"Storytelling to Change the World" written in white text on a black background.

I’m a seasoned storyteller 
with over 20 years of 
experience filmmaking telling stories of impact.

Equity ( yep, I said it) is the secret sauce that defines the success of every project.

I believe every great film or series begins with a singular vision, but it’s the convergence of diverse lived experiences that grounds it in powerful human complexity. That’s why I’m passionate about maintaining an artist-first environment that prioritizes collaboration with creative partners that reflect the world we speak to and that embraces innovation, providing the space to experiment and refine. It’s the closest guarantee I’ve found to ensuring that the projects I create resonate ethically, artistically, and commercially.

A group of six people stand in front of a large gold Oscar statue, posing for a photo. They are dressed in business casual attire, with one person seated in the center. The setting appears to be indoors, possibly at an event or ceremony.

Looking back. Paying it forward.

My creative life has always had an open dialogue with the past, paying homage to the medium’s masters, the architects, the inventors, the disruptors. From being mentored by Tom Luddy of co-founder of the Telluride Film Festival, to starting out working with the Criterion Collection, to creating a podcast for the Academy of Motion Picture Arts and Sciences, I value the chance to recognize my ancestors in order to pay something forward and imagine new possible worlds.

Panel discussion at NAB Show New York with six participants seated on stage, holding microphones, backdrop displays event name.

Moderating a conversation with Visual and Technical Effects god (second from right) Douglas Trumbull, (2001: A Space Odyssey, Close Encounters of the Third Kind, Blade Runner).

Being raised by two strong women taught me something.

Raised by two DIY Mid-Western women—my mother and grandmother- taught me that there is nothing in life that you can’t experience, achieve, transform or transcend — as long as you’re willing to roll up your sleeves, get in there, and go for it. That ethic drives my vision as a film producer and writer: to expand the lens through which stories are told. I’m committed to championing women-led narratives and diverse ensembles, building equity both on and off screen, one story at a time.

People on a film set reviewing a script near a kitchen counter with various cooking ingredients, including jars and bowls, with studio lights and equipment in the background.

Think ALL THAT JAZZ, NETWORK, DO THE RIGHT THING, SOPHIE’S CHOICE. FRAME BY FRAME, is n oral history of New York’s most iconic films from the 1960’s-2010’s told by the people that made them - - Available on Apple podcasts and now permanently housed in the Academy of Motion Picture Arts and Sciences Oral History Collection.

Building Community.
Telling Our Histories.

I like to tell the kind of stories that remind us what good we’re capable of.

  • An image of Greenspacing.

    With Alan Heim, picture editor and Dan Sable, sound editor discuss ALL THAT JAZZ ( Dir.: Bob Fosse, 1979)

  • An image of Greenspacing.

    With Alan Heim, picture editor (NETWORK, LENNY,ALL THAT JAZZ, STAR 80)

  • An image of Greenspacing.

    With Brian Kates, Pictrue Editor (SUCCESSION, ALL THE BEAUTY AND THE BLOOD SHED, KISS OF THE SPIDERWOMAN)

  • A group of five people sitting around a table in a recording studio, with microphones and various beverage bottles on the table.

    With Spike Lee's longtime collaborators (L-R), Phil Stockton, Sound Editor, Barry Brown, picture editor, Tom Fleischman, re-recording mixer and archival researcher.

  • Five people seated at a round table engaged in discussion, lit by overhead lighting, glass of water on table.

    With (L-R) Michael Jacobi, Assistant Editor, Alan Heim, picture editor, Mark Laub, sound editor and Jeffery Wolf , apprentice editor, on working on Sidney Lumet's NETWORK.

  • Two individuals talking and laughing in a recording studio with microphones, cans, and bottles on the table.

    With co-director Chai Vasarhelyi ( FREE SOLO, NYAD, PHOTOGRAPHER))

  • Five people standing in a studio, smiling, with audio equipment in the background.

    With collaborators of Brian DePalma (L-R) Mel Zelniker, sound editor (DOG DAY AFTERNOON, TAXI DRIVER, THE GODFATHER PT II, NETWORK, THE UNTOUCHABLES), Kristina Boden, picture editor (CARLITO'S WAY, PRIME), Lee Dichter, re-recording mixer (GREY GARDENS, SOPHIE'S CHOICE, STAR 80, THE UNTOUCHABLES) and Bill Pankow, picture editor ( THEUNTOUCHABLES, CARLITO'S WAY, BODY DOUBLE).

Woman in a hat and orange sleeveless top sitting outdoors with a pond and cabin in the blurred background.

Pushing boundaries

I believe powerful stories can change the world. With 20+ years in the film industry, I’ve worked at the intersection of writing, creative production, business strategy, and social change to bring bold, meaningful narratives to life. From HBO, Netflix and Amazon Studios to Zoetrope Studios, Disney, Discovery, PBS, and the Academy of Motion Picture Arts and Sciences, I’ve partnered with the best in the business to tell stories that move hearts, open minds, and spark action.

I started my journey co-founding The 100 People Foundation, where I produced, shot, and edited over 30 short documentaries around the world. Since then, I’ve edited festival-honored features like What She Said: The Art of Pauline Kael and Take Care of Maya, with screenings at Berlin, Telluride, Tribeca and more. I’ve had a hand in shaping stories about everything from civil rights heroes to children’s healthcare at the intersection of politics and filmed across China, Eastern Europe, Africa, Southeast Asia, and beyond.

Building a project from ideation through development, production, and delivery to shape the narrative so that it lands with investors, audiences, and communities alike is what I love. I recently co-produced, a transformative reel with MESH for Cherokee Film to inspire others to reimagine what’s possible at Cherokee Studios.

I hold a B.A. in Philosophy from UC Berkeley and an M.A. in Communications and Filmmaking from Stanford, where I also taught graduate-level production. I’ve written for ArtForum, Variety, Cineme Editor and Wired, and got my start cutting documentaries for The Criterion Collection. I live in upstate New York and thrive on building bold, values-driven partnerships with visionary creatives and changemakers. You, too? Let’s talk.

When I was little, my mom taught me something that defined my whole life.

“A powerful story can change the world”

Vintage portrait of a smiling child with short hair wearing a striped sweater and a collared shirt, set against a neutral backdrop.
Village scene with wooden houses, people sitting and walking, children playing, and trees in the background.
Two people sitting on a boat on a large body of water, one person holding a camera.

Meaning, no matter what circumstances you find yourself in, rolling up your sleeves and taking action is the only way to find out what you’re capable of and what the world is ready for.

That’s the fighting spirit that animates many of the lead characters in my projects and it’s the message that guides me in building projects, especially when inevitable challenges come into play. My mission is to tell stories that inspire us, remind us of the power of what happens when we come together united by a common vision and remind us of our strengths in the face of seemingly insurmountable obstacles.

Person filming with a camera in a bright white sand desert landscape with dunes and a small building in the distance.
Three people in a canoe on a river with greenery in the background; one person holding a camera.