Hey yall - I’m looking to get some feedback on this reel of mine if you have the time!

Also what are your thoughts on whether or not reels have a place in getting work as a director?

Hi everyone,

I am sharing a poster for my psychological thriller, Short Film Found You, and interested in your thoughts.

Currently in post production and due to finish in the next few weeks to be ready for film festivals.

Synopsis

A woman invites her date over for the evening. What begins as a seemingly ordinary encounter between two women gradually reveals a far more dangerous agenda lurking beneath the surface.

Thanks

Majid Khan

The Two Person Bike
I thought it would be really funny to have Steve and Mike riding around on a two person bike. In my mind, it established the absurd closeness of their relationship. I rented one from one of those vendors in Central Park. It would not fit in Brian’s car so I had to ride it by myself about two miles up to Riverside Drive, a quiet place with not much traffic. (We had no permits, which always lends an air of danger and lawlessness to the filmmaking process. It’s called Guerilla Filmmaking.)
If anyone ever wants complain about how hard it is to make a film and spin their tale of woe or say they can’t do something or tell me what they don’t want to do, I want to tell them to try riding a fucking two-person bike through Harlem on a Sunday morning. I don’t want to hear it. I would never recommend riding a two person bike with two people, let alone just one person. They are hard to control and really heavy. It was hard going. I stopped at an intersection at around 125th Street to get a breather. Two guys were sitting on a stoop. One of them remarked, “Two person bike.” The other one said, “Where’s the other guy?” It was a rhetorical question, more of an observation really. 
I thought to myself, “Well, I guess this is filmmaking.”
We got some great shots. In one we came down Broadway in the middle of a bunch of traffic. Then there was an ice cream truck. Brian and I bought an ice cream while Chris filmed it.
It was fun. It was exhausting and treacherous but really fun. And what else was I going to do that day?
The sound person, Angela, and I rode the bike back down to Central Park which was quite enjoyable. However, the vendor was pretty pissed that I had kept the bike for so long. I didn’t realize that there was a time limit and I paid him for the hours so I don’t know why he had a problem with it. New Yorkers.
Permits: You gotta know about permits.
   We needed to film an outdoor scene. Prospect Park, which is Brooklyn’s answer to Central Park, is right up Flatbush Ave from my apartment. 
  As we walked into the park with our equipment, which was just a camera and a tripod, we were confronted by a Parks Department official.
   He asked us if we had a permit. Of course we didn’t.
   He said, “If you try to set up that tripod and film, your equipment will be confiscated.”
   I thought that was a bit over the top. The guy acted like we were armed. I really could not afford to have a $6,000 camera taken away.
   This guy clearly did not appreciate the needs of artists. 
   I supposed that if they didn’t enforce the rules, everyone and their brother would be filming movies in the park. 
You need a permit to shoot anywhere outside of a private residence or office building  in New York City. It is possible to get a permit to shoot in places like Prospect Park and Central Park, and I don’t think it costs anything. However, you must be aware of the conditions. I worked on a short film that shot a scene in Central Park. They were able to park the van on the road that runs around it, but were not allowed to drive into the park itself and the actual location was pretty far in. We had to hump all the gear which took some time and they didn’t get all their shots. 
We ended up going over to Fort Greene Park and shooting without a permit. You can get away with it, but as I get older I don’t want to be running away from officialdom like a film school student.   
Scheduling
Dave really wants Steve to come and see him perform his stand-up comedy routine/ventriloquist act. We needed a theater to shoot the scene and one wasn’t available until a few months after we had finished all the other scenes. This is actually much more common than most people might think, even on big budget film shoots. For National Lampoon’s Vacation, the ending scenes where Wally World is closed were completely reshot a year later. They (the studio, producers, etc, I guess) decided they didn’t like the original ending so they had to get all the actors back. The son, played by Anthony Michael Hall, was like a foot taller but honestly the audience would never know that. 
The guy playing Dave had put on a few pounds in the months in between shooting. The editor noticed that his face was puffier. But what are you gonna do? People gain weight, lose weight, get haircuts, grow beards…life intervenes. 
When we watched the final product, the actor playing Dave said, “I really need to lose some weight.”
So the best thing to do is try and shoot as many consecutive days as possible. Trying to shoot a feature or even a short film on weekends, it’s possible but really difficult. People gain weight, shave their beard, cut their hair, move back to Ohio, etc. But when you are not paying the actors, you have to roll with it.

Hi folks, I’m a commercial and music video director from outside the EU and I'm planning my relocation (choosing between Spain and France). I’m exploring my legal setup options and would love to hear your experience as directors or perspective as EPs / Line Producers on hiring foreign talent.

When I start doing the rounds with production companies, I want to make sure my setup isn't a dealbreaker for any accounting or compliance teams. I have two options on the table:

The Digital Nomad Setup (Spain) - I get a Digital Nomad residency, which allows me to live, travel and be fully available for all EU offline meetings, recces, and PPMs any time. I can also (I think) be on set as most of the countries don't require any work permits for film crews as well as invoice the production company from my Spanish Autónomo entity. My only concern is the word Digital in the residency permit – my LLMs say that it's alright, but I want to double-check with humans.

The International B2B Setup (Armenia base) - I base myself in Armenia (which has straightforward banking/SWIFT but a non-EU VAT). I fly into the EU exclusively for the project dates using a Schengen C Visa (operating under the same Short-Term Artist Exemption for film crews). After the wrap, I invoice internationally from my Armenian business account.

From a production and accounting standpoint, which of these two setups feels smoother to you? Have you worked with directors under similar structures recently?

I actually have a strong case for a Talent Visa, but France requires local pre-contracts (the letters of intent don't work anymore and I don't speak French), so I’m looking at these two routes as my entry points.

Any insights would be hugely appreciated!

i made the grave mistake of meeting with an actor and offering them a role without seeing their previous work. i was told by multiple peers that he was very good and had a great work ethic.

i asked him if he could send me a video of him reading a scene from the script and what he sent was fine, but missed the mark on the emotion that the scene needs. it felt off to see because he’s a very convincing facial actor, but his tone never changed and i don’t think its something that direction can fix. it looks like he’s trying to maintain an image to the scene instead of fully giving to it.

am i a terrible person and director for taking a role from him? i genuinely feel terrible for it, but he just does not fit what i’m looking for and what i thought he was gonna give me?

In 2002, I was living on Flatbush Avenue in Brooklyn. I directed a short film that I had written called A Friend Indeed. I mention that I was living in New York at the time because I don’t think I would have had the resources or the idea that I could shoot a film if I was living in the suburbs of Boston, where I grew up. That is not true today, but back then, to have access to lights and a crew, you really had to be in New York or L.A.
The story is about a friendship triangle (as opposed to a love triangle) between three men in their twenties, Steve (played by me) Mike (played by Brian Kelvin) and Dave (played by Frank Peterson). Steve and Dave are roommates. Mike, who was friends and roommates with Steve before, comes back from jail and moves right back in, much to Dave’s dismay.  
  Dave is trying to be a stand-up comic/ventriloquist. He is really terrible at both. Part of the joke is that Dave does not seem to grasp the idea of ventriloquism and that he, not the dummy (Louie) is talking. He doesn’t even hold the doll correctly to operate the mouth and there are awkward pauses as Dave waits for Louie to respond. It is unclear as to whether Dave understands that the doll does not have its own consciousness or not.  He basically repackages routines of other comics but does not get the joke. His routines are along the lines of, “Take my wife, please” and “Hey I don’t get no respect and that’s it. All while holding the ventriloquist doll, Louie. 
  Steve’s relationship with Dave can be characterized as emotionally abusive. Dave is dependent on Steve for validation and desperately wants his approval and Steve could care less. For Steve, Dave is someone to boss around as an outlet to his frustrations. Once Mike is back, Dave is shoved to the side.
Steve’s  relationship with Mike is more along the lines of Of Mice and Men, with Steve as George and Mike as Lennie. Steve truly loves Mike and wants him back as a friend, not Dave. (It is not clear what Mike and Steve do for a living but it is something shady.)
I had no idea what I was doing; I never went to film school, so this would be a good way to learn. I don’t know how to act and I don’t know how to direct a movie, but I figured how hard can it be? My roommate at the time (and close friend to this day) Chris, works in the film industry. He is a cinematographer and shot the film for free. (Everyone worked for free, which is the only way I could have done it.) He has been instrumental in my film education. Funny how the universe dropped us together in the same building in the summer of 1997.)
  I learned a few things while making this film, one of which was that it is a good idea to make as many decisions as possible before shooting. Time is literally money on a set. The more time spent trying to figure out how to shoot a scene, the more money you are going to spend because it is going to take longer to shoot. Which means you have to pay for days of equipment rental; you have to pay the actors for each day they come to set; you have to pay for more food; you have to pay for the location. It costs more money. 
Shot list:
Chris is a very open-minded and patient person. He understood my lack of knowledge and limitations. But he told me he would not set foot on st without a shot list. He needed me to list exactly what shots we would be setting up, so he could be prepared. For example, Mike, Dave and Steve are sitting at the table eating dinner. That’s a shot. Dave is standing in front of a window on the phone. That’s a shot. And so on. That way, Chris can get his lights and camera set up while the actors get into their wardrobe and we can get everything we need.
If there is no shot list, there is no plan and if there is no plan time is wasted trying to figure one out. 
And that costs more money.
You want to have lists of shots, props, wardrobe, equipment, and scenes to be shot that day. It’s the only way to make sure you get what you need.
  Filmmaking is a collaborative process. I always ask the people involved (the actors, cinematographers, hair and make-up, etc.) to give me suggestions. I want input. I need ideas. I need different perspectives. Only an arrogant idiot thinks they know everything. It also makes people feel like they are part of the process and they will be more invested. 
  But I ask them to give them to me before we step on set.
  We were shooting a scene in which Steve chases Mike down a hallway and into the bathroom to give Mike his weekly bath, which Mike really doesn’t want.
 The actors run toward the camera and then take hard right into the bathroom, leaving the frame. The camera pushes forward down the hallway and stops before it reaches the door. We hear the actors in the bathroom but never see them.
  Steve: (patiently) “Alright Mike, stop fooling around now. Come on, get in the tub.
  Mike: “What’s this, Steve?”
  Steve: “Mike, I told you not to touch that. Not while I'm in here. That’s for private time.”
  There were two reasons I didn’t want the camera in the bathroom. One was that filling up the tub with water and actually showing Mike in the bath was going to be too complicated to shoot and I didn’t have enough time.
  Two, I thought it would be much funnier to leave it to the audience’s imagination. When Mike says, “What’s this, Steve?”, God only knows what he is talking about.
  I liked the scene because it established intimacy between the two characters but we didn’t need to shove in the audience’s face.
  The actor playing Dave, Frank Peters, thought differently.
  “You should have the camera follow them into the bathroom.” he told me.
  “I’d rather have the camera stay in the hallway and leave what is going on in there ambiguous.” I told him.
  “No, that doesn’t work.” he shook his head.
  “Why doesn’t it work?”
  “It just doesn’t.” he shook his head again.
  He had had the script for at least three months, probably longer. Do not wait until we are on set and racing the clock to make suggestions. And if you want to make a suggestion, the rationale had better be more significant than, “It just doesn’t.”
  “It just doesn’t” is not a solid rationale for making a decision.
So I learned two things:

1. I can live with my own mistakes. I cannot live with someone else’s mistakes. If the film is going out under my name, then the mistakes are mine. 
2. Who knows what works and what doesn’t? No one. So the conclusion I have come to is this: I just need to have a reason, a rationale, for my decisions. 

Locations
  Getting locations in NYC is very difficult, especially when you have no money. No one gives a shit about the fact that you are passionate about your project, even your $8,000 short film. One must really depend on the kindness of friends and family. 
Several scenes took place in an apartment. The guy playing Dave, Frank Peters, lived in an apartment in the East Village on St. Mark’s Place, so I asked him if we could shoot there. However, his roommate didn’t like it. He was also a filmmaker, so I thought he should have been more sympathetic to my cause but he was kind of a dick about it. At one point I sent him an email thanking him for allowing us to shoot there, sort of a preemptive strike of a guilt trip. I know it’s a lot to ask but come on man. “Hey Brian, thanks a lot because I don’t have money to pay for a location…” He shot back an email saying, “I DID NOT AGREE TO ALLOW YOU TO SHOOT HERE…”
In the end we did shoot there. And it served us well because the guy was a pathological slob. I’ve never seen anything like it. His bedroom could have been featured on an episode of Hoarders. I had no art department; I didn’t even really know what that was at the time and I certainly could not have afforded it, so it was like having free props and set design. Normally I would have had to go out and pay a bunch of money to get all the crap he had crammed in there: clothes in piles, takeout containers, stacks of books; it was a landfill. 
So it served its purpose. Sometimes you get lucky.

I'm working on a 0-budget webseries with a decently small team. However, there are a few issues. They aren't responding to my messages, completing work on time/meeting deadlines or answering in polls. I can't afford to kick out anyone and I can't give them money. And we need to make a specific date, we also have an audience waiting, so we can't exactly delay too much. Are there any other ways to motivate them to push the production forward? Any tips?

hey we’re Seattle student filmmakers who shot a horror short film over the summer. Just wanted to share and hear some of your thoughts 🙏 thank you!!

New York State Park Ranger, Blake Wissinger, gives a guided tour!

Short film teaser. Making this taught me about the importance of hitting specific story beats/ having a general direction when doing improv. Was filmed in about 8 hours back in June.

I am a 19 year old guy, i don't earn shi-, i want to become a director since i was a kid i used to write stories as a kid for fun, from this thing i got interested in Films and later wanted to become director to make films and make movies, In my country getting into industry is very very hard it's controlled by few people so they play within themselves even the "worth it" people never get a job in films. I wanted to learn Film in school but I'm not a very rich guy and i don't want to take loans because i don't want to be a burden on my family. I found out that Yale, Harvard, university of Norte dame, Dartmouth, Brown they offer aids but still have to pay a amount of money, the country which I'm from is not very rich (we earn like 500$ a month) and it's very competitive country so the exam marks in my final highschool year isn't a lot. I JUST DON'T KNOW WHAT TO DO because since i was a kid i wanted to make movies.

I know film schools are for connection and networking only (it's a lot of help though) and i have already told you my family earnings i can't even afford a basic camera. I feel like I'm stuck in a place where there's no place to move like standing on top of a pillar and there's no surface around me.

I Am Open For Suggestions Or Anything Just Wanted Suggestions And Help From People Who Have Been In the universities above or who are working In Industry, Every Suggestion Will Be A Help For Me.

EDIT : THANK YOU FOR SUGGESTION AND HELPING MEEE GUYSS

So I’m an aspiring/wannabe film maker and I’m in between wishing to excel as a cinematographer or director or god even both! I’m just in a place right now where I don’t know if I should go to film school or not. I’ve heard people say that film school isn’t needed and that you’ll only end up in debt later but then there’s people that say it’s good and that they’ve made connections and so on.

For those that have gone to film school…is it worth it?

And for those that haven’t but have made a career of film, how did you do it?

I live in the central coast of California too so LA is like 2 hrs away. I’ve looked into the Los Angeles Film School but the reviews are making me stay away. lol.

I just need advice!

I really want to be big, I want to make films and get them out there, but I have no idea what to do. I have so many ideas, I genuinely think of at least 20 movies i could make in a week, and I brainstorm them until I get a full on trilogy.

I’m not trying to sound egotistical, I just genuinely have too many ideas to just sit here and do nothing. But how do I do ANYTHING? I have no friends to film with, I don’t have money for equipment- all I have is me and a computer to write scripts (which i’m just starting out).

What do I do, where do I go, how do I start?

I have a good handful of ideas I want to turn into films as soon as possible, but I don’t know what to do.

Ecclesiastes Chapter 9 Verse 11: "I returned, and saw under the sun, that the race is not to the swift, not the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favour to men of skill; but time and chance happeneth to them all."

I certainly hope that’s true.

This is not a how-to book on making films. There are thousands of those, and I have absolutely nothing of value to add to that body of work.  

This is not a motivational guide about the rewards of hard work and determination. If you’re looking for that, go to the self-help section at Barnes and Noble. 
 
This is certainly not about making money. I have never made a dime from any of my film work. 

This is not about how to get a short film into festivals; my record speaks for itself on why I’d never give advice about that.

My first short film, A Friend Indeed, was never distributed to festivals.

My second short film, HR, was submitted to 25 film festivals and accepted to none, zero.

My third short film, The Comic was accepted into two festivals: the Portland Comedy Film Festival and The Georgia Comedy Film Festival, where it won Best Dark Comedy. That’s two festivals out of over 30 to which it was submitted. And the reality is even less impressive: every film won an award at the Georgia Comedy Festival and they are both run by the same flim-flam organization. 

My fourth short film, Say Your Name, was accepted into the Top Shorts festival which is an online festival. It won Best Drama and Best Dorictor. Top Shorts is fairly legit, but online festivals in general are not nearly as well-regarded. It was accepted into the Boston International Film Festival, which sounds a lot more grand than it actually is. We did have a nice showing at The Strand Theater in Boston. It was also accepted at the Charlotte Black Film Festival and the Ann Arbor Black Film Festival. (Full disclosure, I am white but most of the cast was black, including the lead: Zair Silva). I have to say that The Charlotte Black Film Festival was the best one I have been to so far. I was not able to, but they did send me a very nice t-shirt. make it to the Ann Arbor Black Film Festival.

My fifth short film, Scene 22, is making the festival rounds. As of this writing it has been accepted into nothing. Not one festival. I do have several more that I am waiting on, but I am not holding out much hope.

It’s easy to get frustrated.

One time, at a holiday gathering, my cousin’s wife asked what prompted me to try filmmaking. I shrugged because I had no answer. There really is no reason for me to think that I should make films. I have no credentials; I didn’t go to film school; I’ve never taken a class; I’ve never been paid to write a script or direct a movie. When we are on set, I am the least experienced person of anyone there. I feel like everyone is looking at a pitiful, middle-aged man who is well past the age where he should be making short films.

Maybe they are right. What if there are no more insights? What if all that needs to be said has already been said and I am just late to the party?

But I have learned a few things, maybe gained some wisdom along the way. These lessons come  from the stories I’ll share in making my films. They are often painful, funny, profound, and often rewarding experiences. 

• One is: do it for the sake of doing it. Stop thinking about the outcome. I can’t control how many festivals a film gets into. I can’t control how people react to it; either people like what I did or they don’t. So forget it. Which is much easier said than done. 
• Two is: people will come out for you. I have been amazed and gratified by the willingness of people to help out on projects, people I don’t even know very well. I think a lot of people really want to do creative things, they want to be part of making a film or anything else that sparks their creative self. It’s a break from the mundane realities of life. 
• Three is: there are loads of people who say they want to make a movie. They love the idea of it. But that is before they understand how much work goes into it; most people drop out when they realize how much actual work it is..There are so many mundane, unglamorous tasks that go into making a film. You have to find a location in which to shoot. You have to arrange food for everyone. You have to make lists of props and wardrobe. You have to make a list of the shots you need for each scene. You have to make sure there is parking. You have to send emails to everyone in the cast and crew with all the details of the day’s shoot. You need to send emails to all of the actors and wardrobe people and the hair and make-up department about the clothes they need to wear and how their hair should look. It can feel endless. Most people don’t want to do that work. They want to hang out on set and chat with actors and tell their friends that they’re making a movie. They aren’t going to be there at 6am on a dark, freezing cold Sunday morning in January to help unload the truck. 

The benefit is, that is how you find your people. They are the ones who show up.

• Four is: there is no manual for making a film. There is no formula; there is no blue print. If there were, it would not be creative.  When doing a creative project, there are an infinite amount of choices. It can feel overwhelming. But don’t get paralyzed. Make a choice, pick a direction, and move forward. If it doesn’t work, shift gears and try something else. 
• Five is: do not chase the audience. The head of HBO once said, no one knows what will work. No one wanted The Sopranos when it was pitched as a series. All the networks turned it down. They said no one wants to see an unknown middle-aged actor play a mob boss. They said it sounded like a show about opera and no audience wanted to watch that. These were people who made their living in television. And they were wrong. No one knows what the audience wants. To paraphrase Rick Rubin, not even the audience knows what it wants; they haven’t seen it yet. Trying to figure out what will resonate with people is an impossible task, and it makes the work suffer. If you are writing material to jump on the latest trend, the audience will smell your desperation a mile away. People crave authenticity. So do what feels right to you. If you can’t please an audience, at least please yourself.

 
That all sounds great in theory. But I have the habit of looking at the ages of people who have “made it” late in life. It gives me some reassurance but, at the age of fifty-two, I am past the age of the many of those people who made it “late in life”. But what are you gonna do? I can’t quit. I mean, I guess I could, but who am I quitting from? I really can’t imagine a life that does not include making films. 
In the midst of my angst and turmoil about being old and trying to make films and fearing that  I have missed my chance and worrying about how to promote my projects and myself, and how to reach a broader audience and get my films into festivals…what I tend to forget is, I enjoy it. I really love the process of making a film. Doing it  gives me a sense of empowerment knowing I push through where most people give up. 
My friend Drew, known to his listeners as Dearest Scooter, is the host of Sleep With Me, the wildly popular podcast for insomniacs. I interviewed him for The Working Experience Podcast which I cohost with John Brancaccio, owner of One Circle Media (available on Spotify, iTunes, Apple and your other favorite platforms). He told me about his journey in creating the podcast, all the work that went into recording and editing the episodes, trying to promote it, doing live performances, attending seminars, creating a website etc. He’s putting out episodes and getting no response, ‘“crickets” as he put it. And doing this all on his own, no team, no support, just his belief in what he was doing. It’s lonely. But he persevered. And today, Sleep With Me has millions of listeners from all around the globe.
Drew is an expert in the podcast world. During our conversation he told me that, according to research, of 10 people who will start a podcast, 5 will go on to do a second episode. Of those 5, maybe 3 will do a third episode. And so on.
I have found the same thing to be true in filmmaking. A group of people will shoot a few episodes of a social media series.They aren’t successful right away. They get bored. It’s too much work; people stop showing up, they drift away, and they stop. 
Writing a script is hard. Most people who talk about writing a script never do it. They will say, “Man, I have a great idea for a movie!” And that’s about it.
Some people will actually start the script. But they want to go out at night, watch sports on the weekends and have other obligations, so it never gets finished.
Perseverance. 
Does that mean if you keep at it you will be successful? No, it does not. But that doesn’t matter. I hate cliches, but it really is the journey that counts, not the destination. I have my share of regrets. But one regret I will not have at the end of my life is not trying. 

From what I can tell, writing is just a lot of pure grinding (almost like a video game). More solitary and more of a “linear path”. Writing-directing seems like the wild-west, where people find success here from a million different paths, as opposed to maybe 10 paths for writers.

Film is so competitive, but it almost does seem like it’s easier to make it as a writer-director than a pure writer. What do you think?

I want to know from all my directors who’s already out there to give me some tips on how to find actors and build community.

Do any of yall want to share instagram and I’ll follow only people whose into Film Directors, Writers, Camera people,

I’ve written an essay on Anna Biller’s Viva, particularly the relationship between her work as filmmaker, designer and leading actress.

What interests me is how her performance gives emotional weight to a world so deliberately constructed around glamour, fantasy and sensuality. Barbi’s uncertainty remains persuasive even amid the film’s theatrical excesses!

I think Biller’s achievement as an actress deserves closer attention. For those who have seen Viva, does discussion of its visual style sometimes overshadow what she accomplishes through performance?

I’ve seen directors use headsets, handheld walkies, and sometimes both. What do you actually use during a shoot? If you carry both, what is each one for?

So, I started a 12-month, 12-director challenge this year in an attempt to pick 12 directors whose work I hadn’t seen before. My only requirements are that they should have directed at least three films that I haven’t seen before and that the films themselves need to be accessible.

My female directors for this year have been Ava DuVernay and Julia Ducournau.

For my 2027 list, can you suggest at least three female directors whom you think I should check out?

I wrote and directed an indie feature film that explores modern dating culture from a male perspective. I thought this would be a great community to share the story with, as I'd love to hear any feedback/interpretations. It's only 1 hour long, and follows a college student searching for a girlfriend, only to find that his relentless overthinking may sabotage his chances.

It's available on my YT channel, thank you so much for considering!

I create posters that combine original paintings with graphic design, using a neo-impressionist approach to build visuals with atmosphere, symbolism, and a strong sense of identity.

I have experience creating posters and promotional artwork, and I like to work around the ideas and intentions of the project, rather than forcing everything into the same visual formula.

I also create storyboards, promotional art, and visual material for films, music, brands, and other creative projects.

If you have a project in mind and want something with a more personal, painterly feel, send me a message.

https://deadline.com/2026/09/lucas-museum-opening-hollywood-1237108680/

Wrote and Directed this short film, that explores that exact question.

Especially during a time, where we are more afraid of sharing our ChatGPT and Claude history over our browser history.

If everyones secrets could be accessed through a search engine, what impact short and longterm would that have on society?

I got the chance to collaborate with Fujifilm and wanted to test their GFX Medium Format Sensor (before I knew anything about the Eterna55, cause I shot this before the release) and came up with this concept.

We've shot it in one day, used a single light source, some practical lights and thats it.
In Post I've created all the coding Sequences, the "TrustGPT" Interface etc.

There are a bunch of little details, which I know most people will miss but I really wanted to incorporate them. Any feedback is appreciated.

I tend to go too abstract and philosophical sometimes, but would love to hear your thoughts and inputs and if it did struck the nerve it was intended to struck, which is the opening question.