Welcome! I started this company in 1996 to specialize in setting up international television pre-sales and co-productions on behalf of independent non-fiction filmmakers. I also provide consulting services to advise media makers on finance, development, production, marketing and distribution strategies. As a natural extension of these roles, I selectively handle the remaining distribution/sales agency that can be done on behalf of these projects. Previously, I operated a program distribution company that represented all genres of programming – from children’s to arts to drama and features. That company was launched in Boston and operated for almost fifteen years, with offices in London and Los Angeles.
I work with a small portfolio of projects from season-to-season, preferring to be closely involved with my clients and their work. I endeavor to create ties with producers/directors that will result in on-going joint efforts on the development, production and distribution of their projects. I work with first time directors, as well as highly experienced filmmakers and seek to establish fully transparent, highly collaborative relationships with my clients. Over the years I have been honored to represent makers and projects that have gone on to achieve what are among the world’s top accolades including Oscar, Emmy, Sundance and other awards.
I attend various international festivals and markets each year, seeking to match them with that season’s project portfolio. After working in this field for many years I’ve developed what I believe is a reputation for attentive and careful representation of high quality projects.
From the beginning, LRL has been known for representing strong history and social issue films, as well as incisive cultural documentaries. I’m also interested in science, providing it is either inter-disciplinary or has a somewhat edgy, subversive element (rather than simply cheering the advent of the new). And, arts docs always have an important place in my collection. For possible representation, I prefer to consider projects at an early stage, while they can still be refined and adapted to achieve their maximum international potential.
I look for feature length projects that include plans for at least a one hour version and possible adaptation to multi-part series. Series projects are welcome as are single films that can serve as pilots for series.
I gravitate towards distinctly “authored” work and away from “surveys”. A disciplined yet creative approach to shooting and excellent research and writing skills matter more than special effects and equipment-dependent scenarios. Advocacy can be okay…but not polemics.