Comp — not finalComing soonWriter / Director
Silver Bracelet
Short · 2.39:1 · 2025
DIR: —·DP: —·1ST AD: —·PROD: —·GAFFER: —
EXT. SONORAN DESERT — GOLDEN HOUR
Alexis
Rodriguez
Two jobs, one person
Most sets have someone who knows what the scene is about and someone who knows whether the day is achievable. When those are two people, the schedule wins arguments it shouldn't. I do both jobs, which means the coverage that gets cut is the coverage the story can afford to lose.
| Dept | Position | What that actually means |
|---|---|---|
| Writing | Writer Features, shorts and pilots taken from outline through production draft — and rewritten on the day when a location falls through. | Features, shorts and pilots taken from outline through production draft — and rewritten on the day when a location falls through. |
| Directing | Director Shotlisting, blocking and performance. I arrive with a plan specific enough to abandon deliberately. | Shotlisting, blocking and performance. I arrive with a plan specific enough to abandon deliberately. |
| Production | Producer Scheduling, budgets, locations, and the paperwork that keeps a small crew legal and insured. | Scheduling, budgets, locations, and the paperwork that keeps a small crew legal and insured. |
| Production | 1st AD Stripboards, call sheets, and running the floor. Safety meeting before the first setup, every time. | Stripboards, call sheets, and running the floor. Safety meeting before the first setup, every time. |
| Post | Editorial Assembly and rough cuts, so a director’s cut exists before anyone else is paid to open the project. | Assembly and rough cuts, so a director’s cut exists before anyone else is paid to open the project. |
Scene 02 — Selected work
Work
Four projects, the role held on each, and the crew who made them. Open any frame for the full credits.
- Comp — not finalComing soon
Comp — not finalComing soonDirector / 1st AD
Sophisticate
Short · 1.85:1 · 2025
DIR: —·DP: —·1ST AD: —·PROD: —·GAFFER: —
Comp — not finalWriter / Producer
Detective Orion
Pilot · 2.39:1 · 2024
DIR: —·DP: —·1ST AD: —·PROD: —·GAFFER: —
Comp — not final1st AD
Illegales
Music Video · 16:9 · 2024
DIR: —·DP: —·1ST AD: —·PROD: —·GAFFER: —
Scene 03 — About
About
Comp — not finalAlexis started as the person on set who wrote the thing, which is a bad place to stand if you don’t also know how long a company move takes. So they learned the second half — stripboards, call sheets, the arithmetic of a twelve-hour day — and found that the two halves argue productively.
A recent graduate, which means the crews are small and everyone is doing three jobs. It also means the credits are real: these are the people who were actually on those crews, listed by name, and they will pick up the phone.
The work runs narrative-first, with commercial and music video days paying for it. The through-line is the same either way: know what the scene is for before you know what the lens is.
EXT. LOCATION — DAWN, BEFORE THE FIRST SETUP
ALEXIS
Nobody here is getting hurt for a shot. If something feels wrong, you stop it — you don't need my permission and you don't need to be right.
The nearest hospital is on the back of your call sheet. Water's in the truck — drink it before you're thirsty. If we lose the light, we lose the light. We'll get it another way.
Behind the scenes
Comp — not finalRoadside slate — day 2 
Comp — not finalSetting the 40mm — night ext. 
Comp — not finalCall sheet, revision 3 
Comp — not finalVideo village, such as it was
Resume
The PDFs are here, and so are the same credits as real text — a PDF barely gets indexed and reads badly on a phone.
Writer
Director
Producer
1st Assistant Director
Scene 05 — Fade out
Contact
hello@example.comAvailable for narrative, commercial and music video work. Will travel.