Director Observer Applicants (22)

After writing and directing four feature films in Mexico, I moved to Canada in 2022 with a singular goal: to evolve into a director-for-hire within the Canadian industry. Since arriving, I have been proactive in building my foundation—joining the DGC, securing a Telefilm development grant for my next feature, and writing my first rom-com for The CW. I recently was selected in the DGC mentorship program with Lucie Guest as mentor, with the idea of writing and directing TV movies as a way of entering the industry as director. Ultimately my goal is to get into episodic and so I am very interested in being a director-observer on a series. With this in mind, I have taken several DGC episodic workshops. I have spent countless hours studying the coverage and blocking of my favorite series, particularly procedurals, but I know that true mastery of the format comes from being on set. By observing the prep and shoot of a high-caliber production like Cross, I feel that I will start to get a feel for what it is to direct a series so that eventually I will be able to direct one myself. I don’t have the expectation that after observing I will be hired to direct a series. But I do think that after directing a few TV movies and observing on series, then I will be ready to approach EP’s and pitch myself as a talented, disciplined, professional director who understands story and character and who can expand on the visual language of a series, while staying true to the essence and the established tone.

What strikes me most about Cross is its ability to function as a high-octane procedural while remaining a sophisticated piece of social commentary and a tender portrait of a grieving family man. It is a masterclass in balancing “entertaining” with “socially relevant,” a duality I strive for in my own work. Ben Watkins has crafted a protagonist brilliantly at odds with himself. I am fascinated by the friction inherent in Alex Cross: a proud Black man who is also a high-ranking officer in a modern police force. I appreciate that the show does not shy away from difficult topics like systemic racism or the defund movement; instead, it uses these real-world pressures to test the hero’s moral compass. This elevates the show from a standard whodunit into a chilling exploration of what it means to protect and serve in a fractured society. Aldis Hodge’s performance is magnetic as Cross. I am impressed by how he balances the coolness of a Ph.D. psychologist with the raw, short-fuse energy of a grieving widower. The way the show transitions from his smooth, analytical side to his moments of unbridled rage is a tonal challenge I would love to observe firsthand. I am particularly interested in the visual language used in the show. The slow, methodical reveal of Ramsey, the bleach-blonde villain, the haunting atmosphere of the morbid art exhibit, the visceral energy of Bobby’s cocaine-fueled dance, Ramsey’s eerily cinematic torture chamber and the visually stunning chase in the abandoned warehouse are just a few of the scenes which demonstrate a command of classic procedural tropes elevated by modern, stylish sensibilities. Beyond the craft, the show’s exploration of grief is what truly resonates with me. Having lost my partner suddenly in 2018, I found the portrayal of Cross’s mourning to be incredibly authentic. The scene where he plays the recorded messages Maria left for him to his son was profoundly moving. It reminded me that at the center of every great thriller is a human heart. I want to observe how Cross maintains its stylish, propulsive energy while tackling heavy themes like migration, loss, and political optics. As I transition into the Canadian industry, understanding how this production manages such complex emotional and social layers would be an invaluable step in my development as a versatile, high-level director.

This opportunity would be incredibly beneficial to my career because it allows me to deepen my experience in the elevated procedural space while learning directly within a high-level show like Cross. While I’ve directed extensively in thrillers and character-driven storytelling, shadowing on this series would give me invaluable insight into the creative, logistical, and tonal demands of a premium procedural at scale. Learning how the show balances character psychology, serialized tension, and episodic storytelling would be directly applicable to my growth as a director and to the kinds of projects I want to continue moving into.

I’m excited by Cross because it lives at the intersection of psychological thriller and procedural storytelling. I’ve directed extensively in the thriller and horror space, including a recent Netflix Top 2 thriller in the US, and I’m particularly drawn tot he show’s focus on character psychology and tension. An elevated procedural like this feels like natural fit for my sensibility, and I’d love the opportunity to learn from the show.

As a Canadian Screen Award-winning director, I have consistently used my documentary work, such as CBC’s ‘Patty vs. Patty’, as a foundation for high-stakes visual storytelling. However, my narrative work on projects like ‘Agape’ and my “short music film” for Dexta Daps is where I have previously cultivated a cinematic visual language that aligns with the aesthetic of ‘Cross’. Specifically the use of low, moody lighting and high-contrast shadows to build atmospheric tension. I am applying for this specific observer opportunity to bridge the gap between my independent work experiences and the technical demands of a high-end, international streaming series. While I am comfortable managing named talent (in music and film) and lead crews, I am eager to observe the production side of a series of this scale. Key areas of focus for me include the showrunner-director relationship dynamic, and how the director works to map out shots and scenes within Ben’s framework; the mechanics of blocking for multi-cam coverage within a single-camera workflow; and maintaining visual integrity while tackling high-page-count days. I particularly admired the camera work and pacing in Director X’s episode (107); seeing how that level of stylistic flair (which of course developed in X’s music video career) is maintained within the rigours with in the framework of a Skydance and Amazon MGM production would be a masterclass for my career elevation. I view this opportunity as a chance to prove my value on set and demonstrate how my perspective as a Black director fits the future of this series. Though I’m currently based in BC, I am a Toronto native with a permanent residence in the city and am fully committed to being on the ground for the duration of the Observer opportunity.

Beyond the relentless tension and cinematic visual language—defined by its moody, high-contrast lighting and fluid camera work—what resonates with me most deeply as a Black man myself, is that ‘Cross’ refuses to be tokenized or a “Black show” in a reductive sense. It is premium TV thriller that is authentically rooted in Black experience(s) and Black culture(s). It avoids the common pitfalls of procedural tropes (especially in Canada) by portraying a world that is universal without needing a racial adjective to justify its existence. I am particularly impressed by how the series navigates the complex intersection of law enforcement and community identity. It handles the friction between policing and activism in Black communities with a level of nuance rarely seen on television. By exploring the flaws on both sides of the justice system, especially in a post-Black Lives Matter setting, the show transforms a standard murder mystery into a rich, socially relevant character study. The narrative architecture, specifically of Alex Cross’s life as a widower, father, and detective, offers the kind of emotional stakes any director would relish to sink their teeth in. Whether it’s the specific references to Black culture, the curated R&B and Hip-Hop soundscape, or the portrayal of D.C. as ‘Chocolate City,’ the show feels deeply authentic. To me, Cross is the ‘Black Sherlock Holmes’ that has been long overdue.A sophisticated, cerebral, and gritty drama that I am eager to observe and study from the inside.

I am in the middle of having experience but not enough experience. I am taking every opportunity I can to be on set to learn and further relationships with producers and creatives. My aim to to reintroduce myself to them as a director .

I love how they have weaved in very layered themes and how they examine mental health. I think Ben Watson and the show have created a rich world for his characters. And have done a brilliant job with casting it.

I have only directed episodes of programs that I was already an editor on. I need to see how to truly navigate being a guest director instead of an in-house crew member getting to direct. I think this opportunity would bolster my credibility to work as a guest director for a production I am already a crew member on.

I love the way it’s shot. It’s a dark, moody, gorgeous neo-noir. I love the way it incorporates the Silence of the Lambs-esque serial killer tension into a police procedural that tackles real world political issues.

For much of my filmmaking career I’ve mainly been focused on feature films as a director and writer, this opportunity would give me the chance to watch how the episodic world functions close-up and from the inside. I look forward to learning more about the dynamic between the showrunner, producers, writers and the director, from pre-production through to post-production. As well this is a business about who you know and having the chance to meet the incredible filmmakers of CROSS would be extraordinary.

The first time I saw CROSS I was immediately drawn in by the look and tone of the show, the beautiful lighting, the clever lens choices and interesting angles and compositions. But it was the storytelling that really locked me in. The idea that a show with so much “grit” could feel so incredibly human fascinated me. It’s a perfect balance of characters who all feel fully three-dimensional set in a world of hard-hitting scenarios that never feel like tropes of the genre. I was hooked from the beginning.

I am focused on growing into larger budget one hour dramatic shows. Cross is a great opportunity to shadow on exactly that kind of show here in Toronto. I think I am in a the right place (career wise) to learn from the inner workings of a show of this pedigree.

I’m a big fan of smart serialized procedurals. Cross also has strong cinematic visual storytelling which I feel is one of my strengths.

Hello, My name is J.J. Neepin, I am an Indigenous Director & Writer based in Winnipeg, MB. I am a member of the Fox Lake Cree Nation. I believe this opportunity would benefit my career immensely because it would allow me to learn not just from the Director, but the experienced crew in Toronto. I’m always fascinated by how the set life varies from province to province. For example, I was fortunate enough to be an observer of Deanne Foley in Newfoundland (Hudson & Rex) which led to my first scripted television director credit. Observing the crew culture there vs Manitoba was so reassuring that I enjoy film life and the people in it. Worried I wouldn’t fit into the culture, I found and made a few professional relationships that I still value from that opportunity. Since then, I’ve also directed for an episode of a comedy series in Winnipeg; Acting Good. Though Hudson&Rex is a cop procedural series, there was a strong element of comedy, sometimes outweighing the serious moments. And Acting Good is pure home town, campy and Indigenous humour. Cross is closer to the kind of stories I want to tell. One of my favourite television shows of all time was NBC Universals’ “Hannibal”. Deep psychological thrillers, crime genre, and dramatic themes are where I want to end up in my career. As much as I enjoy and thrive in comedic direction, I am personally drawn to more complex stories. I have many documentary television director credits, one of the first I cut my teeth on was APTN’s Taken (A series about Canada’s Missing & Murdered Indigenous women & Girls). I will say there is a comfort to the idea of working on thriller/crime/mystery genre projects where I know the ending. “Good” or “bad”, I know where the story will go. I believe that if given the opportunity to observe on this series, I’ll open more doors to help advocate for myself that I am a great option for a director for your/that show. I am a strong, smart, funny and artistic Indigenous woman who will bring good vibes and a strong voice to your project. Thank you for your consideration – stay warm – Best Wishes for the production. – Sincerely J.J. Neepin

Hello – As I mentioned in my previous entry, I am a big fan of NBC Universal’s Hannibal TV series and one of my fangirl contributions was a podcast called ‘Hannibal’s Horny Hibachi’ where myself and two other Indigenous artists (Sonya Ballentyne, a writer & Celeste Sutherland, a graphic artist) would discuss each episode. I would discuss ‘fannibal’ topics, Sonya would bring in a real world serial killer/crime related to the episode and Celeste who has never watched the show or the films or anything crime/true crime was our ‘fresh eyes’ to the subject. This allowed us to to re-examine the show and enjoy it all over again, including our own real-world experiences that inspired our interest in crime/true crime. I’ve been a fan of the genre since I was 16 years old and moved to Winnipeg (by myself) for better schooling. An incident led me to start reading true crime books and learn how to protect myself. Well, it began as wanting protection and evolved to wanting to understand the behaviours. Given this context, after watching the first season of Cross, I saw so many parallels and similar themes to Hannibal and immediately was intrigued. Ed Ramsey gave me Red Dragon vibes, the cinematography definitely brought me back to the same headspace and aesthetic that Hannibal brought (albeit much less gratuitous displays of the killers ‘work’) which isn’t a negative, it makes the show a different layer of creepy. Cross is definitely in my fangirl wheelhouse and regardless of the outcome, I’m still watching the show.

As a mid-career director with a deep grounding in drama and thrillers, observing on Cross would allow me to refine my craft within a high-level episodic framework, particularly in sustaining psychological tension across a serialized arc. I am especially interested in studying how the show’s directors balance performance-driven intimacy with procedural momentum, maintain tonal consistency within an established visual language, and execute efficiently under the pace of premium television production. The opportunity would not only deepen my understanding of large-scale storytelling logistics and collaborative dynamics within a franchise structure, but also sharpen my own creative process by exposing me to new approaches in actor communication, coverage strategy, and tension-building at scale.

I am writing to express my sincere interest in shadowing as a Director Observer on Cross. The series stands out to me because of its grounded tone, psychological depth, and the way it balances procedural structure with emotionally driven storytelling. What I especially admire about Cross is how each episode carefully layers suspense through character perspective rather than relying solely on plot twists. The interrogation sequences are particularly compelling — the camera often lingers just long enough to let silence create tension, and the subtle shifts in framing during confrontations reveal power dynamics without overt exposition. I also appreciate how the show weaves Alex’s personal life into the investigative arc, making the stakes feel intimate rather than purely procedural. Having watched the series closely, I’ve been struck by the deliberate pacing in scenes involving forensic discovery and how the visual language shifts between the clinical precision of casework and the emotional weight of its aftermath. Those choices feel intentional and director-driven, and they’re exactly the kinds of decisions I’m eager to observe and learn from on set.

This opportunity would be beneficial for many reasons. Beyond gaining more experience…i have a scripted thriller feature film in the midst of obtaining financing with Telefilm, we have an incredible team of producers & distribution partners on board, this opportunity will add confidence & better prepare me for filming. As you will notice; my work has range in high quality scripted commercials, documentary, series and films. This experience is invaluable and will help set up future filming endeavours for success. My hope is that this opportunity will help open the door to scripted series opportunities so I can finally enter the room. .

I’m attracted to the emotional pacing of the show – and the human nuance in a genre that often requires action often for simply the sake of it. I’m enjoying watching a flawed protagonist and delving deeper into what triggers / motivates the characters.

I have worked in scripted and unscripted film, no TV to date but as a WGC member I have written two series pilots for television: “Gimme Shelter” and “Fran & Judy.” This would be an ideal opportunity  for me to get on a television set as an observer as I aim to move into scripted television. I should mention that I have quite a bit of experience as a performer on set and utilize those opportunities to observe crew and directors. The one hr. pilot I recently completed is for a psychological drama entitled, “Gimme Shelter.” I do aim to sell the series with the goal of directing drama and action.  I should also mention that I write action and look forward to directing it. “Soiled Doves,” my feature Western in pre production is ripe with action and stunts. As a former dancer/ choreographer I possess an innate affinity for tracking and visualizing movement. I do hope to exercise my special skills in the near future. 

I’ve read Patterson and appreciate the adaptation, well done. “Cross,” is a great psychological drama television series with a bigger-than-life cinematic vibe. I love the show’s style: the dramatic tension, the nuanced humour of the characters,  and of course the action and stunts!

After two features that have both played at top-tier film festivals, I have been trying to make my way into TV as a way to build a more sustainable career, but also, because the craft and storytelling of television is so compelling and diverse, and the ability for character development and story arcs is so exciting! Shadowing on a show of this calibre would help me CROSS (pun intended) that threshold. I am looking to get into high-end hour-long or mini-series because I appreciate the craftsmanship of those mediums, the complexities of the narratives, and the attention to detail in character development and world-building. To have the opportunity to shadow on a show of this calibre is something I’ve been seeking for a while. Having studied filmmaking in my undergrad at York University, and then heading to LA for my master’s in directing at The American Film Institute, I have had the opportunity to learn from great filmmakers about the craft of filmmaking – the area that they didn’t focus on was television. As the landscape of entertainment has shifted, you see many more filmmakers seeking out high-end television like Cross to flex their directing muscles and help elevate the medium. I would love to learn from this team and watch them at work. An opportunity like this would help me get in front of decision-makers while I continue to be a student of the art.

I know and love the work of so many of the creatives on the show – like Maya Bankovic, Claudine Sauve, Matt Coleshill, Jorge Weisz, Shannon Hawes, and Chris Agoston. I am so happy to see them put out such great work. I am also an admirer of the cast and the directors who work so well at balancing the action and drama of this narrative. What I appreciate about this show is the complex character development that comes to the forefront. Yes, the action is amazing, and I would love to learn about how they accomplish that – but what I love is the nuance, the quiet moments, the cinematic elements that give us insight into the complicated relationships and past trauma of our characters. I appreciate the psychology focus over the pure action, the gray area that it portrays.

I have yet to work on a DGC set. I would like to step onto a well-oiled set and learn from the best on how to streamline, make fast decisions and direct thrillers

I love seeing relatable, complex characters with strong writing and high production.

This opportunity would give me invaluable experience and contacts as I make my way from directing MOW’s to moving into television. As well, I love learning from watching other directors in action.

The way this show handles the complexities and nuances around therapy / anger management and Black Lives Matter vs the Police is chef’s kiss. I also really like the look of the show.

As an emerging director, my work experience includes a number of acting roles in dramas, including Locke & Key and The Handmaid’s Tale, but so far all of my directing experiences have involved lighter subject matter. I’m deeply drawn to more dramatic material, so shadowing on Cross would be like boot camp for storytelling! I’m eager to observe a more senior director’s process, from prep week through to wrap. I’ll be inspired to observe how they lift the show’s structure and tension off the page, how they communicate with different departments, how they pivot to solve problems, and most of all, how they run the floor and execute their choices in blocking, lighting, lensing, and protecting such strong performances under pressure. Thank you for considering me for this opportunity – I would be truly honored, and incredibly eager to learn!

I love that CROSS doesn’t play it safe. As a storyteller, I’m drawn to deep explorations of human complexity. Alex Cross isn’t just a brilliant detective; the show plunges us into his lived experience of grief and trauma, and lays bare some of the ugly, difficult places that history has taken him. The show gives exactly what we want in a crime thriller: suspensful procedural work, disturbing crimes, challenging mysteries to crack, strong cinematography that further elevates the material, and a compelling and diverse cast portraying complex characters whose flaws are on full display, yet at heart, I still want to root for them!

As a developing DGC Director member being on set with a most experienced DGC Director in a Top 10 TV show definitely would be helpful for my career in delving right into the most important entertainment sector in the industry. And I will appreciate that generous opportunity.

This action show creates such a believable dark atmosphere in a realistic way that inevitably engages audiences with Alex Cross’s colourful dark world. I like very much the way he gradually becomes a hero using his psychological abilities and smartness confronting the evil inside the public enemies (Season 1).

Being a Director Observer on Cross would be highly beneficial to my career at this stage because I am intentionally transitioning from independent feature documentary directing into premium episodic narrative storytelling, and this opportunity would allow me to deepen that evolution within a high-caliber studio environment. As a member of IATSE 873, I have previously worked on Cross as a grip. Over the years, I have worked on dozens of television series and studio productions, gaining hands-on experience with the technical mechanics of episodic television. I have collaborated closely with departments including cinematography, gripping, carpentry, costume, special effects, lighting, sound, props, set dressing, and greens. This cross-departmental exposure has given me a practical understanding of how each discipline contributes to visual storytelling, tone, and efficiency on set. That technical foundation has sharpened my focus on actor performance. Understanding how lighting, blocking, camera movement, and production design support emotional execution allows me to approach directing from a holistic systems perspective—where performance and technical precision work in harmony. Observing on Cross would allow me to study how those elements are orchestrated at a premium streaming level, particularly within a thriller format that demands tonal consistency, pacing discipline, and character-driven intensity. My debut feature documentary, Ray of Hope, secured an Oscar-qualifying theatrical run and national broadcast acquisition. Leading that production required navigating a constrained budget, coordinating international teams, and managing emotionally complex material with sensitivity and clarity. While that experience strengthened my leadership and storytelling voice, observing on Cross would expand my understanding of large-scale episodic workflows, including showrunner-director dynamics, prep strategy, and maintaining tonal continuity across multiple directors. In addition, I have completed several DGC National workshops focused on episodic television directing, as well as performance-based directing intensives with Joey Klein and other facilitators. These programs have refined my actor-focused methodology and reinforced my commitment to disciplined, collaborative storytelling within structured production environments. At this stage of my career, I am developing narrative features and building international co-production partnerships. Immersion within the directing framework of Cross would significantly strengthen my readiness to direct at scale, bridging my technical crew background and award-winning independent directing experience into the studio episodic arena. This opportunity represents a critical step in expanding my directing practice from independent authorship into premium, global television storytelling.

I am drawn to Cross because of its sophisticated balance between psychological depth and procedural tension. I have watched all the episodes of the series, and what continues to stand out is its ability to sustain character complexity while delivering disciplined, high-stakes storytelling. At its core, Cross is not simply a crime thriller—it is a character study. The series explores intellect, trauma, morality, and vulnerability through a protagonist who is both brilliant and deeply human. What resonates with me most is the emotional architecture of the show. The tension is not driven solely by plot mechanics, but by character stakes. The series allows space for performance nuance—micro-expressions, silence, interior conflict—while still delivering cinematic momentum. As a director who believes performance is the engine of storytelling, I appreciate how Cross builds suspense through psychology rather than spectacle alone. From a craft perspective, I admire the tonal control of the series. It navigates darkness without losing clarity and maintains grounded realism even within heightened thriller circumstances. The visual language—camera movement, lighting, production design, and pacing—feels intentional and character-driven. Technical choices clearly exist in service of emotional storytelling. On a more personal level, I have followed and worked alongside Director X, and I deeply admire the inclusive environment he cultivates on set. His leadership reinforces the idea that excellence and inclusion can coexist powerfully. I also respect the world-building vision that Ben Watkins brings as creator. The intentionality behind the tone, character complexity, and cultural grounding of the series reflects thoughtful and expansive creative leadership. Finally, I am drawn to how Cross exists within a recognizable franchise while still feeling contemporary and relevant. It demonstrates how legacy material can be reinterpreted with depth and modern sensibility—something I am actively studying as I develop narrative adaptations of my own. In short, I admire Cross because it prioritizes psychology, performance, and precision, while being led by creatives who value inclusivity and intentional world-building. That alignment of craft, culture, and character-driven storytelling deeply resonates with the kind of work I aspire to direct.

Meeting the producer and shadowing to learn how the show runs and understand the protocol is more than half the battle in getting the team to say yes to me as a director on this show or another one of theirs. This shadowing experience would significantly increase my chances of securing a second episode of television.

I love the TV series Cross. I’m naturally drawn to thrillers and action, and this one delivers an exceptional cast, gripping storylines, and strong, propulsive action. The cinematic cinematography elevates it even further. With my background in editing and comedy, I’m especially attuned to rhythm and timing, and the show’s pacing is razor-sharp.

I fell in love with storytelling and filmmaking through shows like True Detective, Man in the High Castle, and Breaking Bad. After finishing film school, I knew I wanted to work in television, but becoming a DGC member was the first obstacle. So I made a feature film for $100K USD, and it was successful enough to get me into the union. Working with showrunners and writers to bring their vision to the screen as a director for hire has always been the goal. That collaborative relationship, where the director serves the story rather than the ego, is where I believe the most interesting work happens. This opportunity moves me meaningfully closer to that. But what makes this particular shadowing so valuable is the genre itself. Mystery, thriller, detective storytelling; the architecture of suspense, the patience a story needs to earn its revelations; these are the things I am most drawn to as a filmmaker. This is not just a shadowing opportunity. It is a chance to study craft inside the exact kind of work I want to dedicate my career to. I’ve attended the Episodic Director’s Workshop, but learning the theory is much different than being on the ground and learning everything firsthand; the delicate relationship between the director and the writers and showrunners. There is a language that develops between those collaborators, one that can only be absorbed through proximity and observation. That is the education no classroom can replicate, and it is exactly what I am here to learn. I will walk away from this experience with a deeper understanding of how decisions are made at that level, which will make me a sharper, more prepared director the moment I step into that role myself.

There’s a moment where something finds you. Not the other way around. I came to Patterson through his MasterClass; that window into how a thriller is actually built, the architecture of tension, the discipline of never letting the reader surface for air. I went back to the books after that. Devoured Along Came a Spider, Jack and Jill, and Cross Fire. So when the show came out, I felt what I always feel when something I love makes that leap into a new medium. Excitement and dread, sitting right next to each other. What if they get it wrong? I’m happy to say I was wrong to worry. They pulled it off. What strikes me most is that they kept the soul of Cross intact while building entirely new cases around him. New darkness, new corners of his world. It’s like finding out the author had written chapters and had been hiding them in his attic for years. Watching the first season felt like being a kid in a candy store. The same ingredients, but different flavours. Alex feels the same as he does on the page: grounded, complicated, a bit lost and guarded, but the story keeps opening up. The first interrogation scene where we’re with him is priceless. That intelligence, that sharpness wrapped in charm. The relationships are where the show actually lives. His love for his kids, his friends. The need to close the chapter on who killed his wife is so deeply, painfully human. And then there’s the contrast. Someone like Alex, who carries everyone, is set against someone like Ed Ramsey. Two men. Completely opposite gravitational pulls. I love how we’re learning more about Bobby’s upbringing in season two. It adds so much complexity to his character, and it’s just great writing.

I have been a professional director in feature film since 2003 and would like to move into television. I am very curious, collaborative and excited to expand my skillsets!

Cross is a psychological crime thriller, that is character driven. The characters have depth and the pacing is fascinating. Alex Cross’s professional journey is personal, which makes it relatable.

On Finch & Midland, I wore multiple hats — not only directing, but also stepping heavily into production responsibilities. Having previously worked as a UPM, I naturally slipped back into that mindset when challenges arose. There were moments during production where the logistics and pressure almost pulled me away from why I started telling stories in the first place. I even questioned whether I should continue directing at all. Now that the film has reached audiences — and I’ve seen how deeply it has connected — I feel grateful and encouraged. But I also recognize that I need to refocus. I need to rewire my brain back toward storytelling, performance, and the creative process, rather than constantly operating in survival or problem-solving mode. I’m ready to return my full focus to directing. I see the Director Observer program as the best way to sharpen that focus, learn from directors I admire, and move forward with more clarity and confidence.

I’m really drawn to Cross because of how it tells a long story while keeping each episode engaging. I’m curious to see how the directing choices make a single episode work on its own, while building toward the larger arc. Having a BIPOC lead is exciting too — it’s rare to see complex stories like this. Even though the mentorship focuses on one episode, I’m eager to learn how they balance performance, pacing, and tone across a bigger story. I think it will help me refocus and grow as a director.

Although I have a solid filmography and multiple award nominations, I aspire to do more episodic work because that’s where I believe some of the best talent and stories are to be found.

As a Director I have a strong body of work in multiple genres for multiple networks including CBC, Paramount+, Lifetime, Hallmark, and MTV Entertainment Studios. My reel demonstrates excellence in achieving dynamic action, gripping narrative, innovative photography, and strong performances. More importantly, I’ve proven I can work with strong personalities who have impressive bodies of work themselves: artists, actors, producers, creatives.

Prior to my Directing career, I was an AD for over a decade (60+ AD credits). My AD chops provide an extremely solid foundation which allows me to handle anything and everything thrown at me in production. As a Director my goal is to deliver and exceed expectations, while elevating creatively and strengthening relationships on set so we can make a great product together.

We made the decision in my home to re-watch Season 1 again BEFORE starting Season 2. Very happy with that decision. Can’t wait to dig into Season 2 on my next day off.

To state the obvious, I was so happy to hear about Season 2 when it was announced.

Obviously it’s an amazing show. Writing, aesthetics, performance, photography, stunts, the list goes on. Amazing. The characters AND the story lines are multi-dimensional. The show is not just one thing. It’s procedural, thriller, drama, which tackles community issues including systemic corruption and racism, but the issues are never “in your face”, they are skilfully woven into rich narratives and deep character development. That’s what I love, the richness, the multi-dimensionality. The show doesn’t do one thing well. It does MANY things VERY well, woven together in a seamless tapestry of compelling narrative.

The “stakes” are not only high, but they are also multi-dimensional: personal stakes, society stakes, AND “life-in-danger” stakes.

Working on my other dramas, especially those that were more procedural thrillers, and also including when I was recently directing my episode of Allegiance (which I truly enjoyed), I always worked to enhance that multi-dimensionality. AND, every single day, ask anyone on set, ask the showrunners and the writers and the producers who were there with me: almost every single day in prep and in shooting, some version of these words came out of my mouth: “The stakes need to be higher! We need to feel the danger. When they come through that door, we need to believe there’s a deadly assailant on the other side!”

It can’t feel routine. It can’t feel stale: physical stakes AND personal stakes.

And that’s what I love about Cross. The stakes are real, we feel the danger: personal, societal, and physical. (We also feel the love.) The narratives and performances are authentic, and it never feels routine or stale. That’s what keeps the performers AND the audience stoked.