We're developing projects for the whole world because we're building a slate for global digital distribution—not theatrical release or exclusive windows in a handful of markets. The traditional model prioritizes a small number of territories: films get made because they can open in North America or Western Europe, and everywhere else is an afterthought. We're not interested in that approach.

That changes what stories make sense to tell. When you're not chasing a domestic opening weekend, you can set a film in Stockholm or Lagos or Taipei without worrying whether American audiences will show up. You can build a cast that reflects the story rather than the marketing department's wish list. The constraint becomes the story itself—is it good, is it universal, will it travel—not whether it fits a narrow distribution window.

Our animation suite, currently in development under the Epic Motion brand, adds another dimension to this model. We can produce animated versions of our projects using AI-assisted tools while retaining full ownership of the underlying IP. This lets us test stories with audiences, build brand recognition around a title, and generate revenue before committing to a larger-budget traditional production—or we continue developing the property as animation if that's where it thrives. Either path, we own the work.

By leveraging technology, we're free to choose projects with international settings and universal themes. We can shoot efficiently, work with talent around the world, and deliver finished films without the overhead that forces most productions to play it safe. Streaming has made geography irrelevant to access. A viewer in Manila and a viewer in Munich can watch the same film on the same day.

Our job is to make work that connects—wherever the viewer is and whoever they are. That's the opportunity digital distribution created, and we intend to use it.