A deep dive into English football, Welsch culture, two years of editorial amidst a global health pandemic and two fearless Hollywood A-Listers at the helm was the perfect recipe of ingredients that empowered myself and this incredible band of storytellers to craft this Emmy-awarded break out documentary series.

I’m as equally fortunate as I am grateful to have been an Emmy nominee for the longest period in Hollywood history.  The WGA/SAG-AFTRA strike of 2023 sent the entire film and television industry into an unprecedented tailspin and pushed the would-have-happend-in-the-fall 75th Emmys Awards from September into January of 2024.  That’s an additional twelve or more weeks that I and my colleagues got to spend as Emmy Nominees; which isn’t too shabby I might add.  I took full advantage of the offset and rode out the extended Emmy season.  I met a few of my very own heroes  in person like Pamela Martin (King Richard, One Love), Spike Lee, Donald Faison (Scrubs) and Television Academy Governors Nena Erb (Insecure) and Robert Malachowski, Jr. (The Voice).  I had great conversations, meetings and interviews with the likes of Michael Krulick and Matt Feury at Avid and Joaquin Elizando’s Hollywood Editing Mentor Podcast.  I finally met up with one of the most prolific picture editors in our community Stephanie Filo-Jones, the Post In Black team and reconnected with some of my very first collegues in this business like Angel Gamboa-Bryant who entered into the 75th Emmys race with a total of three nominations.  I learned so much working on the premiere season of Welcome To Wrexham about myself as well as my craft.  I am motivated beyond words and fortunate beyond measure.  I look forward to going deeper into my craft as an editor as well as taking new risks and furthering my expression in the boundless medium of filmmaking.