Stonington, CT
I was invited to join a small but mighty band of designers and animators operating out of a windowless cave somewhere deep in the center of the 48th floor of the Viacom building at 1515 Broadway. What I assumed would be a one-week freelance pit stop quietly evolved into nearly a decade of collaborating with the genuinely wonderful humans of MGM+ (née EPIX). Along the way, I had the chance to work on everything from stunts and sizzles to promos, teases, branding, critic's spots, and just about every other shiny thing you could squeeze out of a dark room with no natural light.
I worked for MGM from 2014 until 2023, a stretch of time that coincidentally overlapped with several corporate eras, brand identities, and logo lockups. The name on the door and the people in charge may have changed (a few times), but the work stayed fast, demanding, and creatively satisfying—often requiring us to make something feel bold, premium, and intentional on tight deadlines.
One day I’d be deep in typography tweaks no one else would ever notice, the next I’d be animating something loud, flashy, and designed to stop viewers mid-channel-surf. EPIX had a way of trusting its designers to solve problems visually, which meant experimenting, pushing ideas, and occasionally discovering that the thing you mocked up the day before had somehow made it to air. Through rebrands and office moves, the work kept evolving, forcing all of us to stay sharp, flexible, and very familiar with the phrase “just one more version.”
By the time EPIX became MGM+, I had amassed a highlight reel of projects created under just about every conceivable circumstance—including a period where the entire operation ran through video calls and Slack threads. The pandemic didn’t slow the work so much as relocate it, and the same creative energy carried through. Looking back, it was a rare run: nearly a decade of consistently strong work, smart collaborators, and the opportunity to help shape a brand again and again.
