Production Manager/Coordinator

Click here to see my Production Manager/Coordinator resume.

I know first hand how much work it takes to get a production up and running, and I know how to handle a variety of production-related logistics. I have over a decade of office experience, and I am comfortable heading up a production office or working with a team to get one up and running. I am familiar with production reports, petty cash, purchase orders, SAG applications, and many other production related reports. I have also worked with a wide variety of film crew in the Pacific Northwest, and I can make crew recommendations for both large and small productions.

Please note: I’m a member of IATSE 488 for the role of Production Coordinator, but I’m willing and able to work non-union, if necessary.

Production Manager/Coordinator Highlights:

Real World, Seas 32  –  reality tv  •  production coordinator  •  2016
Ballad of Westerado  –  interactive promo  •  production coordinator  •  2014
The Hollow One  –  feature film  •  production coordinator  •  2013
Seven Minutes  –  feature film  •  production coordinator (2nd Unit)  •  2013
The Bond  –  short film  •  production manager  •  2013
4-Hour Chef  –  viral promo  •  production manager  •  2012

APOC/Production Secretary

Marco in the Touchy Feely production office

Many feature films have taken advantage of my office logistics skills by making me their assistant production office coordinator (APOC) or production secretary. More than one production coordinator has let me know that I’m one of their favorite APOC’s because I help them anticipate a production’s needs and generally make them look good.

Please note: I’m a member of IATSE 488 for the role of Assistant Coordinator, but I’m still willing and able to work non-union.

Assistant Coordinator/Production Secretary Highlights:

Grey’s Anatomy, Seas 14  –  network tv  •  APOC (Seattle unit)  •  2017
Man in the High Castle  –  Amazon pilot  •  APOC  •  2014
Z Nation  –  tv series  •  APOC  •  2014
The Architect  –  feature film  •  production secretary  •  2013
Seven Minutes  –  feature film  •  APOC  •  2013
A Bit of Bad Luck  –  feature film  •  APOC  •  2012
Ten Years Later


One of my favorite roles on a movie is being the producer. It’s a lot of work, but I love making sure a film project is ready to shoot and seeing it through to the end. From pre-production to post, be it short or feature-length, I know what it takes to make a film happen. With films like Eyes in the Dark, I was brought in for post-production to make sure the film got completed. With the short film Suspect, in two weeks, I raised money to rent a RED-MX camera, rent costumes, hired a police officer, secured the locations/permits and cast SAG actors. And with the tv show, The High Bar, the executive producer brought me in to put together some of the episodes of season 3.

Producer Highlights:

Organ Trail  –  video game trailer  •  line producer  •  2015
Music of the Spheres  –  web series  •  associate producer  •  2015
Vows  –  feature film  •  associate producer  •  2015
The High Bar  –  interview tv show  •  co-producer  •  2012
Suspect  –  narrative short  •  producer  •  2012
Eyes in the Dark  –  feature film  •  co-producer  •  2010

Assistant Director / 2nd A.D.

On low-budget independent film projects, I’ve found that my logistical office skills often help out as the assistant director on the set. But being an assistant director isn’t just about making shooting schedules and call sheets. It’s about budgeting time, and I’ve found that many of the coordinating skills I have prepare me for being an assistant director too. As a matter of fact, I’ve worked on several film productions as a 2nd AD/production coordinator hybrid.

AD Highlights:

Strowlers  –  web series pilot  •  2nd assistant director  •  2015
The Three Stars  –  narrative short  •  2nd assistant director  •  2013
Scrapper  –  feature film  •  first assistant director  •  2012

Production Assistant

Marco, Gary Busey, and Robyn on the set of Jenny

The role of production assistant can mean many different things. On Bobby Ellis and Eyes in the Dark, I did just about everything as the Key Set PA. On Jenny, I brought Gary Busey to and from set, held his umbrella, or just kept him company as the Talent PA. On Lucky Them, I was brought in special to help on the one day they were filming Johnny Depp. The show Top Gear had me drive a 24′ box truck all over Washington and load and unload all their gear.

PA Highlights:

Top Gear  –  reality tv  •  PA / driver  •  2013
Top Chef  –  reality TV  •  art department PA  •  2012
Bobby Ellis is Gonna Kick Your Ass  –  narrative short  •  key set PA  •  2011
Jenny  –  narrative short  •  talent PA  •  2011


Marco acting in the short film titled WarPeople are always surprised to learn that acting was what lead me to filmmaking. Acting has always been one of my first loves, which is why I earned my BA in Theatre at SPU. Although nowadays acting is not my primary focus, I still enjoy doing it, especially if I get to avoid memorizing a lot of lines, or worse, auditioning. As it is now, I find myself acting for directors who are already familiar with my range, or in films I’m already working on as crew. There’s many a film that I’ve saved by stepping up and taking on a small acting role.

Acting Highlights:

The Ex-Lunch  –  short film  •  supporting  •  2012
Scrapper  –  feature film  •  supporting  •  2012
Happy Monday  –  narrative short  •  supporting  •  2011
War  –  narrative short  •  lead actor  •  2011
Eyes in the Dark  –  feature film  •  supporting  •  2010
Landscapers  –  silent short  •  lead actor  •  2009

All of the above

Often on small, independent productions I find people make the best use of my many talents by giving me multiple roles. Although it isn’t ideal to do two or three roles because your responsibilities are split, sometimes there isn’t an option on a low budget. I find myself to be very successful in these challenging projects.