When I was a kid, I used to make up and present 'films' in my Mum's front room by using toys as props (particularly my brother's Millennium Falcon) and writing the credits on pieces of paper. If I messed up, she had to sit through those credits again while I got it right. I think I might have even 'sung' the theme tunes as I was presenting the credits. Needless to say, I have been a performer and storyteller since the early days, and I'm just as resourceful now as I used to be when I was a kid.

I've recently functioned as a one-man film studio - scripting, storyboarding, filming, sound recording, editing and colour grading projects that wouldn't look out of place on a cinema screen - and one of my short films was selected for the BAFTA-qualifying Aesthetica film festival in 2022, where it was nominated in best drama. I've also found myself assistant-editing on work for the likes of Netflix and ITV, making use of some skills formed through my own shoots.

All of this is to say that, storytelling is the lifeblood of my work and the one thing I know how to do properly. I won a scholarship to Mountview in London and trained there as an actor from 2001-2004, which is basically the foundation of everything I do. I understand people and the world very well, and know that a good story well told is an essential part of being human.  The philosophy behind Deep Cut is that, generally, when I'm working on something, I tend to go with my instincts and pursue that in the telling of the story, following whatever curiosity and excitement there is, hopefully ensuring that whatever I end up presenting to be watched 'cuts deep' - and if I'm not excited about what it is I'm working on, I don't expect other people to be excited about it, either!