I had sworn to stick to acting when it comes to film, but to be honest I am a) not really a very versatile actor and b) I prefer other people doing the heavy lifting when it comes to creating roles.

For the first few years of directing film I made a point of not acting in my own work, because I felt, and still feel, that doing one job is hard enough; one of the two is bound to suffer, if you juggle the responsibility of guiding actors through a performance and at the same time serving as their scene partner. There is no way you can commit 100%.

I have made two exceptions thus far and whilst I got lucky enough for the material to work out, I have gone back to simply directing, if there is no one on set to guide me through my performance.

As a film director I slid into it just as accidentally as I did into producing, however, I was a producer before I started directing film. And if it hadn't been for my then-DoP, the whole thing would have probably looked like an open air stage production. But we made it through and several years, a few shorts and a feature film later, we are still here and still making films ... and they no longer aim for the Tony Award.


... and Theatre

I was educated at The Lee Strasberg Studio (later known as the Method Studio) as well as the American Academy of Dramatic Arts in Pasadena, CA. In addition to writing and directing, I ran the 'Shakespeare for Dummies' TIE programme and worked in fringe theatre before turning my attention to film in 2009. The last play I directed before an extended hiatus was the TIE production 'The Scottish Play', which was an interactive cross media performance of my adaptation of Shakespeare's 'The Tragedy of Macbeth'. I have helped out with Cake & Conflict's production of George Brant's one woman play 'Grounded' in 2019/2020, which was shown at the bremer shakespeare company and starred the fabulous Linnea George as the Pilot. The play was directed by Markus Herlyn and was set to resume performances in May, however, these were indefinitely postponed due to Covid-19. In 2022 I wrote and directed a one woman piece called "Whale Song", however we produced it in German in Berlin. For a new multi-player performance in Bremen I have received funding from the local cultural resort and shall look forward to taking the piece on tour.

My most gratifying work as a director was the revival of our production of Stuart Browne's 'Dancing Bears'. The show had originally been shown at the Kulturzentrum Schlachthof, which was a perfect location for this gritty drama, but as the venue did not attract theatre-goers at the time, we decided to move the show to a more conventional venue. Three months later we showed the play at the Sch├╝rschuh Theater, after having re-shuffled the cast and not taking the play on tour was my biggest regret to this day.

My most profitable work as a director and performer were the 'two ladies' years, which had us perform cabaret-style comedy shows as dinner entertainment. I had a desire to return to TIE, and after our production of 'The Scottish Play' I vowed to stick to film. And I have mostly been true to that promise.

Admittedly also film

Film Projects (Selection)

  • Razzmatazz (released)
  • Run the World (Documentary) (completed)
  • We Can't Stop (Documentary) (pre-production)
  • Was der Schweigefuchs noch sagen wollte (Released)
  • Insomnambulists (Released)
  • Synchronize (Released)
  • Minus x Minus (For Richer or Poorer) (Released)

Theatre (Selection)

  • Whale Song (Multi-Performer Play)
  • Potato Fritters, God & Barbed Wire (TIE)
  • Whale Song (One Woman Play / Drama)
  • Zero Gravity (Comedy)
  • Down to Earth (Comedy)
  • Beneath the Surface (Comedy)
  • AIDS is for Queers (TIE)
  • The Scottish Play (TIE)
  • Schoolgirls, Nuns and Cellulite (Cabaret)
  • Flight Attendants don't Like Peanuts (Dinner Comedy)
  • Stuart Browne's Dancing Bears (Drama)
  • Wolfgang Borchert's A Man Outside (Drama)