First Assistant Director: Italy, Matteo Godardes
'Master of None' The Thief (2017)
Directed by: Aziz Ansari
Cinematography by: Mark Schwartzbard
Edited by: Jennifer Lilly
First Assistant Director: Italy
'Master of None' Le Nozze (2017)
Directed by: Aziz Ansari
Cinematography by: Mark Schwartzbard
Edited by: Daniel Haworth
Second Assistant Director: Italy
Spectre (2015)
Directed by: Sam Mendes
Cinematography by: Hoyte Van Hoytema
Edited by: Lee Smith
Cameras: ARRI ALEXA 65 Camera, ARRI ALEXA XT M Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 ES Camera, Beaumont Vista Vision Camera, Panavision Panaflex Millennium XL2 Camera, Red Epic Dragon Camera
Lenses: Panavision ATZ 70-200 mm T3.5 Lens, Panavision AWZ2 40-80 mm T2.8 Lens, Panavision C Series Anamorphic Lenses, Panavision E100 100 mm T2.3 Lens, Panavision Primo 70 Lenses, Panavision Primo Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
First Assistant Director: Abu Dhabi
Furious 7 (2015)
Directed by: James Wan
Cameras: ARRI ALEXA XT Camera, ARRI ALEXA XT M Camera, ARRICAM Lite (LT) Camera, ARRIFLEX 235 Camera, ARRIFLEX 35 IIC Camera, ARRIFLEX 35 III Camera, ARRIFLEX 435 Camera, Bell & Howell Eyemo Camera, Red Epic Dragon Camera, Sony PMW-F55 Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-340 mm T2.9 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Fujinon Alura Zoom 15.5-45 mm T2.8 Lens, Fujinon Alura Zoom 30-80 mm T2.8 Lens, Fujinon Premier (HK4.7x18) 18-85 mm T2.0 Lens, Nikon - Nikkor Lenses, Panavision PCZ 19-90 mm T2.8 Lens, Panavision SL100 100 mm T1.9 Lens, Panavision SL125 125 mm T1.8 Lens, Panavision SL14.5 14.5 mm T1.9 Lens, Panavision SL150 150 mm T1.9 Lens, Panavision SL17.5 17.5 mm T1.9 Lens, Panavision SL21 21 mm T1.9 Lens, Panavision SL27 27 mm T1.9 Lens, Panavision SL35 35 mm T1.9 Lens, Panavision SL40 40 mm T1.9 Lens, Panavision SL50 50 mm T1.9 Lens, Panavision SL65 65 mm T1.8 Lens, Panavision SL75 75 mm T1.9 Lens, Panavision SL85 85 mm T1.8 Lens, Panavision SLZ 17.5-75 mm T2.3 Lens, Panavision SLZ11 24-275 mm T2.8 Lens, Panavision SLZ3 135-420 mm T2.8 Lens, Zeiss Master Prime Distagon 12 mm T1.3 Lens, Zeiss Master Prime Distagon 14 mm T1.3 Lens, Zeiss Master Prime Distagon 16 mm T1.3 Lens, Zeiss Master Prime Distagon 18 mm T1.3 Lens, Zeiss Master Prime Distagon 21 mm T1.3 Lens, Zeiss Master Prime Distagon 25 mm T1.3 Lens, Zeiss Master Prime Distagon 27 mm T1.3 Lens, Zeiss Master Prime Distagon 32 mm T1.3 Lens, Zeiss Master Prime Distagon 35 mm T1.3 Lens, Zeiss Master Prime Distagon 40 mm T1.3 Lens, Zeiss Master Prime Planar 50 mm T1.3 Lens, Zeiss Master Prime Planar 65 mm T1.3 Lens, Zeiss Master Prime Sonnar 100 mm T1.3 Lens, Zeiss Master Prime Sonnar 75 mm T1.3 Lens, Zeiss Super Speed Lenses, Zeiss Ultra Prime Distagon 10 mm T2.1 Lens, Zeiss Ultra Prime Lenses
First Assistant Director - 2 Episodes, 2017, Matteo Godardes
Master of None (2015)
Cinematography by: Mark Schwartzbard
Cameras: Panasonic VariCam 35
Second Assistant Director: Italy
Eat Pray Love (2010)
Directed by: Ryan Murphy
Cinematography by: Robert Richardson
Edited by: Bradley Buecker
Editing System: Final Cut Pro Editing System
Second Second Assistant Director: Italy
Inkheart (2008)
Directed by: Iain Softley
Cinematography by: Roger Pratt
Edited by: Martin Walsh
Cameras: Panavision Panaflex Platinum Camera
Second Assistant Director
I demoni di San Pietroburgo (2008)
Directed by: Giuliano Montaldo
Cinematography by: Arnaldo Catinari
Edited by: Consuelo Catucci
NSA Technician, Second Assistant Director , Snow Double: Michael Parks
In ascolto (2006)
Directed by: Giacomo Martelli
Cinematography by: Eric Maddison
Second Second Assistant Director: Italy
Mission: Impossible III (2006)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Key Set Production Assistant
The Life Aquatic with Steve Zissou (2004)
Directed by: Wes Anderson
Cinematography by: Robert D. Yeoman
Edited by: David Moritz
Key Set Production Assistant: Second Unit
The Italian Job (2003)
Directed by: F. Gary Gray
Cinematography by: Wally Pfister
Second Second Assistant Director
Under the Tuscan Sun (2003)
Directed by: Audrey Wells
Cinematography by: Geoffrey Simpson
Second Assistant Director: Italy
Luther (2003)
Directed by: Eric Till
Cinematography by: Robert Fraisse
Edited by: Clive Barrett
Cameras: ARRIFLEX 535 Camera
Lenses: Cooke S4 Lenses
Key Production Assistant: Rome
The Lizzie McGuire Movie (2003)
Directed by: Jim Fall
Cinematography by: Jerzy Zielinski
Edited by: Margaret Goodspeed
Cameras: Panavision Cameras
Assistant Director: Second Unit , Production Assistant
Gangs of New York (2002)
Directed by: Martin Scorsese
Cinematography by: Michael Ballhaus
Edited by: Thelma Schoonmaker
Editing System: Lightworks Editing System
