Creative DirectorChief Creative OfficerMiami / Remote
ReyGutierrez
I lead creative for studios and brands — and direct the films, trailers and campaigns that carry them. Twenty years in the room; now building it AI-native.
A face of PlayStation for five years. Patreon’s 22nd employee. Founder of Murder Palace. I’ve shot, hosted and directed across games, film, music and tech — and I’m looking for my next room as a Chief Creative Officer or Creative Director in software.
& building
employee no.
titles
interviewed
awards
Career
Two decades in the room.
Worked with
A career of rooms.
Artists, athletes, founders and executives I’ve cast, shot, hosted, filmed and covered.
Selected work
Trailers, titles & a feature.
Games I cut, marketed or covered. Across a decade at PlayStation and years directing trailers, my hands touched some of the most-watched launches in the medium.
+ dozens of third-party titles, and a full slate of Power Rangers character trailers across the sagas — Lord Drakkon, Ranger Slayer and the Street Fighter crossover.
The rural-horror feature I shot and cut — from camera through the final edit.
The Network
Original worlds I own & run.
Every show is its own brand and its own domain. I write, direct, shoot and design each one — a network of channels spanning games, film, fashion, music and technology, all built under Murder Palace.
Each channel is a live domain, a show and a funnel — one voice across twelve worlds.
Press & publishing
On the record.
I created and authored The Drop — PlayStation’s weekly new-releases column — as Sr. Social Media Specialist from 2010–2013. Read the archive ↗
Origin
Self-taught, Miami-made.
Winning art festivals in elementary school. Teaching myself computers in the middle-school lab, then teaching myself to edit — Final Cut, iMovie — the summer before senior year. An award-winning theater kid who traded the stage for the camera and started shooting his own stories before graduating in 2001. Out of Miami’s ArtTech program, mentored by the film schools at FIU and the University of Miami, and hired onto a casting floor two weeks before graduation. Early on I cut the Now You See Me highlight-reel DVD for Barry Sanders and designed print, posters and artwork for Barry Bonds — both through JB Bernstein, the agent behind Million Dollar Arm. Everything since has been built the same way: figure it out, then make it.
Now
I built my own studio — and the software that runs it.
Murder Palace is my transmedia production house: one place where I write, direct, shoot, score and design entire worlds. Under it sits Alpha Omega — a proprietary production OS I designed to storyboard, cast, render and publish a whole network from a single desk.
It’s a working answer to a simple question: what can one creative leader do when the pipeline bends to the vision instead of the other way around? That same rigor — story-first, finish-obsessed, built to ship — is what I want to bring inside a software studio next, as Chief Creative Officer or Creative Director.