Interior Design
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New Construction
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Renovations
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Remodels
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Commercial Design
Interior Design ✳︎ New Construction ✳︎ Renovations ✳︎ Remodels ✳︎ Commercial Design
work with kiki
90 minutes together, live, focused entirely on your project. We’ll dig into what you’re making, what you’re trying to say, how you want it to feel, and whatever you want to figure out. Bring the film, idea, treatment or creative question and we’ll use the time wherever it’s most useful.
90-minute live consultation
No advance review aka an opportunity to pitch your project and see what’s working
A complete creative and visual review of your treatment or pitch deck, focused entirely on your project. I’ll dig into what you’re making, what you’re trying to say, how you want it to feel, and whether the deck is communicating it. I’ll look at what’s working, what isn’t, what may be missing, and what I would cut, move, rethink or strengthen.
Detailed written notes + clear next steps
60-minute follow-up consultation
You know the film you want to make. I’ll help you make everyone else see it. We start with a deep-dive conversation so I can get inside the project and understand what you see. From there, I build the visual world of your treatment: image research, visual direction, typography, graphical language and design. You’ll receive a finished, cohesive deck that feels specific to your film, plus the visual library we built along the way.
The $4,000 package is for a straightforward treatment of roughly 20 pages, for a project that is already developed and where the writing is complete. It includes our initial creative deep dive, image research and visual library, visual direction, treatment design, one round of revisions and a final PDF.
Projects that require additional development, writing, extensive restructuring, more pages or a more involved design process can absolutely be accommodated. Additional work is billed at my day rate and agreed upon before we go beyond the original scope.
Bring me onto your film as a story, visual and creative consultant.
I work alongside filmmakers over the life of a project, or come in for a particular section where outside dramaturgical support would be helpful.
I often describe my role as Switzerland. I’m there for the work. I’m not trying to make the film I would make, and I’m not there to win an argument. My job is to understand what you’re trying to make, protect what is specific about it, and be rigorous about the places where the work isn’t yet doing what you want it to do.
That can mean working through story and structure, character and performance, visual language and tone, watching cuts, talking through sound and music, or simply being the person you can bring the difficult creative question to.
Because I work across disciplines, I can move between the written word, image, sound, performance and edit while keeping sight of the film as a whole.
Sometimes I’m there for a concentrated period when the project needs another set of eyes. Sometimes I stay with the film through development, production and post. The relationship is shaped around the project and what it needs.
digital workbooks
A practical guide to finding, building and organizing the visual language of your film. This is the process I use before I start building a treatment: getting clear on the film, finding the right visual references, knowing what to look for, over-pulling, organizing everything and making your selects. You’re not collecting cool images for a deck. You’re building a visual library for your film.