Leaving Cincinnati in 1990 following the third national tour of his award winning play “MYTIME”, Mr. Phillips headed west to join the Hollywood workforce. Driving his 1972 white Volkswagen bug filled with all his personal items he found himself, within a few weeks of his arrival in Los Angeles, working on his first major Hollywood feature.

Looking into an open door of a post-production facility in Burbank he gave his resume to the crew working inside. Two days later he was called in to work as a runner on Steven Segal’s “OUT FOR JUSTICE.” Days earlier he was on the outside of Warner Brothers Studio gates wondering how he was going to get his break. Suddenly he was ushered through the gates with a mission of retrieving sound reels from the mixing stage. He went on to work for Paramount on such films as “Addam’s Family” and “Wayne’s World”, and independently on films such as “Glengarry Glen Ross”. But it was back at Warner Brothers on films like “The Peacemaker” and “Deep Impact” that things began to really change. Taught to cut on film “the old-fashion way” he was at the epicenter of the digital revolution. Suddenly Hollywood was moving from film and magnetic tape to non-linear editing systems and digital dubbers. DreamWorks hired Jonathan to work on the International release of “Deep Impact” as delivery was now being accelerated worldwide. He was an early hire at DreamWorks and worked his way up to the Senior Editor in the International division. There he was instrumental in developing workflow to and from over 26 different countries through the Internet for the “day and date” release of all DreamWorks’ content. From there he went to Wellington, New Zealand for Universal Studios to oversee the delivery of Peter Jackson’s “King Kong”. Currently he runs the production company Organic Digital, overseeing all areas of production from development through final delivery.