Film production
Understanding how a production works from the inside changes how you contribute to it. Over the course of my career I have occupied roles across almost every layer of a film and television production, which means I bring operational credibility to creative conversations and creative thinking to operational problems.
Extras and Crowd Casting
Working alongside Brenda Camilleri Casting - the undisputed leader in crowd casting in Malta, I have contributed to the Malta-based production operations of some of the largest international film and television projects to shoot on the island in recent years, including Kaamelott; Back to the 90s; 23,000 Lives (Netflix); Enola Holmes 3; Viva La Madness (Guy Ritchie) and The Chronology of Water.
My role across these productions has spanned the full operation of the extras and crowd casting department: sourcing and onboarding background artists and actors, managing applications, coordinating bookings, handling contracts and legal requirements, processing work permits, and marshalling on set. I established routines, workflows, and operational guidelines across every touchpoint of the department, from WhatsApp communication protocols to inbox management to the digitisation of legacy procedures that had previously relied on manual, paper-based processes.
Where I have consistently brought additional value beyond the core casting function is in applying my UX, marketing, and technology background to the operation itself. This has included redesigning and maintaining the casting website, improving the application funnel for both actors and background artists (two separate and distinct workflows), managing social media presence and brand consistency, and currently leading the migration of pre-existing spreadsheet systems to a structured database which is aimed reducing dependency on spreadsheets. The Brenda Camilleri Casting Kids' Section, a dedicated stream for parents registering children as background artists for film and television productions, was facilitated by myself while making use of a custom-built platform by a third-party company.
More information about Brenda Camilleri Casting can be viewed from the website currently available online
Talent Management
On two separate unscripted productions shooting in Malta, I worked as Talent Manager responsible for the daily needs and full logistical coordination of all participants.
On Love Overboard (Hulu), I managed a cast of influencers and models through the full production period, handling everything from daily scheduling and transport to welfare, communication, and off/ on-set coordination. On Battle of the Beasts, I managed a roster that included some of the world's strongest athletes including Eddie hall and alongside other high-profile guests, coordinating the logistical and personal requirements of competitors across the duration of the shoot.
Both productions required managing and contributing to a team of four to eight production assistants or collaborators, working across multiple concurrent priorities in fast-moving, high-pressure environments.
The Through Line
Across all of these roles, the same approach has applied: bring structure to environments that do not always have it, use technology and data to replace guesswork, and treat every operational problem as a design problem with a better solution waiting to be found. High proficiency across spreadsheets, data visualisation, project management tools, and digital systems is not incidental to this work. It is what makes the difference between a department that functions and one that performs.