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Experienced producer with a strong background in journalism/reporting. Lots of crime shows. Some comedy. Excellent storyteller. People person.
7/23 – 8/23
Oxygen — TV
7/23 – 8/23
6/23 – 7/23
Oxygen — TV
6/23 – 7/23
5/23 – 6/23
Oxygen — TV
5/23 – 6/23
5/23 – 5/23
Oxygen — TV — Jupiter Entertainment
5/23 – 5/23
4/23 – 4/23
Oxygen — TV — Jupiter Entertainment
4/23 – 4/23
5/22 – 9/22
CNBC — TV
5/22 – 9/22
8/22 – 8/22
CNBC — TV Details
8/22 – 8/22
Oversaw producer. Gave notes on script and story development. Liaison between episode producer and NBC executives and legal department.
1/22 – 5/22
CNBC — TV
1/22 – 5/22
6/21 – 11/21
CNBC — TV
6/21 – 11/21
9/20 – 3/21
CNBC — TV — Kurtis Productions Details
9/20 – 3/21
As I have done for more than ten years, I identified this story from a magazine article and recognized its potential for an episode of American Greed. Using my skills as a booker, I set up exclusive interviews with the show's subject who was currently in prison as well as exclusives with one of his co-conspirators and the federal law enforcement official who led the investigation of the case. After conducting thorough research and collecting both public-source and private licensable photos and videos for the show, I booked interviews that would allow the show to remain on-budget and on-schedule. I travelled with a three-person crew during the pandemic to safely follow all protocols as I conducted interviews, directed verite-style b-roll and show-and-tell sequences, and obtained further archival materials from interviewees. While American Greed usually uses reenactments/recreations, this show dealt with a number of plane crashes conducted for insurance money. Knowing that recreating these sequences would be impossible with the show's budget during the pandemic, I obtained approval to use graphic-novel style drawings to illustrate approximately 15 sequences in the show with animations. After hiring an artist, I worked with him to create these compelling pictures in a manner that was true to the facts and also visually dynamic. Upon completion of field production, I wrote a script for the show and supervised the edit process while overseeing all licensing needs and communicating with attorneys to make sure the show met all legal approvals.
6/20 – 10/20
CNBC — TV — Kurtis Productions
6/20 – 10/20
1/20 – 3/20
CNBC — TV Details
1/20 – 3/20
For many years, I have worked as a researcher/development producer for pre-production of upcoming seasons of CNBC's "American Greed." In this role, I selected and researched a variety of white-collar crime stories, utillizing my background in investigative reporting and production to find stories that will compellingly translate to television. Once stories were identified, I identified potential interviewees and used my many true-crime contacts to book interviews with law enforcement at all levels - from local police to high-ranking federal officials. I also booked interviews with the subjects of our show in prison as well as victims and topic experts. I identified and obtained potential licensable and public-source materials such as crime-scene photos and videos, wire recordings, and other pieces of audio, video, and photos that help turn true-crime stories into dynamic shows. I also worked with the show's supervising producer to make sure the potential cases I was developing could be shot in a workable manner that was on-schedule and on-budget while telling the best story possible in a safe manner during the coronavirus pandemic.
10/19 – 3/20
CNBC — TV
10/19 – 3/20
7/19 – 11/19
CNBC — TV — Kurtis Productions
7/19 – 11/19
8/19 – 8/19
CNBC — TV — Kurtis Productions Details
8/19 – 8/19
Oversaw producer. Gave notes on script and story development. Liaison between episode producer and NBC executives and legal department.
4/19 – 8/19
CNBC — TV — Kurtis Productions
4/19 – 8/19
1/19 – 3/19
CNBC — TV Details
1/19 – 3/19
For many years, I have worked as a researcher/development producer for pre-production of upcoming seasons of CNBC's "American Greed." In this role, I selected and researched a variety of white-collar crime stories, utillizing my background in investigative reporting and production to find stories that will compellingly translate to television. Once stories were identified, I identified potential interviewees and used my many true-crime contacts to book interviews with law enforcement at all levels - from local police to high-ranking federal officials. I also booked interviews with the subjects of our show in prison as well as victims and topic experts. I identified and obtained potential licensable and public-source materials such as crime-scene photos and videos, wire recordings, and other pieces of audio, video, and photos that help turn true-crime stories into dynamic shows. I also worked with the show's supervising producer to make sure the potential cases I was developing could be shot in a workable manner that was on-schedule and on-budget.
6/18 – 11/18
CNBC — TV — Kurtis Productions
6/18 – 11/18
4/18 – 9/18
CNBC — TV — Kurtis Productions
4/18 – 9/18
2/18 – 6/18
CNBC — TV — Kurtis Productions
2/18 – 6/18
10/17 – 2/18
CNBC — TV — Kurtis Productions
10/17 – 2/18
7/17 – 9/17
CNBC — TV — Kurtis Productions
7/17 – 9/17
3/17 – 7/17
CNBC — TV — Kurtis Productions
3/17 – 7/17
11/16 – 4/17
CNBC — TV — Kurtis Productions
11/16 – 4/17
2/17 – 3/17
Prime Video — TV — The Intellectual Property Corporation Details
2/17 – 3/17
Over the course of a single week, I researched and selected potential stories and wrote the entire pitch deck for this smart, stylized docuseries that used Adam McKay's storytelling style to to present an eight-part exploration of the global economy.
8/16 – 12/16
CNBC — TV — Kurtis Productions
8/16 – 12/16
5/16 – 7/16
CNBC — TV — Kurtis Productions
5/16 – 7/16
2/16 – 5/16
CNBC — TV — Kurtis Productions
2/16 – 5/16
11/15 – 2/16
CNBC — TV — Kurtis Productions
11/15 – 2/16
8/15 – 11/15
CNBC — TV — Kurtis Productions
8/15 – 11/15
5/15 – 7/15
CNBC — TV — Kurtis Productions
5/15 – 7/15
1/15 – 5/15
CNBC — TV — Kurtis Productions
1/15 – 5/15
11/14 – 2/15
CNBC — TV — Kurtis Productions
11/14 – 2/15
8/14 – 11/14
CNBC — TV — Kurtis Productions
8/14 – 11/14
4/14 – 6/14
CNBC — TV — Kurtis Productions
4/14 – 6/14
2/14 – 5/14
CNBC — TV — Kurtis Productions
2/14 – 5/14
10/13 – 1/14
CNBC — TV — Kurtis Productions
10/13 – 1/14
7/13 – 10/13
CNBC — TV — Kurtis Productions
7/13 – 10/13
2/13 – 5/13
CNBC — TV — Kurtis Productions
2/13 – 5/13
12/12 – 4/13
CNBC — TV — Kurtis Productions
12/12 – 4/13
4/12 – 8/12
CNBC — TV — Kurtis Productions
4/12 – 8/12
3/12 – 7/12
CNBC — TV — Kurtis Productions
3/12 – 7/12
6/11 – 9/11
CNBC — TV — Kurtis Productions
6/11 – 9/11
12/10 – 5/11
CNBC — TV — Kurtis Productions
12/10 – 5/11
7/07 – 7/10
Supervising Producer (Writer)
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Infomania
Current — TV — Current TV Details
7/07 – 7/10
Writer
8/05 – 7/07
Current — TV Details
8/05 – 7/07
Writer
5/05 – 8/05
PBS — TV — Vox Terra
5/05 – 8/05
9/04 – 5/05
Film (Short) Details
9/04 – 5/05
Writer, Videographer
I've had the privilege of working with Daniel on a number of "American Greed" episodes over the last three years. He's one of the most organized and communicative producers I've worked with. He's always multiple steps ahead of any deadlines while nev
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er losing focus on the storytelling of an episode. He's a great addition to any project.
- Sam was Post Production Manager and Daniel was Senior Producer on American Greed
Class of '05
University of California Berkeley Graduate School of Journalism
Master of Journalism - Documentary Film Program
Class of '01
University of Virginia
Bachelor of Arts - English Literature