Growing up in Cornwall, the son of a free-lance marine painter I had never imagined a globe-trotting career in the film industry would one day beckon. I could also never have predicted how much my past would influence the work I have had the opportunity to do, in what had seemed then, a very far-fetched prospect. The maritime strand that had so defined my childhood, has increasingly become my specialism, with beginnings on the initial episodes of the 'Hornblower' series, right up to the more spectacular Armada sequences on Shekhar Kapurs' 'Elizabeth: The Golden Age', I am frequently required to draw on this particular part of my experience.


Perhaps conscious of avoiding an exclusive 'pigeon-hole' I have always attempted to keep the subject matter and medium within which I work, as broad as possible, taking on jobs in theatre and television as well as maintaining my feature films staple. Whether in the area of Set Decorating (Munich, Alexander), Art Direction (Hugo, Harry Potter, Bright Star), Illustration (John Carter Of Mars) or in embracing the newer technologies within Visual Effects (Prince Caspian) I have always believed that breadth of experience and a willingness to diversify, are paramount.

Going Forward

The digital age has finally penetrated even the most traditional corners of the creative arts, and it has become imperative for us to embrace these technologies if we are to continue to exercise our creative vision with equanimity and verve. My recent works (as yet unreleased) lean increasingly heavily towards this ever-growing field.