-When you plan the realization of a film project, what are your objectives?

My original objective with the feature screenplay Thankful was to share a semi‑autobiographical story set just before the 2004 Indian Ocean tsunami. Several images from my award‑winning table book Thankful—the Thankful series—were exhibited internationally, including at the Carrousel du Louvre during the high‑profile jewelry heist in October 2025. That exposure broadened the project’s scope and opportunities.

What began as a personal story evolved into a project that addresses contemporary issues—LGBT and heterosexual relationships, building a career in fashion, love and heartbreak, suicide, the loss of a child and friends and family, and the emergence of an unexpected love. In short, sometimes the objective grows organically from the story itself.

-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?

I welcome the change. As a multidisciplinary artist, I see AI as a powerful creative tool that accelerates work I used to outsource to freelancers. AI helps me refine scripts quickly and shortens processes that once took days or months down to hours or minutes. As a composer, AI can be useful for generating ideas and textures, but I still begin with lyrics, rhythm and a clear sonic vision—then shape notes by hand; for the Thankful soundtrack I blended original direction with AI-assisted tracks to good effect.

That said, I won’t rely on AI to fully build a project. It still has limitations, and some creative domains—like my fashion design practice—remain sacredly manual: I sketch on paper first because keeping ideas human is, to me, essential for emotional resonance. Overall, AI is an exciting expansion of creative possibility, not a replacement for human authorship.

-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

This is a critical decision, as the vision for Thankful is to be filmed primarily in Houston with additional production in Galveston, while prioritizing a cast rooted in Houston-born talent. Because of that, I am targeting companies that not only understand elevated storytelling, but also have the flexibility to support regionally grounded productions with global reach.

Distribution:

Amazon MGM Studios
This is a top choice due to its hybrid model of theatrical and streaming distribution through Prime Video. Their focus on IP-driven storytelling—especially adaptations—aligns directly with Thankful’s evolution from book to screenplay to visual art property. Additionally, the legacy of MGM (including The Wizard of Oz) creates a meaningful creative alignment with my own artistic influences and connections to the Oz Museum in Wamego, Ks.

Netflix
Netflix’s global reach and willingness to acquire high-profile, buzz-driven projects makes it an ideal distribution partner. Their model supports culturally specific stories while scaling them to international audiences, which is key for a Houston-rooted narrative like Thankful.

Production Companies

Artists Equity
Known for its creator-first approach, Artists Equity emphasizes ownership, backend participation, and performance-based upside. This aligns with my goal of maintaining creative integrity while building long-term value around Thankful as a property.

Candle Media
Candle Media is particularly compelling due to its focus on building franchises from IP across multiple platforms. Their understanding of cross-medium storytelling makes them a strong fit for Thankful, which already exists across publishing, screenplay, and visual art.

Positioning Strategy

Rather than viewing Thankful as a single film, I am positioning it as a multi-platform intellectual property—a story that can live across film, streaming, publishing, and visual art. The goal is to partner with companies that recognize both the cultural specificity of Houston and the scalability of the story globally.