I’m trying to notice what feels true to the people who are actually there. Often, it’s a small moment that can’t be recreated.

My films should have a recognizable voice, but the people in them should be recognizable too. Each wedding needs room for its own personality.

A wedding moves between tears, laughter, noise and quiet. I want the film to have room for that same rhythm.

I’m interested in new techniques. I just want the people and the day to decide which ones belong in the film.

I can love a shot and still leave it out of a wedding film. Sometimes a quieter moment tells the story better.

A wedding day happens in order. In the edit, I look for the connections between moments that help tell its story.

I interview people because sometimes the best way to understand a relationship is to give someone room to talk about it. I’m not looking for perfect answers—I’m looking for the person behind them.

Beautiful images can show what happened, but voices often reveal why it mattered. For me, sound is not something that simply sits underneath the pictures—it is often where the real story begins.

Most people aren't used to being filmed, and I don't expect them to perform for me. My job is to read the room, give people help when they need it, and know when to get out of the way.

Over time, I stopped walking into weddings thinking only about what I wanted to capture. Now I try to pay attention first and let the people and the day show me what the film should become.