What I do.
A project doesn't find its funding or its audience by accident — it's built, step by step, so that every reader (a funder, a distributor, a festival programmer) understands immediately why this story matters. I work across every stage of that process, either alone or alongside a team already in place: from the first draft of a treatment to the document that convinces a selection committee. Depending on where a project stands, I step in on a single piece — a script pass, a deck rebuild — or accompany the full development arc.
- § 01
Film Development
Story architecture from the first treatment through the draft that gets pitched.
Shaping a project's story architecture means finding the shape a story needs to become before anyone can pitch, fund or shoot it. I work with directors from the earliest treatment through successive drafts, asking the questions that surface what the project is really about — then help translate that into structure: what the film opens on, what it withholds, where the turn happens.
On projects like Les Brebis Galeuses, this has meant sitting with a director through months of drafts, tracking how the story's central tension sharpens with each pass, before it's ready to be pitched.
- § 02
Screenwriting
Consulting on a draft, or building a script from outline to shooting draft.
Whether I'm consulting on an existing draft or building a script from outline to shooting draft, the work is the same: structure, dialogue and dramaturgy that serve the story rather than a formula. I work in both French and English, moving between the two without losing a script's rhythm or intent — which matters for projects that need to travel between markets.
On fiction projects like Cain & Abel and You Resemble Me, this has ranged from targeted notes on a single draft to full rewrite passes ahead of a pitch.
- § 03
Archival Research
Finding, verifying and turning fragments into narrative bedrock.
Some stories exist first as fragments — a reel in a private collection, a testimony recorded decades ago, a photograph with no clear provenance. Archival research is the work of finding those fragments, verifying them, and turning them into narrative bedrock a film can stand on.
On Paper & Glue, this meant excavating the visual history behind JR's creative journey. On My Name is Gitta, it meant reconstructing a Holocaust survivor's testimony from archives scattered across multiple countries and languages — cross-referencing fragments into a coherent, historically accurate chronology.
- § 04
Pitch Deck Design
Narrative documents built to carry a film before the film exists.
A pitch deck isn't a summary — it's often the first real contact a funder or distributor has with a project, before they ever read the script. I build these documents as narrative objects in their own right: information hierarchy, visual rhythm, image selection, tone of voice.
On Les Brebis Galeuses and Playing With Fire, the goal has been the same — to give a reader, in a few minutes, the same feeling the finished film is meant to deliver.
- § 05
Creative Strategy
Positioning, festivals, broadcasters and the sentence that opens a door.
Before a project meets funders, festivals or an audience, it needs a frame: who is this for, what does it want to be positioned against, what's the one sentence that makes a programmer lean in. Creative strategy is that work of positioning — deciding what to lead with, what to hold back, and which festivals or broadcasters actually fit the project's voice.
This groundwork shapes everything downstream, from which grants are worth applying to, to how a deck opens.
- § 06
Translation & Localisation
French, English, Spanish — rebuilding rhythm, register and reference.
Moving a story across languages is never a word-for-word exercise — it's rebuilding rhythm, humour, reference and register so a film lands the way it was meant to, wherever it plays. Working between French, English and Spanish, I handle this at every level: subtitle translation and QA, testimony translation for documentary projects, and full localisation of pitch materials for international markets.
On You Resemble Me, this meant adapting the script from English to French for a story unfolding in the outskirts of Paris — finding the right register for young, working-class characters, from colloquial slang to the era-specific cultural and musical references that made their world feel real rather than translated.
Not sure which of these your project needs? That's usually the first thing we work out together.