Khaos Studio

The future belongs to creatives

2026-06-02T13:00:00+00:00

For most of modern entertainment history, the same pattern has repeated itself.

A writer imagines a world. An artist gives it shape. Actors, designers, editors, musicians, animators, producers, builders, and crews pour their labor into making it real.

Then a much smaller group captures most of the upside.

Not always because they created the thing. Often because they controlled the financing, distribution, rights, audience relationship, or machinery around it. They owned the path between the creative act and the market. They owned the leverage.

That arrangement became so normal that we stopped seeing how strange it is.

The people who generate the culture are too often treated like suppliers to someone else’s system. They bring the imagination, taste, labor, memory, and emotional risk. They create the worlds audiences fall in love with. But the compounding value of those worlds frequently belongs somewhere else.

Khaos exists because we believe that order is breaking.

The future belongs to creatives.

Not as a slogan. As a structural shift.

The old model was built around extraction

The old order: creative value drained from the source into the machinery around it.

The entertainment business has always needed coordination. Stories are expensive to produce. Teams are hard to organize. Distribution is powerful. Capital matters.

But over time, the machinery around storytelling became the dominant force. The creative source became one input among many: a script in a folder, a pitch in a room, a deck in a pipeline, a piece of IP waiting to be packaged.

That model rewards the people who control the system more than the people who imagine the worlds.

A creator can spend years developing characters, tone, lore, relationships, visual language, story logic, and emotional truth, only to watch that work become fragmented across documents, meetings, contracts, notes, decks, spreadsheets, production plans, and memory.

The work becomes scattered.

The authorship becomes diluted.

The value moves away from the source.

This is not just a business problem. It is a storytelling problem.

When the world of a story is trapped in disconnected artifacts, the story gets smaller. Continuity breaks. Characters flatten. Context disappears. Every new format requires a painful translation. Every collaborator has to reconstruct the truth from fragments.

The old model treats stories like static documents that later become productions.

But the most valuable stories were never just documents.

They were worlds.

The next category is immersive storytelling

One storyworld, many formats. The medium changes; the world remains.

We call the category immersive storytelling.

That does not mean headsets. It does not mean one medium. It does not mean a gimmick layered on top of a script.

Immersive storytelling is the craft of building storyworlds audiences can enter across formats.

A storyworld is bigger than a screenplay. It includes characters, relationships, histories, rules, places, timelines, conflicts, rituals, secrets, emotional arcs, visual language, sound, memory, canon, and possibility.

A storyworld can become a film, a series, a game, a comic, an audio experience, a live event, an interactive narrative, an AI-native experience, a fan community, or some format that does not have a name yet.

The medium may change.

The world remains.

This is the shift we care about: from isolated scripts to living story systems. From one-off production artifacts to durable creative infrastructure. From asking, “What is the next output?” to asking, “What world are we building, and who gets to own its future?”

Creatives should not have to become corporations to have leverage

Leverage: a small hand moving a great structure — no institution required.

One reason the old system lasted so long is that leverage was expensive.

To own more of the process, a creator needed access to money, teams, tools, distribution, legal support, production experience, marketing channels, and technical infrastructure. That meant many artists had to choose between control and reach.

Keep control, and stay small.

Get reach, and give up control.

That tradeoff has shaped generations of creative work.

But software changes what a small team can hold. AI changes what a small team can explore. New distribution channels change how audiences are found. New production methods change what can be prototyped before permission is granted.

The point is not that machines replace artists.

The point is that artists should have more leverage.

The future does not belong to machines. It belongs to creatives who know how to use machines without becoming subordinate to them.

Technology should give a storyteller more memory, not less authorship. More continuity, not more noise. More ways to explore a world, not more pressure to surrender taste. More ability to coordinate a team, test an idea, protect canon, and carry a vision across formats.

Creative infrastructure should make a writer, director, animator, designer, musician, or small studio more powerful without forcing them to disappear into someone else’s machine.

From suppliers to studios

From a single artifact to a creator-owned studio system.

The real shift is not simply that stories will become more interactive, more visual, or more intelligent.

The deeper shift is that creatives can become studios earlier.

A studio is not just a building or a financing entity. A studio is a system for developing, protecting, extending, and monetizing creative worlds.

For most of entertainment history, that system was difficult to build. It required institutional power.

Now the system can be smaller, more personal, more networked, and more creator-owned.

A storyteller should be able to carry the source of truth for a world from first idea to production to expansion. A team should be able to understand not just what happens in a scene, but why it matters, what it changes, what it contradicts, what it reveals, and what it makes possible.

A creative world should not live only in someone’s head until it is flattened into a deliverable.

It should be explorable.

It should be structured without becoming sterile.

It should make collaboration easier without stripping away the weirdness and specificity that made the work worth making in the first place.

That is the promise of immersive storytelling.

Not more content.

More coherent worlds.

Not faster slop.

More leverage for the people with taste.

The chaos created

The chaos we care about: an extractive order breaking, the light reclaimed by the source.

Khaos is not chaos for chaos’s sake.

The chaos we care about is the disruption of an extractive order.

It is the moment when the people who create the value can keep more of the value. The moment when a small team can hold a world with the discipline of a studio. The moment when a story can move across formats without losing its soul. The moment when creative infrastructure gives power back to the source instead of pulling it away.

That is the category we are building toward.

Immersive storytelling is not just a new kind of media. It is a new way to organize creative power around worlds instead of documents, around ownership instead of extraction, around talent instead of machinery.

The future belongs to creatives.

The next era of entertainment should be built for them.

Every shot counts

2024-05-06T00:00:00+00:00

Why text-to-video AI has missed the expectations of storytelling creatives.

As summer 2024 approaches, the AI gold rush has hit fever pitch. As I sit in a small coffee shop in Midtown Manhattan, typing away on my iPad, I overhear two colleagues discussing AI's impact on their finance jobs, and the possibilities it will have on their future.

The flood of AI products and AI-driven projects entering the market in early 2024 has caused a lot of curiosity, confusion, and misconceptions.

One particular area that seems to be on the minds of creatives from New York to Hollywood is AI-generated movies. In fact, it caused enough confusion and anxiety to bring the entertainment industry to a halt during last year's SAG-AFTRA and WGA negotiations.

Despite what seems to be a daily release of new products promising to take storytellers to the next level, most of what's been delivered doesn't seem to resonate with customers. This begs the question: why is AI failing our sky-high expectations? Did we buy into the hype, or was the future overpromised?

The Iteration Problem

Until now, we've mostly seen the ability to capture a text prompt and generate short clips or sequences of short stills or clips. While this has yielded some incredible results — things that were unimaginable as recent as 6 months ago — making tweaks to execute the user's vision could require heavy manipulation of the output.

This requires storytellers to spend more time identifying and correcting the AI's misses — converting skilled writers into story editors and making them, arguably, less efficient.

"Making a movie is all about iterating. It's iteration. And if you can't iterate on one of these, I don't know how you would possibly use it in production," says Craig Good, a former Pixar animator who has credits on Toy Story and Finding Nemo, in a recent interview with Quartz.

I interpret Craig's quote as an issue with AI accurately translating his vision into a usable output. This could mean that he's either had issues prompting the tool he's using or, more likely, the technology hasn't been able to recreate his intended vision.

With Good's professional accreditations, I have to believe his writing ability puts him in a very small circle of world-class creatives. Making this assumption, I'm led to believe the AI doesn't understand the nuance of human creativity.

But in reality, AI can often read and comprehend better than humans. So how does this combination lead to such an efficiency loss?

The Storyteller's Dilemma

Many of the products rushing to market today are outputting high-res, short-form content based on the capabilities of AI.

The result has been a saturation of products that largely accomplish the same thing and fail to meet the needs of users like Craig.

But the goal was never to iterate every single frame. That would edge on the impossible for a full-feature film.

The goal for Craig and creatives alike is to translate their vision without the cost of lost efficiency.

This outcome is achievable, even for projects on the scale of Toy Story and Finding Nemo, but requires tools that focus on their roles and their goals — and not convert professionals to prompt editors.

As the AI summer continues to churn out new products and new avenues for creatives, we'll begin to see an evolution in the way AI Video lifts up creatives.

"Every shot and frame counts, and these ideas throw that out the window," a long-time animator-turned-engineer messaged me this morning, but how soon can we return efficient creative control back to the creatives?

god’s eye characters

2024-04-02T00:00:00+00:00

this post is an update on the God's Eye project. we're starting to work on building out the characters in Moho.

in the process of developing our automated solutions, we start with the manual process. this is the only way to truly know what is required to complete a task, but the reality is we have no choice in most cases. the automation solution doesn't exist, so we need to perform these operations manually, then capture the steps, dependencies, etc. only then can we understand the task enough to even determine the automation feasibility, but i digress as i'm headed into a tangent. the task we are manually performing is the creation of our characters for animation projects. we're using Moho for a number of reasons, not important to this post, but the gist is we need to know how to build and animate our characters.

vectorizing the characters is the first step, which means redrawing the characters using shapes like rectangles, circles and such, then reshaping and sculpting them to the desired shape. these shapes have optionally have fills (the color of the shape) and strokes (the outlines of the shape).

the process allows us to have shapes we can move and reshape over time to create animation. it's very similar to flash animation for those old enough to remember or heard about it. instead of paint and ink we have shapes, which we change from frame to frame.

starting with the character heads made the most sense. here we have Pecan, which i actually started after Waya, but i learned from the first pass at Waya and improved my workflow and structuring of the art.

after making some progress (and learning from failures) along the way of building the version zero of Pecan, including rigging ( giving character a skeleton and muscles for movement ), i wanted to take a crack at Kenjal and instead of jumping to the rigging focusing on angles to support a character turn around.

this process has been really rewarding both on personal and professional level, as we continue to push forward with our projects and building the studio. this is just the beginning.

getting blending…

2024-02-17T00:00:00+00:00

it seems like my switch to Blender continues to deliver value. while it's a steep learning curve and comes with some of the inherent issues of Blender's UX and established workflows, i have been able to move closer to the prototype we're working towards. at this point we want to integrate our engine services to support manipulating content.

note: this is an update on the progress of project in the article: screenplay to VSE

our first tiny win since the screenplay to scenes add-on, i managed to setup a the basis for a clip inspector that surfaces the clip we want to edit with the Khaos Machine.

screenplay to VSE

2024-02-16T00:00:00+00:00

here is a quick demo of a custom plugin that creates Scene objects in Blender VSE (Video Sequence Editor) using our structured screenplay JSON.

in the screen recording i'm selecting the screenplay.json and the media directory where i have generated images and audio clips based on the same screenplay data.

how we got here?

The journey here didn't start with Blender as target for building prototype, but after i'd had enough fiddling with Xcode to FCPX (Final Cut Pro X) via a macOS extension that never worked, nor did the SDK provide any useful feedback. after digging into the Console logs, i encountered a dreaded old friend Mobile Gestalt..

That was enough for me to really consider abandoning my effort to force our prototype into the FCP workflow. i would have used Motion to build my plugin or generator, but i need to call APIs from the timeline and i couldn't find an option other than what seems like a janky for Apple option that requires side loading an SDK from Jan 2022 just to enable the macOS extension in Xcode. then once all setup it still failed. i tried. i really did and i even started to reach out to my network for support. i really wanted it to work because of my own history with FCP, but i was forcing it and without proper support it was a blocker.

I really can't believe they're still charging people for FCP, especially given obvious lack of support, which is no more apparent than the chunky User Guide(s) that used to ship with the installer disks.

The world has come a long way since this was a luxury, but it seems like FCP has zero plans to invest in innovations and building an ecosystem. they seem to be stuck in harvest mode. forget about feeding these monster PDFs into a GPT, u can't get it to complete a single response without throwing an error.

Once i accepted the shortcomings of FCPX and it wasn't my FCP, i came to my senses and looked to Blender and was able to make significant progress as demonstrated in video above. Blender has a library called bpy which is core to the application as it provides programatic access to everything possible in Blender.

What next?

This is just the beginning of our journey as a studio as build and develop tools that address our needs to support content creation. Now that we're essentially unblocked on building GUI that can interact with the Video Editor timeline, we're cooking with gas and can proceed as planned.

As we proceed, we'll continue to post updates.

How Apple gets to $4Tn

2024-02-16T00:00:00+00:00

In the world of technology and innovation, few companies have left an indelible mark quite like Apple. From the revolutionary introduction of the Macintosh in 1984, signaling the dawn of the personal computing era, to the game-changing launch of the iPhone in 2007, Apple has consistently pushed the boundaries of what technology can achieve. My own journey with Apple began with awe and admiration for how its products seamlessly blend design and functionality, profoundly impacting my work and career. This personal connection to Apple's ecosystem is not just about the devices but the ethos of innovation, user-centric design, and a relentless pursuit of excellence that Steve Jobs ingrained in the company's DNA. As we delve into Apple's potential evolution into a $4 trillion creative platform, it's this foundational spirit that suggests a bright future for creators and innovators worldwide.

Apple proves it has Vision

Setting the stage for Apple's future is its latest groundbreaking innovation: the Apple Vision Pro. Introduced as Apple's first spatial computer, the Vision Pro epitomizes decades of Apple's experience in designing high-performance, wearable devices. It's an ambitious product that integrates advanced technology into a compact, elegant form, offering a mixed-reality experience unlike any other. With ultra-high-resolution displays and an advanced Spatial Audio system, the Vision Pro can transform any space into a cinematic experience or a 3D interactive environment. This device opens up new horizons for content creation, allowing creators to immerse themselves and their audiences in experiences that were previously unimaginable. The introduction of the Apple Vision Pro not only underscores Apple's continued commitment to innovation but also sets a new benchmark for what's possible in the realm of digital creation and interaction.

Unification of Tools

Expanding on the vision of transforming Apple into a $4 trillion creative powerhouse, a comprehensive strategy must encompass the full suite of Apple's creative and development tools. This includes not only flagship applications like Final Cut Pro, Logic Pro, and Xcode but also Motion, Compressor, ARKit and the plethora of other frameworks Apple has meticulously built over the years. By unifying these tools into a cohesive creative platform, Apple could offer an unmatched ecosystem that caters to every aspect of digital creation and interaction.

Imagine a platform where video editors, graphic designers, music producers, app developers, and XR creators can seamlessly collaborate and innovate. With Motion and Compressor, video professionals could create stunning visuals and effects, then efficiently encode and distribute their work. ARKit, coupled with Apple's powerful frameworks, would enable developers to craft immersive augmented reality experiences that could transform education, entertainment, and retail.

Integrating these tools into a singular, streamlined platform would not only simplify the creative process but also foster a community of creators who could push the boundaries of what's digitally possible. Such a platform would serve as a foundation for next-generation content creation, enabling seamless integration across devices and unlocking new creative potentials.

This holistic approach to unifying Apple's creative and development tools underlines the company's commitment to innovation, privacy, and a creator-owned future. It positions Apple not just as a provider of premium hardware and software but as a leader in shaping the future of how we create, share, and experience digital content. By leveraging its entire ecosystem, Apple can empower creators in unprecedented ways, catalyzing a new era of digital artistry and technological advancement.

Platform Benefits

The strategic decision to open up Apple's professional-grade tools as part of its ecosystem carries the potential to redefine the creative landscape. By making tools such as Final Cut Pro, Logic Pro, Motion, Compressor free like Xcode, ARKit GameKit and more accessible to a broader audience, Apple could significantly enhance the diversity and quality of content and experiences within its marketplaces. This inclusivity would not only democratize high-quality content creation but also attract a wider array of creators to the Apple platform.

The benefits of this approach are manifold. For starters, it would foster a vibrant community of content creators, ranging from filmmakers and musicians to app developers and XR designers. This diversity would, in turn, enrich the Apple ecosystem with a wider variety of apps, games, music, movies, and educational content, making Apple devices even more indispensable to consumers.

Additionally, by opening up its professional tools, Apple could establish itself as the go-to platform for creative professionals and hobbyists alike. This would likely lead to an increase in the adoption of Apple products, as creators invest in the hardware that offers them the best tools for their craft. Additionally, a more robust ecosystem of tools, content and apps would enhance user engagement, keeping customers within the Apple ecosystem and driving further revenue through both hardware sales and content purchases.

In general, the platform benefits of making Apple's professional-grade tools free are clear: it would not only solidify Apple's position as a leader in technology and creativity but also stimulate innovation and content creation across the board. This strategy aligns perfectly with Apple's commitment to privacy, user empowerment, and creating a rich ecosystem where creators of all levels can thrive. As a result, Apple could unlock new growth opportunities, paving the way to achieving a $4 trillion valuation by redefining the future of digital creativity and interaction.

Shift in Monetization Strategy

In envisioning Apple's journey towards a $4 trillion valuation, a pivotal shift in its monetization strategy emerges as a critical component. Traditionally, Apple has levied significant fees on sales within its ecosystem, from app purchases to subscriptions. However, by recalibrating this approach—reducing the financial burden on creators and instead enriching the ecosystem's value—Apple stands to ignite a renaissance in content creation and innovation.

This strategic shift would involve lowering the barriers for creators to distribute and monetize their work on Apple platforms. By reducing the commission rates on the App Store and offering more favorable terms for content creators, Apple could significantly enhance the attractiveness of its ecosystem to a broader range of innovators. This change would not only incentivize more developers, artists, and educators to choose Apple as their primary platform but also encourage existing creators to invest more resources into enhancing their offerings.

The benefits of this approach extend beyond mere increases in the quantity of content. A more supportive financial model would enable creators to focus on quality, innovation, and experimentation. Freed from the constraints of high fees, developers could afford to take risks on novel ideas, artists could produce more engaging and diverse works, and educators could develop more comprehensive and interactive learning materials.

This shift would foster a more vibrant and diverse creator community. By supporting creators from various backgrounds and disciplines, Apple could facilitate a richer, more inclusive ecosystem. This diversity would not only reflect Apple's commitment to empowerment and creativity but also attract a wider audience to its platform, enhancing user engagement and satisfaction.

In essence, by moving away from heavily taxing network contributors and instead offering more value through its ecosystem, Apple could cultivate a thriving community of creators. This community would be the lifeblood of Apple's ecosystem, continuously enriching it with innovative apps, captivating content, and transformative experiences. Such a vibrant ecosystem would not only solidify Apple's position as a leader in technology and creativity but also drive sustainable growth, paving the way for Apple to achieve and possibly exceed a $4 trillion market valuation.

Commitment to Privacy and User-Owned Data

In the digital age, where data is often likened to the new oil, Apple's steadfast commitment to privacy and user-owned data stands as a beacon of ethical leadership. This principled stance is not just a policy but a core component of Apple's identity, distinguishing it sharply from competitors. By doubling down on its privacy-first approach, Apple not only meets the growing consumer demand for data protection but also elevates its platform as the more ethical alternative in the tech landscape.

Apple's dedication to privacy manifests through its robust data protection measures, transparent policies, and the empowering of users with control over their personal information. Features such as App Tracking Transparency and end-to-end encryption on iMessage and FaceTime are prime examples of Apple's commitment to safeguarding user data. Such measures reassure users that their creative content, personal information, and digital interactions are secure and respected, fostering a trust-based relationship between Apple and its global user base.

In the context of creating a unified creative platform, this commitment to privacy and data ownership becomes even more crucial. As creators produce and share more content across Apple's ecosystem, the assurance that their intellectual property and personal data are protected is paramount. This environment not only nurtures creativity but also encourages a wider range of creators to join the Apple ecosystem, knowing their work and privacy are in safe hands.

Moreover, by positioning itself as the ethical choice, Apple can attract consumers and creators who are increasingly wary of platforms that commodify user data for advertising or other purposes. This alignment with consumer values on privacy not only strengthens Apple's market position but also serves as a competitive advantage in attracting quality talent and content to its platform.

In sum, Apple's unwavering commitment to privacy and user-owned data is not merely a feature of its ecosystem; it's a foundational pillar that could significantly contribute to its journey toward a $4 trillion valuation. By upholding these values, Apple not only aligns with the growing demand for data protection but also sets a new standard for what it means to be an ethical leader in the technology industry. This approach fosters a safer, more creative, and more vibrant community of users and creators, propelling Apple forward in its mission to empower individuals through technology.

Contrast with Competitors

In the rapidly evolving tech landscape, Apple's strategic focus on empowering creators offers a stark contrast to the ambitions of competitors like Facebook, which has pivoted towards owning digital realms such as the metaverse. This distinction is critical, as it underscores a fundamental difference in philosophy between the two tech giants. While Facebook (now Meta) envisions a future where it controls vast, immersive digital spaces, Apple is positioning itself as an enabler of individual creativity and innovation.

Apple's emphasis on providing a unified creative platform, equipped with professional-grade tools and a commitment to privacy, positions it uniquely in the tech ecosystem. Rather than seeking to dominate a digital frontier, Apple aims to empower its users with the tools and freedom to create their own content, experiences, and applications. This approach not only fosters a more inclusive and diverse creative community but also aligns with Apple's long-standing ethos of putting the user at the center of everything it does.

In contrast, Facebook's pursuit of the metaverse represents a centralized vision of digital interaction, where the platform itself becomes the primary mediator of experiences and transactions. While this offers exciting possibilities, it also raises concerns about privacy, data ownership, and the concentration of power in the digital age. Apple's focus on empowering creators with tools and a secure platform offers an alternative vision, one where individuals retain control over their creations and data.

By highlighting this commitment to empowerment and privacy, Apple can differentiate itself in the eyes of consumers and creators alike. This differentiation is not merely a matter of marketing but reflects a deeper philosophical stance on the role of technology in society. Apple's approach suggests a future where technology serves to amplify human potential, creativity, and freedom, rather than constraining them within a single, corporate-owned digital ecosystem.

This contrast with competitors like Facebook not only strengthens Apple's brand identity but also resonates with a growing segment of the population concerned about privacy, data sovereignty, and the ethical implications of digital platforms. In embracing this role, Apple not only sets itself apart in the competitive landscape but also lays the groundwork for a sustainable, creator-driven future that could significantly contribute to its goal of reaching a $4 trillion valuation.

Legacy of Innovation

Apple's journey towards becoming a $4 trillion creative platform is deeply intertwined with the legacy of its co-founder, Steve Jobs, whose vision for technology was always about empowering individuals to make a dent in the universe. Jobs' philosophy of innovation and creativity remains a guiding light for Apple, emphasizing the potential of technology to empower people to create, innovate, and express themselves in unprecedented ways. By invoking this legacy, Apple can position itself not just as a technology company, but as a champion of a creator-owned future, where individuals are encouraged and enabled to own their creations and innovations.

Steve Jobs famously said, "Technology alone is not enough—it’s technology married with liberal arts, married with the humanities, that yields us the result that makes our heart sing." This perspective is more relevant today than ever as Apple stands on the brink of unifying its ecosystem to support creators across various domains. By providing tools that integrate seamlessly across devices and platforms, Apple empowers creators with the freedom to bring their visions to life, from the initial spark of an idea to the final masterpiece.

Apple's commitment to this vision is evident in its continuous innovation in hardware and software, making sophisticated technology accessible and user-friendly. This approach democratizes content creation, making it possible for more people to participate in the creative process, regardless of their technical expertise. By doing so, Apple not only honors Steve Jobs' legacy but also builds upon it, pushing the boundaries of what technology can achieve in service of creativity and innovation.

Championing a creator-owned future, Apple sends a powerful message about the value of intellectual property and the importance of supporting creators in maintaining control over their work. This stance not only differentiates Apple from its competitors but also aligns with a broader cultural shift towards recognizing and valuing the contributions of creators in the digital age.

In essence, Apple's legacy of innovation, inspired by Steve Jobs, provides a solid foundation for its vision of a unified creative platform. By empowering individuals through technology, Apple can inspire generations of creators to innovate and own their futures. This commitment not only pays homage to Jobs' vision but also propels Apple towards a future where technology continues to make our hearts sing, driving the company towards its $4 trillion valuation with creativity and innovation at its core.

Pulpy Fictional: S1

2024-02-11T00:00:00+00:00

This is a VERY rough cut/preview from our project Pulpy Fictional's first scene.

Pulpy Fictional is a fanart recreation of Pulp Fiction to exercise our components of our screenplay engine.

Leveraging applied ML, screenplay analysis and software automation, we're converting the Pulp Fiction screenplay to blocked out video.

Here is the original segment of text from the screenplay we're using as input to create this scene.

INT. COFFEE SHOP - MORNING

A normal Denny's, Spires-like coffee shop in Los Angeles. It's about 9:00 in the morning. While the place isn't jammed, there's a healthy number of people drinking coffee, munching on bacon and eating eggs.

Two of these people are a YOUNG MAN and a YOUNG WOMAN. The Young Man has a slight working-class English accent and, like his fellow countryman, smokes cigarettes like they're going out of style.

It is impossible to tell where the Young Woman is from or how old she is; everything she does contradicts something she did. The boy and girl sit in a booth. Their dialogue is to be said in a rapid pace "HIS GIRL FRIDAY" fashion.

YOUNG MAN
No, forget it, it's too risky. I'm through doin' that shit.

YOUNG WOMAN
You always say that, the same thing every time: never again, I'm through, too dangerous.

YOUNG MAN
I know that's what I always say. I'm always right too, but â€“

YOUNG WOMAN
â€“ but you forget about it in a day or two -

YOUNG MAN
â€“ yeah, well, the days of me forgittin' are over, and the days of me rememberin' have just begun.

YOUNG WOMAN
When you go on like this, you know what you sound like?

YOUNG MAN
I sound like a sensible fucking man, is what I sound like.

YOUNG WOMAN
You sound like a duck.
(imitates a duck)
Quack, quack, quack, quack, quack, quack, quack...

YOUNG MAN
Well take heart, 'cause you're never gonna hafta hear it again. Because since I'm never gonna do it again, you're never gonna hafta hear me quack about how I'm never gonna do it again.

YOUNG WOMAN
After tonight.

The boy and girl laugh, their laughter putting a pause in there, back and forth.

YOUNG MAN
(with a smile)
Correct. I got all tonight to quack.

A WAITRESS comes by with a pot of coffee.

WAITRESS
Can I get anybody anymore coffee?

YOUNG WOMAN
Oh yes, thank you.

The Waitress pours the Young Woman's coffee. The Young Man lights up another cigarette.

YOUNG MAN
I'm doin' fine.

The Waitress leaves. The Young Man takes a drag off of his smoke.
The Young Woman pours a ton of cream and sugar into her coffee.
The Young Man goes right back into it.

YOUNG MAN
I mean the way it is now, you're takin' the same fuckin' risk as when you rob a bank. You take more of a risk. Banks are easier!  Federal banks aren't supposed to stop you anyway, during a robbery. They're insured, why should they care? You don't even need a gun in a federal bank. I heard about this guy, walked into a federal bank with a portable phone, handed the phone to the teller, the guy on the other end of the phone said: "We got this guy's little girl, and if you don't give him all your money, we're gonna kill 'er."

YOUNG WOMAN
Did it work?

YOUNG MAN
Fuckin' A it worked, that's what I'm talkin' about! Knucklehead walks in a bank with a telephone, not a pistol, not a shotgun, but a fuckin' phone, cleans the place out, and they don't lift a fuckin' finger.

YOUNG WOMAN
Did they hurt the little girl?

YOUNG MAN
I don't know. There probably never was a little girl â€“ the point of the story isn't the little girl. The point of the story is they robbed the bank with a telephone.

YOUNG WOMAN
You wanna rob banks?

YOUNG MAN
I'm not sayin' I wanna rob banks, I'm just illustrating that if we did, it would be easier than what we been doin'.

YOUNG WOMAN
So you don't want to be a bank robber?

YOUNG MAN
Naw, all those guys are goin' down the same road, either dead or servin' twenty.

YOUNG WOMAN
And no more liquor stores?

YOUNG MAN
What have we been talking about? Yeah, no more-liquor-stores. Besides, it ain't the giggle it usta be. Too many foreigners own liquor stores. Vietnamese, Koreans, they can't fuckin' speak English. You tell 'em: "Empty out the register," and they don't know what it fuckin' means. They make it too personal. We keep on, one of those gook motherfuckers' gonna make us kill 'em.

YOUNG WOMAN
I'm not gonna kill anybody.

YOUNG MAN
I don't wanna kill anybody either. But they'll probably put us in a situation where it's us of them. And if it's not the gooks, it these old Jews who've owned the store for fifteen fuckin' generations. Ya got Grandpa Irving sittin' behind the counter with a fuckin' Magnum. Try walkin' into one of those stores with nothin' but a telephone, see how far it gets you. Fuck it, forget it, we're out of it.

YOUNG WOMAN
Well, what else is there, day jobs?

YOUNG MAN
(laughing)
Not this life.

YOUNG WOMAN
Well what then?

He calls to the Waitress.

YOUNG MAN
Garcon! Coffee!

Then looks to his girl.

YOUNG MAN
This place.

The Waitress comes by, pouring him some more.

WAITRESS
(snotty)
"Garcon" means boy.

She splits.

YOUNG WOMAN
Here? It's a coffee shop.

YOUNG MAN
What's wrong with that? People never rob restaurants, why not? Bars, liquor stores, gas stations, you get your head blown off stickin' up one of them. Restaurants, on the other hand, you catch with their pants down. They're not expecting to get robbed, or not as expecting.

YOUNG WOMAN
(taking to idea)
I bet in places like this you could cut down on the hero factor.

YOUNG MAN
Correct. Just like banks, these places are insured. The managers don't give a fuck, they're just tryin' to get ya out the door before you start pluggin' diners.  Waitresses, forget it, they ain't takin' a bullet for the register. Busboys, some wetback gettin' paid a dollar fifty a hour gonna really give a fuck you're stealin' from the owner. Customers are sittin' there with food in their mouths, they don't know what's goin' on. One minute they're havin' a Denver omelet, next minute somebody's stickin' a gun in their face.

The Young Woman visibly takes in the idea. The Young Man continues in a low voice.

YOUNG MAN
See, I got the idea last liquor store we stuck up. 'Member all those customers kept comin' in?

YOUNG WOMAN
Yeah.

YOUNG MAN
Then you got the idea to take everybody's wallet.

YOUNG WOMAN
Uh-huh.

YOUNG MAN
That was a good idea.

YOUNG WOMAN
Thanks.

YOUNG MAN
We made more from the wallets then we did the register.

YOUNG WOMAN
Yes we did.

YOUNG MAN
A lot of people go to restaurants.

YOUNG WOMAN
A lot of wallets.

YOUNG MAN
Pretty smart, huh?

The Young Woman scans the restaurant with this new information.
She sees all the PATRONS eating, lost in conversations. The tired WAITRESS, taking orders. The BUSBOYS going through the motions, collecting dishes. The MANAGER complaining to the COOK about something. A smiles breaks out on the Young Woman's face.

YOUNG WOMAN
Pretty smart.
(into it)
I'm ready, let's go, right here, right now.

YOUNG MAN
Remember, same as before, you're crowd control, I handle the employees.

YOUNG WOMAN
Got it.

They both take out their .32-caliber pistols and lay them on the table. He looks at her and she back at him.

YOUNG WOMAN
I love you, Pumpkin.

YOUNG MAN
I love you, Honey Bunny.

And with that, Pumpkin and Honey Bunny grab their weapons, stand up and rob the restaurant. Pumpkin's robbery persona is that of the in-control professional. Honey Bunny's is that of the psychopathic, hair-triggered, loose cannon.

PUMPKIN
(yelling to all)
Everybody be cool this is a robbery!

HONEY BUNNY
Any of you fuckin' pricks move and I'll execute every one of you motherfuckers!  Got that?

"PULP FICTION"

Madison by DALL-E

2024-02-04T00:00:00+00:00

below are a collection of images created using prompts generated from screenplay analysis. here we see shot's of what DALL-E thinks Madison looks like as we attempt to describe the first scenes.

screenplay analyzers

2024-01-26T00:00:00+00:00

we've been building custom LLM-powered agents to perform a wide range of tasks and one of those is screenplay analysis.

below are a few screenshots of log output from our agents as they are reading the screenplay text and extracting insights about the story, characters, location, dialogues and more.

Krew Chat

2024-01-20T00:00:00+00:00

here are screenshots from one of our local experiments where we are employing a team of agents (the Krew) to answer a simple question. the agents are built using crewai framework and have access to web search tool. they are also running 100% on local LLMs via Ollama