Why I’m here:
The slate grey of the Atlantic slowly filled with colour as dawn became day in the 4am to 8am watch. In the bow wave of a small boat, a dolphin rolled on its side and looked up at me. Contact! That glance has been my quiet north ever since; connection before argument, curiosity before certainty.
I began in the BBC’s cutting rooms, a film editor learning to make messages one frame at a time. I moved into early 3D graphics and programming, then out onto the water - racing, navigating, delivering yachts. Navigation taught me attention and consequence: reading sky, tide, and noise, turning pattern into prediction. When consumer Decca and then GPS arrived, I felt both wonder and worry. The craft was drifting from observation to blind faith - to numbers that looked precise enough to stop questions. That tension stayed with me.
I kept following my curiosity: building the Royal Institute of Navigation’s first website, fitting super‑yacht navigation and communication systems, riding a dot‑com wave til it broke, then auditing ISO 9001/14001 systems in the ports. The badges mattered more than the change they were meant to signal. I stepped back toward film, where message and meaning only connect when the audience chooses to engage.
Stories don’t land because I say they do; stories land when you see through the eyes of the main character. My job is to help you care about that person quickly, take you with them for a while, and then bring you back with clear ways to help.
Life intervened. I cared for my parents through dementia and loss. In the long, quiet Covidian hours, I studied story properly - Muse Storytelling, Solutions Journalism, The Elements of Journalism. I learned to show the response, the evidence, and the limits, not just the problem. I realised my why wasn’t to make “content”; it was to find and tell intentional stories that leave an audience with agency.
Blue Pulse grew from that. First came Media Unmade, to understand how storytelling is changing. Then AI & Agents, to learn how to use new tools without losing the plot. Finally, Blue Pulse Films itself - the ocean work - where optimism is earned, not asserted.
I’m building this with systems and a simple ethic: evidence over vibes, hope over hype, signal over noise. I work in the field as much as I can, starting around the English Channel while an Iberian Odyssey waits its turn. I’m looking for characters who carry the work in their bones: scientists, fishing people, harbour teams, sailors, volunteers; people moving from conflict to coexistence. We show how the solution works, where it fails, and what comes next. We make the “vector” visible.
There have been delays - health, grief, and the slow labour of an estate. But the compass hasn’t changed. My audience starts with ocean enthusiasts and the fans of sailing channels. They love the ocean and live meaningfully through the people who cross it. I want them to feel they can help their heroes: the things they buy, the projects they back, the habits they change, the pressure they apply.
So my origin folds into my why. Editing taught me that choices craft messages. Navigation taught me that attention reveals truth. The audience makes the meaning. Blue Pulse is where those lessons meet. I’m here to make quiet, credible progress visible - so more of it happens.
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