“My goal is simple: bring bold creative ideas to life with precision, integrity, and a great team.”— Leslie Lucey
Behind the Scenes
Naomi Osaka: The Second Set
Audiences and critics have called the film “a raw and intimate comeback” (People Magazine), “a love letter to mothers” (Letterboxd), and “a deeply human story of resilience” (EBONY). The Knockturnal praised the collaboration between Naomi Osaka and director Kat Jayme for “allowing more of her true self to shine through on screen” (The Knockturnal).
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world. Whatever it is, the way you tell your story online can make all the difference.Working on The Second Set was an experience defined by honesty and courage. Naomi opened the door to her world at a time of real transition — returning to the sport she loves while navigating new motherhood and all the vulnerability that comes with it. Watching her balance joy, doubt, and determination was a powerful reminder of what it means to rebuild yourself in public.
I was surrounded by a deeply collaborative team who led with trust and empathy, and together we tried to create a space where real emotion could live. The result is a film that feels less like a sports story and more like a portrait of renewal — about grace under pressure and the quiet strength it takes to begin again.
The Twister: Caught in the Storm
Making of the visuals for the film
The Twister: Caught in the Storm
The Twister: Caught in the Storm was one of the most technically ambitious projects I’ve ever produced. I led production for all of the visuals and large-scale recreations — filmed entirely on a soundstage in Rantoul, Illinois — where our team rebuilt and reimagined the chaos, stillness, and aftermath of the Joplin, Missouri EF-5 tornado.
Working alongside cinematographer David Vollrath and director Alexandra Lacey, our goal was to immerse the viewer inside the storm without ever losing the human perspective. We combined archival footage, practical effects, and HDR cinematography within an ACES workflow to create a visual experience that felt both authentic and cinematic. Every lighting cue, wind effect, and camera movement was designed to carry emotional weight — not spectacle, but empathy.
The film quickly found an audience, climbing to the top of Netflix’s global charts and earning critical praise for its “apocalyptic imagery” and “emotional precision.” Paste Magazine called it “a rare moment where the visual and emotional converge,” while British Cinematographer described it as “capturing chaos and character with remarkable restraint.” Viewers noted how the mix of real footage and cinematic reconstruction “brought the fear and strange beauty of survival vividly to life.”
Producing the visuals for The Twister reminded me that even the most devastating stories can reveal resilience and grace. It was an education in controlled chaos — and a privilege to help shape something that audiences around the world felt so deeply.
Top Class Tennis
Top Class Tennis was a project that hit close to home — a chance to help tell the story of what it really takes to chase a dream before the spotlight ever finds you. Produced with Uninterrupted and executive producer Sloane Stephens, the series follows four gifted junior players as they balance ambition, identity, and the everyday realities of growing up in a sport that demands everything.
What drew me in wasn’t just the competition, but the quiet, honest moments behind it — the families who sacrifice, the kids who carry expectation with grace, and the vulnerability that rarely makes it past the press line. We filmed through the junior circuit — from the Eddie Herr to the Orange Bowl — capturing the full rhythm of their young athletic lives.
The series premiered on Amazon Prime Video and Freevee to strong reviews, praised as a “respectful and thoughtful portrayal” (Decider) and “an inspiring, unfiltered look at young athletes finding their voices” (Common Sense Media). It expanded Uninterrupted’s Top Class franchise beyond basketball and gave junior tennis the same storytelling weight usually reserved for the pros.
Line producing Top Class Tennis reminded me how powerful it can be when young athletes are given the space to tell their own stories — before the headlines, before the medals — when it’s still about heart, hunger, and the love of the game.
Anna Nicole Smith: You Don't Know Me
Working on Anna Nicole Smith: You Don’t Know Me was an extraordinary experience — a project that asked all of us to look deeper, to find the woman behind the headlines.
Collaborating with director Ursula Macfarlane and the Netflix documentary team, I helped bring to life a film that approached Anna Nicole’s story with empathy, craft, and a determination to restore her voice amid decades of noise.
Our team worked closely to weave rare archival footage, personal tapes, and new interviews into something visually arresting and emotionally raw. Every choice — from the way scenes were built to the pace of the storytelling — was designed to remind viewers that fame and fragility often exist side by side.
The film struck a chord with audiences worldwide, praised for its access and for challenging the myth of the “blonde bombshell” to reveal a complex, ambitious woman whose life reflected both the power and cost of reinvention. For me, it was a privilege to help shape a documentary that asked audiences not just to remember Anna Nicole Smith, but to finally see her.
