After acquiring a serious animation bug, I spent my formative years drinking as much animation soup as possible. The result? Animation blood. What is the cure, you ask? A lifetime of creating and loving the visual story.
I hail from ye, old city of York (Toronto, Canada, for you laymen) where I studied at the fine animation institute of Sheridan Collage. From there I apprenticed in the vibrant and challenging medium of Stop Motion animation. On show's such as Jojo's Circus and Rick and Steve, I learned that the puppets don't just come alive on screen, but also at night, when they roam the halls looking for fresh blood, preferably children but often the blood of adult children would suffice. Survival of such inhospitable conditions gave me the strength to accept work in San Francisco, where I worked with such giants as Henry Selick and Eric Leighton. Following a serious case of Giantitas (being crushed beneath, said giant's monstrous feet) I transitioned seamlessly into the cloud city world of CG animation. I cut my teeth on BBC's Dino Paws, learning that even that even Dinosaurs were once cuddly like plush toys with British accents. And so the journey into the wild untethered world of animation continues, only the strong survive.