BIO

As long as I can remember I have been with one foot in the business world and with the other in the arts. After my Masters in Business Administration at the University of Zurich, I founded a recording studio in Baden, Switzerland and started making records with regional bands and artists.

 

In 1997, I decided to move to Los Angeles to get a degree in Recording Engineering at the University of California, Los Angeles. During that time, I worked as an intern at Sony Music and for Rick Rubin's American Recording in A&R. After my studies, I got hired as a recording assistant at a top-notch recording studio in Hollywood (EastWest Studios) where I worked for two years. I was fortunate enough to work with symphonic orchestras and top10 recording artists (yes, including 'Rage Against The Machine!'), using an world class selection of analog and digital recording equipment.

 

Then I met director Jane Spencer who was working on a digital film project called 'Faces on Mars' in Silver Lake, California. Interested in film production, as well as in sound and music for film, I decided to contribute with my time and ProTools digital workstation. Working on set was learning by doing with a fabulous cast and crew. I really got a hang in post-production and ended up doing most of the audio work. When the melt-down of the music industry became apparent - due to radical technology changes and the on-going Sillicon Valley heist -, I returned to Zurich, Switzerland where I finished post production of 'Faces on Mars'. In the year 2003 we were invited to release the picture at the 38th Solothurn Filmfestival.

 

In 2005 I decided to produce feature films out of Switzerland and founded WARD9 Productions with Jane Spencer. In the following years we successfully developed 'The Ninth Cloud'. At the time it was still possible to finance independent film on international pre-sales. We shot the movie on analog film, on sets in Hungary and England. Lab & Postproduction were done in Zurich and Los Angeles. The film premiered in London in 2014 and was well-received in many high-profile festivals; and I received a Producer's Guild of America nod as well.

 

Then we began working on 'South of Hope Street'. We chose this script in 2016, because we felt humankind lives in revolutionary times and it was the most relevant in our catalogue with regards to the ecological disasters ahead of us. It turned out to be a wise choice because on one hand our investors were very passionate and supportive throughout the project implementation, and on the other hand, the film turned out to be highly topical in these days (Covid pandemic, Ukraine war). This film was a great opportunity for me to compose and work with my old band-mate Marcel Vaid again and to apply my Adobe-skills with digital visual effects.

 

Over time film producing has become a passion for me and I am excited to keep moving forward with great new projects.

​​