Production Controller: Amblin Partners
1917 (2019)
Directed by: Sam Mendes
Cinematography by: Roger Deakins
Edited by: Lee Smith
Cameras: ARRI ALEXA Mini LF Camera
Lenses: ARRI Signature Prime 35mm T1.8 Lens, ARRI Signature Prime 40mm T1.8 Lens, ARRI Signature Prime 47mm T1.8 Lens
Editing System: Avid Editing System
Post-production Accountant
The Fifth Estate (2013)
Directed by: Bill Condon
Cinematography by: Tobias A. Schliessler
Edited by: Virginia Katz
Post-production Accountant
People Like Us (2012)
Directed by: Alex Kurtzman
Cinematography by: Salvatore Totino
Edited by: Robert Leighton
Lenses: Cooke S4 Lenses
Editing System: Avid Editing System
Post-production Accountant
Lincoln (2012)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Editing System: Avid Editing System
Post-production Accountant
Cowboys & Aliens (2011)
Directed by: Jon Favreau
Cinematography by: Matthew Libatique
Cameras: Panavision Panaflex Millennium Camera, Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Panavision Primo Anamorphic Lenses
Editing System: Autodesk Smoke Editing System
Post-production Accountant
War Horse (2011)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: ARRICAM Lite (LT) Camera, ARRICAM Studio (ST) Camera, ARRIFLEX 235 Camera, ARRIFLEX 435 Camera
Editing System: Avid Editing System
Post-production Accountant
The Help (2011)
Directed by: Tate Taylor
Cinematography by: Stephen Goldblatt
Edited by: Hughes Winborne
Post-production Accountant
The Terminal (2004)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Post-production Accountant
Head of State (2003)
Directed by: Chris Rock
Cinematography by: Donald E. Thorin
Edited by: Stephen A. Rotter
Post-production Accountant
House of Sand and Fog (2003)
Directed by: Vadim Perelman
Cinematography by: Roger Deakins
Edited by: Lisa Zeno Churgin
Lenses: Cooke S4 Lenses
Post-production Accountant
Old School (2003)
Directed by: Todd Phillips
Cinematography by: Mark Irwin
Edited by: Michael Jablow
Post-production Accountant
The Ring (2002)
Directed by: Gore Verbinski
Cinematography by: Bojan Bazelli
Edited by: Craig Wood
Editing System: Final Cut Pro Editing System
Post-production Accountant
The Time Machine (2002)
Directed by: Simon Wells
Cinematography by: Donald McAlpine
Edited by: Wayne Wahrman
Cameras: Panavision Panaflex Camera
Editing System: Avid Editing System
Post-production Accountant
Catch Me If You Can (2002)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Post-production Accountant
Road to Perdition (2002)
Directed by: Sam Mendes
Cinematography by: Conrad L. Hall
Edited by: Jill Bilcock
Cameras: Panavision Panaflex Millennium XL Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Editing System: Lightworks Editing System
Post Production Accountant
Evolution (2001)
Directed by: Ivan Reitman
Cinematography by: Michael Chapman
Cameras: Panavision Cameras
Post-production Accountant
Gladiator (2000)
Directed by: Ridley Scott
Cinematography by: John Mathieson
Edited by: Pietro Scalia
Post-production Accountant
Cast Away (2000)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
Post-production Accountant
Road Trip (2000)
Directed by: Todd Phillips
Cinematography by: Mark Irwin
Edited by: Sheldon Kahn
Post-production Accountant
What Lies Beneath (2000)
Directed by: Robert Zemeckis
Cinematography by: Don Burgess
Edited by: Arthur Schmidt
Cameras: Panavision Panaflex Platinum Camera
Post-production Accountant
Almost Famous (2000)
Directed by: Cameron Crowe
Cinematography by: John Toll
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Post-production Accountant
Forces of Nature (1999)
Directed by: Bronwen Hughes
Edited by: Craig Wood
Cameras: Panavision Cameras
Post-production Accountant
American Beauty (1999)
Directed by: Sam Mendes
Cinematography by: Conrad L. Hall
Cameras: Panavision Panaflex Platinum Camera
Post-production Accountant
The Haunting (1999)
Directed by: Jan de Bont
Cinematography by: Karl Walter Lindenlaub
Edited by: Michael Kahn
Cameras: Panavision Cameras, VistaVision Cameras
Lenses: Panavision Lenses
Post-production Accountant
In Dreams (1999)
Directed by: Neil Jordan
Cinematography by: Darius Khondji
Edited by: Tony Lawson
Post-production Accountant
Saving Private Ryan (1998)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Aaton 35-III Camera, Moviecam Superlight Camera, Panavision Panaflex Platinum Camera, Panavision Panastar Camera
Editing System: Moviola Editing System
Post-production Accountant
Small Soldiers (1998)
Directed by: Joe Dante
Cinematography by: Jamie Anderson
Post Production Accountant
Amistad (1997)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Cameras: Panavision Panaflex Platinum Camera
Lenses: Zeiss Super Speed Lenses
Post-production Accountant
The Lost World: Jurassic Park (1997)
Directed by: Steven Spielberg
Cinematography by: Janusz Kaminski
Edited by: Michael Kahn
Post-production Accountant
The Peacemaker (1997)
Directed by: Mimi Leder
Cinematography by: Dietrich Lohmann
Edited by: David Rosenbloom
Post-production Accountant
The Trigger Effect (1996)
Directed by: David Koepp
Cinematography by: Newton Thomas Sigel
Edited by: Jill Savitt
Assistant Production Accountant
Hook (1991)
Directed by: Steven Spielberg
Cinematography by: Dean Cundey
Edited by: Michael Kahn
