1976. Jason Goldwatch was born in San Francisco, “raised in half by rad parents.” His father, an artist and Dean of Photo at Fort Mason Art Center; his mom owned her own toy store called Childs Play at The Canary. Having divorced when he was 5, Jason describes the period as a “definitive latch key childhood”, adding “I loved the personal space.”

Goldwatch attended School Of The Arts High School. He eventually transferred sophomore year from “Visual Arts” into the newly formed “Media Arts Program”, where he began shooting and editing short films and music videos with friends.

He went on to attend Cal Arts Film School, directing music videos for LA noise makers Dr. Octagon/Kool Keith, Dilated Peoples, Aceyalone and Lootpack, while also running the University’s closed circuit television station “CANAL-OCHO.” (Rumors of “Academy viewers” being played over the weekends are still unsubstantiated.)

Goldwatch graduated from Cal Arts in 2000, and exuberantly signed to his personal hero Spike Jonze’s production company Satellite Films. While there, he would direct Dilated Peoples’ classic “Worst Comes To Worst” — a music video with a unified East and West Coast, which included a set up at the base of the World Trade Center on September 7th, 2001, just four days before “some idiots crashed all those planes into those buildings killing everyone and fucking up the economy.”

2003. Addressing the acquired PTSD, he moved to New York City, co-founding DECON Media with Peter Bittenbender. At DECON, he directed music videos and short experimental films, each released in conjunction with major album releases and creating films such as “Young Jeezy : Thug Motivation 101”; the “Neptunes Present: CLONES”; Ludacris’ “The Red Light District”, and the experimental skate film “Team Ice Cream Vol. 1” under Pharrell’s Ice Cream / BBC imprint.

2005. Stunned by travel and falling into his photography roots he began taking still images more seriously and bought some bigger cameras, while hanging onto his antique ones, combining photos, super 8mm film and digital motion into experiential travel logs on the open road. Acting as a participatory documentarian, Goldwatch shot Jay-Z, Pharell, Kid-Cudi and Dilated Peoples among others, crafting epic travel films by hand.

2007. DECON merged with legendary print magazine MASS APPEAL. Goldwatch began writing print articles, curating photo spreads and taking a slower craftsman’s approach to a new style of conceptual content creation. Re-imagining the interview with “Time Alone,” as well as crafting original personal works “Time Pieces.” Continuing to manufacturer with cultural flag poles, he directed music videos with Pusha-T and Tyler the Creator, ScHoolboy Q, 88-Keys and Kanye West, as well as Jay-Z, Kid Cudi, Action Bronson, Pharrell, Jay-Z, Busta, Nas, The Roots, Damian Marley, Linkin Park, etc. This was all while simulatniously producing works for Google, Converse, Square Space, Eminem, Jordan, Sprite, Samsung, Adidas, Patron, 7-Up, Malibu Rum, Square Space, etc.

Creating films in both the commercial and music video fields, he began to notice “irrupted holes” or gaps. Pointing out music videos were always made months after the song was, while noticing commercial agencies create exhaustive scripts and boards, shooting imagery weeks before music was even considered. His response? A “multi-media-band”; a new group in which image and song are created simultaneously, cohesively and with equal impact. A band with no frontman, calling it itself the CODE CUT CREW, first releasing “Planes” quickly followed up with “Terrible Teddy,” just days before the bands break-up, ultimately blamed on “a particular members problem with shoe laces.”

Continuously re-defining his bridge of image and sound, Jason blended photography expeditions and “original scores by beautiful brothers.” Creating a photography content collective with “13th Witness” — a duo calling themselves “Watch and Witness.” Shooting both “still and motion” imagery around the planet, documenting “bando explorations” and destination-less road trips across Death Valley, through New Bombay and all over Tokyo, as well as brand work with Jordan, Converse, Dutch Masters, Patron and NAS. They also created prints and merchandise, all of which promoting personal bravery and photography adventure under the mantra “Explore Everything.”

2015. Goldwatch began tackling longer form content, heavily infused with music. Creating the feature length film: NAS “Classical Hip Hop,” a reinterpretation of the album “Illmatic” front to back. Performed at The Kennedy Center in Washington DC, alongside the National Symphony Orchestra.

2016. Jason received an Emmy Nomination for his directing work on the show “AVEC ERIC: Season 3”, starring renowned chef Eric Ripert for The Cooking Channel and shooting around the globe from Radish farmers of the DMZ to wild Crocodile Tail Tempura in Tasmania.

Goldwatch then married his boo he met at an embarrassingly awesome night club in NYC. The two produced a love child, a son named “Seven,” copped a family car and drove back to California with their hairless cat “Taco” in the navigators chair.

Back in California, Goldwatch would part ways from Mass Appeal for his music video and commercial work, citing “mutual differences in the direction of the culture.” Today, Goldwatch resides on the East Side of LA, grinding on his first photography book and related print show for 2020, entitled “Spirit Is A Muscle – 2020” alongside new found management Regime INC. He is further trying to unite moving-pictures with emotional-soundscapes into one piece, creating new works out of “Visual Samples” crafted from downloaded clips. Working with Earl Sweatshirt, LOUDPVCK, ScHoolboy Q, Everlast, Conway and West Side Gunn. He’s also creating “gigantgore music videos” for Blink-182, Post Malone and Cypress Hill.

Lastly, Goldwatch is creating a feature documentary focusing on the legendary Los Angeles social-collective Soul Assassins. He’s been texting with 13th Witness about relaunching WATCH&WITNESS, but not getting a response thus far.

And most importantly, Jason’s “unusually grumpy wife” is working on what she describes as a “girl.”