When I start on a script, I usually work backwards from the ending. I will likely have some characters wandering around in my mind, as I always do, but there is a moment of inception early in my creative process in which I experience the impact I want the film to deliver. From there, it is merely a matter of decoding the emotion and unwinding the braid of plot.

In Interior: Supermarket, for instance, I wanted to capture a life of bitterness, selfishness and misfortune redeemed in a single, sudden act of compassion. With Dutch Tape, it was the confusing maze of jealousy and suspicion which our hero finally manages to escape. And in The Marrying Kind, two broken people find each other only to realize the product of their love is mutually assured destruction.

For each of my scripts, I’ve provided the logline, first and final pages. If you’re interested in reading the whole thing just get in touch.