To start, could you tell a bit about what inspired you to create this AI short film? What was the initial spark that led to its development? “Sure. So, I’ve been exploring the AI filmmaking space for some time now, working with Gen 1, Gen 2, and Luma from their early stages. What always interests me is figuring out how we can tell stories with AI. My first films were more experimental, more video art-oriented. Genesis, the one I did before, started leaning more toward storytelling, but it was still very experimental. With IKONA, I wanted to take it to the next level and really tell a story, to make the film I had in my mind. What were some of the key elements or themes you wanted to explore in Ikona? And how did using AI tools shape or influence the storytelling process for you? “I didn’t approach the creation with a specific theme. I started it like I start any other narrative project. I wrote a story, and it turned out to be much more brutal and violent than most of the stuff I’ve done before, but somehow I was very drawn to it.” It sounds like Ikona allowed you to channel a raw, intense energy in your storytelling. How did the AI tools contribute to bringing this vision to life? Did they offer any unique opportunities or challenges in expressing the film’s brutal and violent themes? “Definitely. I actually wrote this story about two years ago and wanted to push it as a show. But when I went around pitching it to producers, everyone told me, ‘Listen, Jovardi, you can’t have your first narrative project be a $300 million production. Do something smaller, please.’ So, I went and developed something else—way smaller, way more intimate. But then, with AI, I realized I could make Ikona right from my desk.” What sparked the creation of Ikona? Was there a specific moment that pushed you to pursue this film? “That’s an interesting story by itself. After my last film, Genesis, got some attention, I was approached by John Gaeta, the Academy Award-winning VFX artist behind The Matrix. He’d launched a platform for AI creators and reached out because he wanted to feature Genesis on it. Just having that conversation with him—someone whose work changed how I think about filmmaking—gave me the push I needed. It was a turning point, realizing that these people I admire were seeing my work and believing in its potential. That’s what inspired me to go on this journey and make Ikona.” How did the transition from a more traditional production approach to utilizing AI change the way you approached the storytelling and production of Ikona? “The core change, which I think is huge, is that AI is only a tool. In traditional filmmaking, there’s a linear process: you write a script, get it approved, do a shooting script, create a storyboard, shoot, and edit—each step follows the next. AI breaks all of that. I was literally doing everything simultaneously—creating the storyboard as I shot, editing while doing sound design, rewriting dialogue as the visuals came together. The film builds up more like a statue that takes shape rather than a factory where one step follows the next.” How did your approach to directing change when working with AI compared to traditional filmmaking? There are many aspects of directing with AI that are similar to traditional directing, and some that are very different. You still have to make all the critical decisions as a director: deciding who the actor is, choosing the setting, picking the lens, planning how the camera will move. All of these elements are still in your control. But the big difference is that you’re not working with a crew, you’re not on set, and the action isn’t happening live in front of you. Instead, you’re interacting through communicating with the AI to guide its output. So, the decision-making and the desired outcome are the same, but how you achieve it is completely different. Another unique aspect is the “magic” you wait for on set—that spark of life in a shot, whether it’s from an actor’s performance or a specific action that happens in real time. Here, it’s similar. You’re throwing the dice many times, waiting for that random, almost accidental element that brings life to the frame. The role of a director remains the same: spotting that moment and saying, “We have it.” On a real set, knowing when to say “we got it” is crucial because it means you can move on. This is even more essential here because, in AI filmmaking, you could theoretically keep generating shots endlessly. At some point, you need to say, “This shot is good enough for what I need,” and move forward. Those three words—“We got it”—are as vital in AI filmmaking as they are on a traditional set, maybe even more so. Were there any specific scenes or moments in Ikona where AI created something unexpected or surprising? The hardest part of making this film was definitely the animal fight scenes. I saved those scenes for last because I wanted to be sure I had the rest of the film complete before tackling what I knew would be a big challenge. Once I got there, it was like smashing my head against the wall until it worked. I had to take a more documentary-style approach, imagining how I’d shoot a real-life fight between, say, a tiger and a bear, capturing each moment as it happens. This meant waiting for the magic to happen—generating tons of shots, trying different techniques, and waiting until something finally looked right. And believe me, I saw plenty of wild, unexpected things! I had tiger heads explode into fireworks, the bear defying gravity and flying around, or the tiger melting and merging into the bear, both transforming into one. These weird, funny moments were like a surreal music video all by themselves. When I finally saw sequences that worked, I used smart editing techniques to build the drama and make it feel continuous, piecing together the best moments to create tension and flow. One thing I kept in mind is that filmmaking has always been about “lying” in a way—whether it’s rearranging a set to get the perfect shot in a dialogue scene or changing lighting to fit the frame rather than reality. So here, too, I faked a lot, using classic filmmaking tricks to create a cohesive scene. And AI gave me plenty to work with, both the unexpected and the magical. How did you balance AI’s random and unexpected output with the creative vision of Ikona? AI is becoming more controllable, and for Ikona, I primarily used image-to-video techniques, which allowed me to maintain consistency in style. The randomness showed up more in character motion and movements rather than in the visual style itself, giving me enough control to balance the unexpected with my creative vision. Did you encounter any ethical considerations while using AI, especially with themes of violence and brutality? Yes, the censorship on AI engines is incredibly strict, which can limit creative freedom. If these tools are to be true art tools, this censorship needs to be reconsidered. Right now, you have to be very creative with prompts—for instance, saying “dark liquid” instead of “blood”—and even then, it’s challenging. Some platforms, like Minimax and Kling, feel more open than others, like Runway and Luma. For AI to really serve creators, it needs fewer restrictions. What has been the audience’s reaction to Ikona? Any feedback or surprises? There are three main types of reactions. Filmmakers often have concerns about how AI could affect the industry. AI experts, on the other hand, appreciate the craft and AI techniques in Ikona. Then there’s the general audience—they’re not concerned with the tools used to make it; they just want to enjoy the film. For me, that’s the most valuable feedback: knowing Ikona resonates simply as a story. How do you see AI tools evolving over the next few years, and how will that affect your work? I think AI will become the primary tool for creating genre films, Marvel-like universes, and big VFX projects, family dramas and similar stories will likely stick with traditional filming. I’m waiting for a single platform that combines it all—the visuals, the video, the text, with control over the camera and characters. That’s the dream software for a filmmaker, where you can dive in and really bring your vision to life. What advice would you give to directors interested in working with AI? Jump in and play around. Start with a story—commit to making something, even if it’s just a minute long. Don’t just explore the tools; set out to create a finished piece. Those of us working in AI filmmaking are eager to see new creations, so go for it. Experiment, complete something, and put it out into the world.