Born in Harrisburg PA. By the time he reached 17, Jonathan was a seasoned global traveler via the military brat lifestyle. 

Educated at Wichita State University, Jonathan studied, while trying to earn a scholarship playing football, participating in the ROTC program and working as a Resident Assistant all of which strongly reinforced his ability to work in a collective, collaborative environment.  On the recommendation of a favorite professor, Jonathan also began his professional media career with KSN the NBC affiliate as a camera operator while still an undergrad. 

After earning his BA in Communications from Wichita State, Jonathan continued his education at Southern Illinois University in the Film Department (35mm Film with a focus on abstract and avant-garde photography), paying the bills by touring the Midwest college circuit playing drums for various bands.  During one tour stop in Chicago, he landed a job interview with Westinghouse Corporation, which led to his employment with the start up of Satellite News Channel then the only competitor to CNN’s 24-hour news coverage. 

After relocating to Washington D.C for SNC, he was hired for the position of technical director for the start up operation of Home Team Sports one of the predecessors of the Regional Sports Networks.  After completion of that assignment he went on to become one of the primary Technical Directors at the NBC O&O WRC-4 in Washington D.C. 

During this period in his career the nickname Jonathan X was developed.  After participating in various video art projects Jonathan was offered multiple exhibits (video installations) at local clubs and art houses, leading to two major exhibits at the Chicago Museum of Art.  “Slow Fade to Black” a collection of socio-political art from a variety of artist and “Video Congress 235” in Munich, West Germany.  When these submissions were entered, he chose to use his middle name, Jonathan and added the letter X as homage to Richard Pryor’s early film role in the cult classic “Wild in The Streets.”  Once his co-workers heard of this, it appeared on one of the weekly credit rolls and has stuck ever since. 

After the NABET strike of 1987, Jonathan relocated to the Los Angeles area to begin anew; this was the hardest period of his professional life, starting from scratch with very few contacts.  While waiting and searching for employment he created a half hour video mixed art, philosophy and music video experience project called “Art Maggot Hysteria”, over 50 episodes created.  Hysteria is still spoken of as groundbreaking within the avant-garde arts community.  

During that time of self-expression, opportunity arrived and Jonathan began his freelance career.  Jonathan’s highly successful run as a consistent and creative technical director in the LA market brought his skills to a long list of national and global sporting events, national news events, game show, talk show, music, variety, award, action and entertainment programs.  Utilizing his in-depth technical knowledge, personal management skills, strong work model, and creative energies has enabled Jonathan to gain a complete overview of every aspect of each production.  Working well and understanding each person’s role in the collaborative effort of creative production, Jonathan became one of the most sought after and respected technical directors in America. 

With over six National Emmy’s and other esteemed awards to his credit, he began his transition to directing (a natural progression based upon his creative vision and technical background) in 1999.  

Jonathan’s segue into directing, is a distillation of all the creative skills and technical acumen garnered over the course of his rich personal and professional life.

Now firmly established as a full time working Director and Guild member (along with his continued membership with IATSE, IBEW, and NABET) the same emphasis on excellence, creative vision, passion and drive are serving him and his clients well. 

 

Jonathan X's Directing Philosophy

Approach to Directing

“It all begins with the script and a clear understanding of the vision/intent of the show.  Working collaboratively with executive producers to address their vision and assess the technical and creative requirements of each production.  I meet with the talent to convey these concepts and work with staging, blocking and readings. 

For multi-camera productions, I assess the resources at my disposal. Interface with the Lighting and Set Designer in order to begin the process of mental blocking and camera placement, with game shows, the game designers and effects designer.  Review audio elements and graphic elements.

Once I have the working elements in order I create a paper cut sequence based upon the material collected.  When I have visualized the style of the presentation/coverage of the project, I then work with talent, technical, and production staff, to present my plans for first day of rehearsal. 

During the entire working process, I model a democratic yet disciplined style of leadership.

I am open to feedback from the various department heads and from the project producers, but in the end I must make the final decision on how to incorporate suggestions into the big picture.  Top priority is to keep the basic vision of the project my primary objective, and to lead all resources towards that goal.  Due to my broad range of show experiences, I also have the proven ability to adjust as needed (especially in a live telecast situation).

I lead by example; I create a positive and comfortable environment respectful of the individual skills and tasks that are melded together to create a professional, creative and unique program. 

The rehearsal process is managed in such a way that all department heads have a chance to experience the show material in real time and with full access to resources.  I love when I can rehearse with all elements and the use of stand-ins for initial camera blocking and cues.  I try not to burn out talent and crew, but will continue to work with them, if I feel it is necessary to the production, or if any department head does not feel comfortable (mainly in areas where safety is concerned).

During the day of show, I work hard to keep the production moving forward, keeping the focus on the primary objective of the project, without losing my creative vision for the project.

At the end of the day I am proud of my name being associated with the projects I direct.”