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To be an active and contributing member of a dynamic sound editorial team.


My professional career has involved many facets of storytelling, from script and treatment development, to sound design and sound effects editorial.  The field of post audio has allowed me the chance to bring my rich experience with storytelling to the table. I very much support the theology practiced by director Guillermo del Toro, a staunch supporter of film being a source of mental nourishment for an audience. "Eye protein" is what he offers in his films, not "eye candy." Thus, my goal is a simple one: To inject the projects I work on with a bit of "ear protein," and continue sharing my "beautiful madness" with the film-watching audience.

Selected FIlmography

Work experience

Mar 2008Present

Supervising Sound FX Editor

Monkeyland Audio

*  At Monkeyland, I have worked fiercely to create a well-oiled, streamlined team of sound effects editors whose goal is not only to create a high-quality, well-detailed, organized and expressive sound experience, but to efficiently stay within the clients' budget and schedule. *  My goal as a liaison between Monkeyland and the client is to ensure that the director's vision comes across clearly and that adequate time is allowed for editing sound effects, reviewing them with the director, and making appropriate changes prior to the start of the final mix. *  I pride myself on striving to provide excellent service with each project, so it is extremely important that I communicate clearly with my team at all levels of the editing process. I am comfortable with delegating editorial tasks and providing constructive feedback to my fellow editors. *  I remain on stand-by for the entire duration of the mix, providing continued sound editorial support to ensure that the director's vision is met.

Jul 2003Present

Sound Designer/Sound Effects Editor

Monkeyland Audio
Staff editor involved in all aspects of sound effects editing and design. Other aspects of the job involve client relations, policy creation and enforcement, efficiency maintenance and technical troubleshooting.


Phil Roman Entertainment

* Responsible for the preparation of correspondence, corporate scheduling, travel and personal agenda for Rick Ramirez (then Vice President). * Create one-sheets, pitch packets and press releases for each show in development. Rewrite and punch up treatments, and assist with the development and nurturing of animation and live-action projects. Design strategies for network/studio pitches. * Establish a large roster of writers with samples of their work. Propose talent based on writing samples and/or demo reels, and match them up with current projects in development. * Create and maintain an extensive Latino talent log, including but not limited to writers, directors, actors and producers. * Create and maintain a comprehensive submission log. Covered scripts and treatments and provided in-depth evaluation. * Track projects in development from concept to final draft. Provide creative notes to writers and work with them on rewrites and polishes.

May 1998May 2000


Paloma Productions

* Responsible for preparation of correspondence, corporate scheduling, travel and personal agenda for Paul Marquez, President. * Responsible for processing accounts payables, expense reports, petty cash, weekly / biweekly payroll for staff, and handling money allotted to projects. Responsible for smooth running of the office. * Actively participate in story conferences and idea sessions, as well as with the development of in-house projects (which include an animated kids show, straight-to-video features and small theatrical releases). Handle high-volume script reading with extensive and detailed coverage, and provide creative notes to writers and directors on in-house projects. * Create and maintain logging and filing systems for video, script and book submissions. Responsible for the safety, logging and return of any and all properties that came into custody of Paloma Productions.

May 1998May 2000

In-House Production Coordinator

Paloma Productions
* Serve as liaison and logistics manager between executive producers and sub-contracted production company during U.S. / Mexico feature production of “El Grito” (aka, “Bloody Proof”), directed by Gabriel Beristain. * Coordinate transportation for all production paperwork, dailies, camera equipment and film stock. Organize all production logs. Coordinate clearances, location permits, and rental agreements for the Mexico City shoot. * Handle payroll and per diem for above-the-line talent. * Manage expense and petty cash reports for all producers. * Review all feature work in progress (including dailies) through final answer print. Provide notes to directors and editors. Prepare production boards. * Coordinate casting sessions for Spanish-lingo television show, and served as liaison between President, agents, managers and talent. Assist in assembling production teams for projects.




Los Angeles Recording School


Loyola Marymount University, College of Business Administration