Angus Wall, editing a BMW spot at Rock Paper Scissors. His shirt had the texture and colors of pipe cleaners. Los Angeles, 1995

Lighting on a stage for a Timex shoot. Los Angeles, 1994

Shooting a Timex spot at sunrise in the woods, 1996

Director Marc Hauser, chomping on a cigar while directing doctors in a healthcare spot, Chicago, 1991

Rigging a BMW for cameras. Provence, France, 1998

Actors about to get hit with a tidal wave of water for a Lee jeans commercial.

Pinewood Studios, 1992. I loved drawing cameras and all the fiddly bits.

From a Timex shoot that involved a lot of fake clouds. Los Angeles, 1994

A sketch artist hired by director Roger Woodburn to document a shoot. This one was for Lee Jeans.

Copywriter Scott Vincent, at a shoot for Ameritech, which explains his excitement about lunch. This doesn't look like Scott (not that leggy), but I like Scott so it made the cut.

Kathy Orman, producer extraordinaire,
at Buzzy's recording studio to record Ed Asner, 1994

Doodles on a casting call sheet.  These sessions were great practice for capturing faces quickly. New Zealand, 1999

Spending time on a film shoot made me more aware of light, shadow, and composition

On location for the Wall Street Journal, SF bay area, 1995

Mike Lescarbeau, London, 1992

Dancers between takes for a Lee Jeans commercial, Pinewood Studios, London, 1993

Dancer, yawning

Actor, taking five

Luke Sullivan at Rock Paper Scissors for a Black & Decker campaign, Los Angeles, 1995

Mike Stones, producer for Roger Woodburn, Pinewood Studios, 1993

Behind-the-camera action, Pinewood Studios, 1993

An actor waiting to act, 1994

Boiler room on the Soldek, a decommissioned freighter in Gdansk, Poland, used for a BMW commercial in 1997. You can see the commercial here.

Rob McPherson, copywriter, aboard the Soldek

Tommy Murov, producer, aboard the Soldek

Katie (not sure of last name), playing cards with Tommy

Camera on a crane, filming an empty field, Lodz, Poland

Warming up between shots

Post-production meant a lot of time sitting in darkened rooms while other people pushed buttons and spun dials to make the film pretty, edit the shots together, and put music and voices in just the right places.

I think this was in Minneapolis,
maybe at Wilson Griak, 1996

Stefan Sonnenfeld, Company 3, 1999

Post-production for BMW, 1998.

Post-production for a BMW spot, London, 1997

Kevin Molony, director, in that room to the left

South Island, New Zealand

Another room full of computers where someone else did all the work

Brian DiLorenzo, Fallon producer, New Zealand 2002

Brian, again. This one actually looks like him.

Kevin Flatt, designer, putting his cards on the table.

Rob McPherson, copywriter, pondering an edit.

Leaving Los Angeles

Okay, so it's not a drawing, but it's my friend Gary Doyle, a copywriter who I love, and his name was on the parking block where we were editing a commercial. Los Angeles, 2010

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