About LINCOLN
HEAD
EDUCATION:
I earned a BFA in FILM from Chapman University in Orange, CA.
I studied Film Production and Film Theory. The most unique and enduring lessons I learned were not from the classroom, however, but from working on student film sets. Most of them, honestly, were bad - and I worked hard in crew positions I barely understood. I lost sleep, I risked my neck, and mostly I learned through practice how to communicate effectively in small and large groups over time. And sometimes it rained - but not that much; it’s Orange County. I loved it and my experiences there have shaped my adult life and career path,
HEART
I am a filmmaker. I work to tell stories visually, and I love working with actors, craftspeople, and fellow film professionals.
I am an active member of the film community where I live. I am a member of the IATSE Local 488 as well as a OMPA member. I also donate time and effort to projects which often don’t pay, but which form a creative, cultural foundation to my life.
I work as a freelance photographer. I take digital photos at events, I make promotional images, headshots and portraits. I also work with film whenever I can, but mostly for creative pursuits - rarely for hire.
I write. I have written several screenplays - shorts and feature-length - sometimes on my own, but mostly with collaborators. Some have become films, others have received attention, some are unproduced. I write because I love it.
I have a wonderful family. Alongside my wife Rachel and son Gus I live and play, explore, giggle, eat pancakes, and bask in the glow of our individual and collective spirit of wonder. We travel together, we read and learn together and we love our city and our friends and extended family. I live for them, and they make me whole and happy.
HANDS
I have worked for 10 years as a costumer for Film, TV, and advertising. It’s a rare field in which the aesthetic elements of “style” meet the order and logic of an applied, repeatable system. Visual storytelling relies on capturing fleeting subjective beauty, and making it happen on time, every time. It takes professionals who are sharp, dedicated, and flexible. This is where I come in.
A film set is a demanding workplace. Grueling at times, boring at others, and populated with strong-willed egos, delicate empaths, and enduring craftspeople. And sometimes it rains - a lot, it’s Oregon. Maintaining costume continuity - seamless matching looks from take to take, shot to shot, scene to scene - while also protecting and maintaining the integrity of the Costume Designer’s vision, is a tough job. It’s not only what I do, It’s where I thrive.
As a union on-set Costumer on both feature films and streaming TV series, my duties included styling wardrobe, aging and distressing costumes, maintaining continuity while filming, making detailed notes, on-the-spot repairs and alterations, and actively participating in the work of an on-location film set. Most recently, as a Costume Supervisor I managed and maintained a detailed continuity breakdown and budget for block-episodic series with a cast of 20-30 characters. I worked closely with the Costume Designer preparing for months-long shoots; scheduling and administering fittings, compiling research, sourcing, buying, and renting a wide variety of costumes and wardrobe pieces.
I have worked on lots of complex, detail-oriented projects; organizing people and materials on a timeline. In each case, though, I accomplished this work by maintaining a shared sense of camaraderie. I’m serious, but likeable. I do my job as a supervisor acting as a helper, a facilitator, an advocate, and a teammate. I’m reliable, determined, and a fun person to have around.