My work on Oyster was rooted in preparation and restraint. During pre-production, I worked closely with the director to translate intention into structure: developing shot lists, lighting plans, and floor layouts that prioritized blocking accuracy and spatial clarity. This groundwork shaped the set itself, allowing decisions to unfold without interruption once we began shooting.

On set, my focus shifted to communication: adapting my language across departments and trusting the preparation to guide the process. In post-production, I continued with the film through sound design, approaching audio as an extension of space and interiority rather than reinforcement. The film premiered theatrically at Roxy Cinemas and went on to an international festival run, an outcome shaped less by scale than by precision.