After being an actor for five years, Phil learnt to direct while working on movie sets, including "Die Hard III". He wrote, directed, produced and acted in the short film "Easy money", an award winning project in many international film festivals.

In 2000 he began directing commercials in Europe and the USA, still with the same determination and creativity, in a dynamic and innovative cinematographic style. He won "Best Young director at satchi & Satchi Award" in Cannes for his Mercedes commercial.

Noticed by Columbia  Pictures and by David Fincher, Art Linson and Jonh Linson for his technical mastery and audacious framing in "Easy Money", Phil is asked to shoot some original sequences for the feature film "Lords of Dogtown". 

Phil's perspective of movie development is willing to explore a particular narration form connecting sound with the content of moving or still shots, shape, directional ligth and filmic technic. Through various technical approaches, he explores the possibilities and limitations of an image along with the bulding of its time, space breaking down and the balance.

Going from the content of a still shot to the set up of a moving shot; from the soundtrack to the study of components; from color to black and white; from timing to machinery creation; from editing to special effects, Phil merges, alters and shapes these parts into images.

Other specialized areas go towards perspective changing, towards applying painting geometic rules to movies (foreground, middleground, background), towards the interaction of shapes (triangle, square, circle, octagon) in an image, speed and shots tiling.

Form these researches, Phil takes record of reality... or at least of a specific one - the reality of raw action that includes us in contemporary consumer society, but also the reality underlying, even before the actionis initiated, in the moments of awaiting, remembrance, unconsciousness or unbarring emotions. 

Reality is like a reflection in a mirror we can capture to question our way of seeing things; maybe because it does question our perception. It leads us to other paths where aotomatic reflexes to catch reality show their ambilvalence - paths where unbeknownst consciousness levels could exist; where men set lists to define and seize their territory, to set their everyday life in order and be reassured without being able to escape. Paths where men can be defined by their socialising, circles and lexical field, and who always get back to their territory and lists, despite the impression they are in motion.

The characters in Phil's movies are caught up in the abrupt reality of their own bodies, keeping them from binding to linear narration rules. Their ability to resist is the consequence of a natural propensity more than the result of a conscious fight. they allow Phil to question the limits of common sense reality.