During my time in the interactive marketing department at Paramount Pictures, I was fortunate to work on a film that irrevocably forged a lifelong love and fascination with space.
To build acclaim and curiosity from key social tribes (tech, sci-fi, and awards enthusiasts), Paramount and Christopher Nolan produced a creative editorial moment around extending the heady, theoretical science with which the film was based.
With WIRED’s December 2014 digital and print issue, I helped as an early copywriter and content strategist on this editorial big bet. I still feel as though this was the most intriguing project I've been afforded the privilege to touch.
During my time in the interactive marketing department at Paramount Pictures, I was fortunate to work on a film that irrevocably forged a lifelong love and fascination with space.
To build acclaim and curiosity from key social tribes (tech, sci-fi, and awards enthusiasts), Paramount and Christopher Nolan produced a creative editorial moment around extending the heady, theoretical science with which the film was based.
With WIRED’s December 2014 digital and print issue, I helped as an early copywriter and content strategist on this editorial big bet. I still feel as though this was the most intriguing project I've been afforded the privilege to touch.
During my time in the interactive marketing department at Paramount Pictures, I was fortunate to work on a film that irrevocably forged a lifelong love and fascination with space.
To build acclaim and curiosity from key social tribes (tech, sci-fi, and awards enthusiasts), Paramount and Christopher Nolan produced a creative editorial moment around extending the heady, theoretical science with which the film was based.
With WIRED’s December 2014 digital and print issue, I helped as an early copywriter and content strategist on this editorial big bet. I still feel as though this was the most intriguing project I've been afforded the privilege to touch.
Mario Hugo was brought in to create an array of visualizations for the cover, contents page, and the rest of the magazine. He also worked with Hugo & Marie colleague Sam Hodges. This became a cult issue, revered by the art, cinema, science, and aeronautics communities.
My focus was on the content adaptation, wireframe, and copy for the dynamic digital site with which I took first pen. All of which you can find in a lookbook below.
Mario Hugo was brought in to create an array of visualizations for the cover, contents page, and the rest of the magazine. He also worked with Hugo & Marie colleague Sam Hodges. This became a cult issue, revered by the art, cinema, science, and aeronautics communities.
My focus was on the content adaptation, wireframe, and copy for the dynamic digital site with which I took first pen. All of which you can find in a lookbook below.
During my time in the interactive marketing department at Paramount Pictures, I was fortunate to work on a film that irrevocably forged a lifelong love and fascination with space.
To build acclaim and curiosity from key social tribes (tech, sci-fi, and awards enthusiasts), Paramount and Christopher Nolan produced a creative editorial moment around extending the heady, theoretical science with which the film was based.
With WIRED’s December 2014 digital and print issue, I helped as an early copywriter and content strategist on this editorial big bet. I still feel as though this was the most intriguing project I've been afforded the privilege to touch.
Mario Hugo was brought in to create an array of visualizations for the cover, contents page, and the rest of the magazine. He also worked with Hugo & Marie colleague Sam Hodges. This became a cult issue, revered by the art, cinema, science, and aeronautics communities.
My focus was on the content adaptation, wireframe, and copy for the dynamic digital site with which I took first pen. All of which you can find in a lookbook below.
