JT.
WRITER | DIRECTOR
MAKING FILMS LIKE THEY MATTER.
DIRECTING LIKE IT'S A FISTFIGHT AT MAGIC HOUR.
WORK.
JT.
JT.
JT.
BIO.
JT is a multi-award-winning writer/director working across commercial film, documentary, and music video.
His work has been recognised at Cannes Lions, The One Show, the Clio Awards, and beyond, celebrated for its visual elegance and emotional intensity.
With a background in image-making and a sharp instinct for performance, he directs with purpose and precision, forging work that cuts through. Whether shooting a global campaign or building a new world from the ground up, JT brings the same obsession: authored vision, emotional weight, and undeniable craft. His experience as a former creative director at a globally renowned brand adds strategic depth to his cinematic style.
He is now focused on longform storytelling, leading with When It All Comes Down, a character-led, archetypal limited series set in a fractured, dystopian near-future. Entirely original in its vision and scope, it fuses road-movie intimacy with cinematic spectacle. A full section of this site is dedicated to the series, not as promotion but as proof. This is already in motion.
He is also developing Night Movers (a Tokyo-set psychological thriller) and Malady (a completed feature exploring masculinity and memory). He is a director in full voice — and only just getting started.
His long-term ambition? Myth on screen.
JT is preparing an adaptation of Parsifal, reimagined as a dark, meditative descent into sacrifice and the search for wholeness.
WHEN IT ALL COMES DOWN.
A MYTH-LACED JOURNEY THROUGH A FRACTURED FUTURE
When It All Comes Down is a character-driven, three-part limited series set in the aftermath of collapse. Nate, a runaway underground fighter; Cassidy, a disgraced pop icon; Reginald, a war-scarred soldier; and Kandy Kane, a seductive Wasteland hustler, cross paths in the reclaimed wilds of the Waste Land, each chasing something lost: love, legacy, memory, or meaning.
As old orders rot and new myths rise from the dust, their paths converge in a world that has been broken open and may yet be reborn.
The series fuses road-movie rawness with psychological depth and poetic scale. It is a story about survival, identity, and the quiet, shattering hope that something sacred might still endure.
Series 2 marks a turning point.
One year on, the Waste Land is shifting. What once existed on the margins begins to carry weight. Escape gives way to consequence. Connection replaces survival as the defining force. The world does not remain untouched; it starts to respond.
Nate returns to the road, not to run but to seek. Cassidy’s voice gathers power she never asked for. Kandy builds something dangerous from desire, performance and control. The deeper truths of the Waste Land begin to rise, not as prophecy but as pressure, and the consequences begin to gather.
The story expands. The thread tightens. What began as accident becomes intent. What was private begins to echo. Series 2 is the moment before impact: a widening of scope, a deepening of myth, a turn toward legacy. What was once survival becomes consequence.
Status:
Series 1 scripts complete. Series 2 in development.
Multi-award-winning director. Cannes Lions, Clio, The One Show. LIA Awards. DMA Awards. PM Awards. Promax.
Clients include Teva, NiQuitin, Make-A-Wish, Notonthehighstreet. Mercedes. Audi. Galaxy. Axe. Nescafe. Rimmel. Shell. Phillips. Barracuta. Braun. Kia. HIve. Vogue. Glamour. Heart FM. Fiat. Blinkbox.
JT loves what he does. Always has.
It’s like an addiction, the good kind. The kind that keeps you up at night, storyboarding on napkins, chasing frames that hit like a freight train.
This isn’t just work that resonates, it slaps. And slaps hard.
If he’s not making films, he’s watching them. And if he’s not watching them, he’s bitching about them. That’s what happens when you’ve been in the game this long — gnarly, battle-hardened, and somehow still hungry.
His next chapter? Probably his most compelling yet.
A pleasure to work with (most days). Known to clear a craft service table in minutes. Guaranteed to get the job done, and come in somewhere close to budget. And that counts for something in these crazy, godforsaken times we’re living in.
Ain’t filmmaking grand.