About
I am a film director based in Copenhagen. For more than a decade, I have made films in over twenty countries for brands, organisations, NGOs and agencies.
Most of my work sits between documentary and brand film: real people, real locations, and an emotional dimension added to a client message that often starts as facts, strategy or numbers.
I hold master's degrees in Media Arts from the University of Technology Sydney and Media Science from Aarhus University. Together, they have shaped how I work, combining creative storytelling and strategic understanding with the ability to manage complex productions across multiple stakeholders, countries and timelines.
My films have won Grand Prix and Best Directing at the Cannes Corporate Media & TV Awards and Grand Prix at the EVCOM London Live & Film Awards, among others.
I believe the most powerful films don't just communicate a message. They make people feel something.
Frequently Asked Questions
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Both. I work as a director on larger film productions, but also handle the whole production from a-z on medium and smaller film projects, where you have one person to talk to from the first conversation to the delivered files. I shape the concept, direct the shoot and handle the post production process.
However, on larger productions (i.e. working with an agency or productions house) I work directly with a producer, who usually handles contracts, logistics and overall management, and I carry the project creatively from end to end.
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I work in a scalable way, depending on the project's scope, ambition and budget.
When the film needs scale, I work with a full crew and I have solid experience working with a DoP, gaffer, producer, caster etc.
Most often I work with a smaller efficient team of two to four people, which suits most productions, and is a great solution for projects including traveling, long days, or places where a large crew would change how people behave.
On some films projects I also work alone as shooting director, because the subject or the budget calls for it.
In this way I work scaleable and flexible, and I can tailor the production setup to the project's scope and budget. And I have a preferred choice of film crew specialist that I can bring into the project if needed.
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Most of my clients do not work with film every day, so here is what the process usually looks like. I am usually brought in early rather than handed a finished brief, because the decisions that matter most are made before anyone picks up a camera.
We start with a conversation about what the film has to do, who it is for and what you have to spend. Understanding the scope, key message and target groups are key elements for me.
From there I develop the film concept and, if it helps, a treatment, script or storyboard, and we start finding the people who can carry the story. Carefully pre-production planning makes a big difference.
Then we shoot, usually over one to several days. See more about crew size and budget below.
When the shooting is done, I handle the editing process, and the film is finished with a colorgrader and a sound designer before you get it in the lengths and formats each platform needs.
Throughout the entire process I work with the client to make sure we are making the right choices.
It is always my ambition to work with emotional storytelling, that the film leaves a felt impression rather than a rational explanatory statement only. That is an important part of my job.
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The number of shooting days is the biggest single factor, followed by travel and crew size. A single-day film with a small crew and a multi-country series are very different budgets.
I work with scaleable crew sizes and I am able to meet most budgets.
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I am usually brought in very early in the process and I consider it a natural part of my job to help shape the film concept and at the same time considering the budget, the scope and the clients need. You do not need a final brief before reaching out.
Feel free to write or call.
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I own my professional film equipment, which means a shoot can be booked and on the road quickly, without a rental house in the chain. Feel free to contact me for the specified list of gear including:
Sony camera x2 and various prime lenses
Film lights
Sennheiser and Sanken sound recordings options
Sachtler and Manfrotto tripods
Eye Direct
Easyrig and Ronin stabalizer
Drone
The gear list changes regularly, so please reach out to get the updated and more detailed list.
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Yes. It is a different job from working for a client directly, which I do most of the time.
Agencies and media houses I have directed for include Warner Bros, Mastiff, Nordisk Film TV, TV2, DR, Freethink (USA), RE:TV (UK), Freeport Media, Milk & Honey, Core:Workers and NoA Health.
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I work with a wide range of subject. But I have a special interest and knowledge in impact and global health, place branding, sustainability, outdoor brands and science and tech.
Formats run from short documentaries and brand films to campaign films and TV spots.
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Organisations, foundations, companies, commercial brands and public authorities. Most often I communication directly to the person responsible for communication or marketing.
Impact and global health: Novo, UNHCR, Læger uden Grænser, Røde Kors, Sundhedsstyrelsen, Hjerteforeningen, Falck, The Melting Pot Foundation.
Place branding: Copenhagen Capacity, Greater Copenhagen, Invest in Skåne, Wonderful Copenhagen, the Nordic Council, Udenrigsministeriet, FDM Travel.
Sustainability: Innvik AS, RE:TV, the Ellen MacArthur Foundation, the European Environment Agency.
Outdoor: Red Bull, Danish Endurance, Petromax, Nordifakt, Elvstrøm Sails, LOOW, DBU.
Science & tech: DHI, Copenhagen Capacity, Innovation Fund Denmark, Danish Life Science Cluster, Data redder liv, D-mærket.
Most clients are not a one off, but has been a collaboration partner for several years and a large number of projects.