On a major TV series, there's a massive infrastructure in place to deal with nearly every contingency you could imagine. This is particularly true on The Walking Dead (2010), which has an insane number of moving parts, and is produced by a brilliant group of producers in Georgia and Los Angeles. On Midnighters (2017), we had limited resources and money, so our infrastructure was much smaller. Hence, when something went wrong, we had to improvise. [2017]

When I joined The Walking Dead (2010) in season one as an editor, I expressed an interest in directing. I showed the producers and the network my [short] film [Pivot (2008)], and after working on the show for a few years, I was fortunate enough to earn their trust and get a chance to direct my first episode. [2017]

The Walking Dead (2010) has a deliberate, measured pace that's a large part of what makes its tone so effective. I think of it as the heartbeat of the series, and it's most often set in the editing room. It determines everything about how an audience experiences a film. When directing and editing Midnighters (2017), I knew that I similarly had to find the film's heartbeat and set it to the right rhythm. [2017]

Being able to edit a scene in my mind has made me a more effective director, and better able to communicate my vision to collaborators on a film. [2017]