My name is Mame, and…

I'm a recovering filmmaking addict (indie documentarian and big-budget VFX artist) turned marketing and advertisement butterfly, or moth, who can't quit film/photos/art of visual storytelling. My movie set career began at seventeen, before becoming kaftan-wearing, mixing legend Richard Portman's three-year sound apprentice at university. I have since collected over 30 professional film and series credits (see IMDb). Quitting's hard, people. Thank you for joining me in LA's first open, 12-Step meeting for Film Industry addiction! 

After receiving my BFA in Film, fate brought me to visual effects — first 3D animating Hugh Jackman's Wolverine claws and then race cars and CG stunts in the Fast and Furious series. A few years later, I was nominated for a Visual Effects Society VES Award for Outstanding Compositing in a Broadcast Series for my work with blockbuster movie and series producer Dean Devlin. I was told I am the first woman nominated for a VES Compositing Award, but don't quote me on that (and don't tell me if it's not true).

After working on sets in nine countries worldwide and amassing Dali painting-like memories with A-list talent and creatives for studios, including Universal Pictures, New Line Cinema, Fox, and Warner Brothers, I transitioned to marketing, advertising, and editorials. Roles have included Creative Director of Branding and Digital, Creative Content Director (video, stills, and writing), Art Director, Photographer (commercial and editorial), and Producer for several high-profile brands, including ROBIN PICCONE, Grammy Award Winner Charlie Puth, Paris/NYC art and fashion icons Fischerspooner, Elle Magazine, Us Weekly, Refinery29, and more.  

While capturing over 100, 000 images and dozens of videos for fashion brands (campaigns, lifestyle, e-com, and social content), fashion editorials, entertainers, and entertainment editorials, I simultaneously worked as creative director for many of the campaigns behind the shoots. Executing high-ROI digital /social campaigns and generating record-breaking metrics for my client bosses has become an almost uncanny mission for me.

My personal content directing record is 1.55 million likes in a single post in 24 hours and averaging of 1.2 million likes per 24 hours (a 600k increase from the pre-campaign baseline) when directing up close and intimate vignettes of Charlie Puth's life on tour just before his first Grammy nomination. Additional social campaigns resulted in netting more than 3 million Puth followers on IG alone. For more information on metrics, please refer to my LinkedIn profile for specific work. Side note: I dream of ways to surpass these numbers constantly. 

So why am I with Sony Pictures supervising movie ads now?

Gosh, I'm so glad you asked this question! This might sound utterly insane, but before Sony, I always wanted to be someplace producing hundreds of videos each month, with terrifying on-air deadlines, hitting every known platform across the world, at various runtimes and aspect ratios, with countless levels of censorship rules to juggle, and infinite nuances and contextual procedures all creating a whole new sub-language within the business … a place of unfathomable chaos. And everyone in LA knows there is no more excellent place than the marketing department halls of any studio. I hypothesized that exploring the dark side of the moon would force my brain into new levels of decisive thinking or at least finally engulf this moth in flames, a win-win, either way.

Also, something haunted me from my time at Universal. A brilliant film I loved (won't name names) flopped because it lost its broadcast ad budget based on one focus group! I needed to know how such a travesty could occur. I decided that better understanding this multi-billion dollar business of storytelling required a deep foray into a culture that, turns out, deserves its own movie.