equipment is thrown at me. However, since I’m mainly an editor, I don’t get to use my production knowledge too much. I also learned a lot of useful theories. Before Compass, I would always just do what I felt would be cool for the video, but now I try to give everything I do in a video reasoning. It shouldn’t be cool just for the sake of being cool, at least most of the time.

My advice to graduates is to work hard. If you go above and beyond and do good work, people will notice. Just keep trucking along and getting better at whatever skill you are learning. Make sure to put conscious effort into improving your skills. Skills pay bills, and it feels even better to pay bills doing something you enjoy.

My sophomore year of high school, I received a video production class instead of all the architecture classes I had requested. However, after beginning the course, I realized I was having a blast and just seemed to naturally understand the concepts better than any of my peers. From there, it blossomed into more classes and independent studies. I researched film and story on my own and took a film history class. My life soon became consumed by it. I got into theater as well. I think what struck me was that, up to that point, I had nothing I could confidently say, “I enjoy this, and I’m good at it.” Sports were my thing, but never my thing. It was a little bit of a forced identity. Film allowed me to express myself in its purest form.

During my time at Compass, I started working professionally in the industry, primarily with Mark Baas, a connection given to me via Compass alum Karl Koelling of Taproot Pictures. I spent many weekends working on local commercials as a Production Assistant and creating my own projects for different classes. After completing the final thesis project, I received an internship with an independent production company in New York City doing script coverage.

In August 2012, I moved to NYC, couch surfed for two weeks, and then finally found an apartment. I spent two months at my internship doing script coverage, then was given the opportunity to work on Darren Aronofsky’s NOAH as an extra. Immediately following that, I was offered the chance to be a Production Assistant on a film the company I interned for was about to start shooting. That first feature introduced me to many people I would collaborate with over the next three years. From there, I worked on an additional 14 to 15 feature films, as well as various commercials and music videos.

In July 2014, I stepped into the role of Assistant Director on a half-million-dollar movie. After that experience, I moved off-set and into post-production. I worked as the Post-Production Assistant on season three of HBO’s hit show VICE. After seven months, I wanted to get back to scripted TV, so I moved into a facility doing dailies for network TV. While working there, I learned how to use Avid, which is a requirement if you want to work in network TV. A year and a half later, I moved on to work on season five of Orange Is The New Black as their Post-Production Assistant. Following the season, I moved back to VICE as an Assistant Editor on their new nightly news show for HBO.

My favorite part of working in this industry has to be the flexibility to do anything I really want. I’ve dabbled in everything, from development through post-production. You can experiment while making a living and never be tied to any one company. I love that. It’s such a sense of freedom. Also, I enjoy the casual atmosphere of most work environments. A suit and tie, commuting to a 9-to-5 job, just isn’t me.

To clarify, I think this is an important note, the post-production departments at Netflix and HBO do not actually make the show. Their roles are usually administrative in nature, overseeing all of their shows. I work for the companies contracted by Netflix or HBO to produce the content; this is a privilege because they rarely deal with individuals outside of an established circle of trusted people and independent companies. Working on their shows is by far the best of the best. I’ve been fortunate not just to be a part of the HBO and Netflix lineups, but also to have been a part of their Emmy Award-winning lineup. The extra level of care this entails is surreal. They both give thorough story notes and care deeply about the quality of the material they’re producing. Learning set etiquette, story structure, and artistic vocation at Compass was so crucial to being able to keep my head above water starting out. Set etiquette was especially crucial in the early days. I’ve seen interns and production assistants get fired on the spot because they possessed poor etiquette. I also feel Compass gave me a humble view of the larger picture. This is fundamental, understanding how the small stuff impacts the larger stuff. Compass was terrific at showing how everything connects. I think the best advice I can give is to be patient and humble. They both will be tested greatly. Never lose sight of what you love about this business and art form. I have a core set of films I always go back to when I feel this happening. They re-inspire my joy and love. Don’t let negativity seep in.