From an idea to a finished film, in nine stages.

01

What Movie Maker is

An agent skill built for creators who want a whole film rather than a single clip. You give it a story brief and it walks the same pipeline a crew would: script, characters, scenes, shots, then assembly. You stay the director — it never decides taste for you.

Use it when you have a story. Use Create when you have a shot.

02

Create a story

Write one sentence with a change in it: someone wants something, and by the end something is different. Then add your constraints — length, cast size, number of locations. Constraints are what make an AI story watchable.

Two characters, one location, 90 seconds. That is a first film.

03

Character setup

Generate each character as a portrait still in Image and save it. Write five fixed physical facts per character and never rephrase them. Those saved stills are your casting sheet and the source image for every shot they appear in.

A character is an image file, not a sentence.

04

Location setup

Generate an establishing wide of every location before any other shot. That wide defines geography, palette and light for everything that follows. Save it next to the characters.

Wide first, always. Everything else must match it.

05

Generate scenes

Break the story into shots of four to six seconds. Write each one as a full shot description — subject, action, environment, camera, light, motion, style. Number them, and keep the numbers in the filenames.

One action per shot. If it needs two, it is two shots.

06

Scene continuity

Continuity breaks in three places: faces, wardrobe and light. Fix all three by reusing the same source images and pasting the same style block into every prompt. When a shot drifts, regenerate it — do not try to patch it.

Copy and paste your character and style blocks. Never retype them.

07

Camera direction

Give each shot one move with a purpose: push in to add pressure, pull out to reveal, track to travel with someone, lock off to let a performance land. Alternate moving and still shots so the film breathes.

If you cannot say what the move is for, lock the camera off.

08

Dialogue and voice-over

Write dialogue short and spoken, then record it in Voice before animating the face. Lip sync from the portrait plus that audio. For narration, record one take per paragraph so you can re-cut without re-recording everything.

About 150 words per minute. Time the script with a stopwatch.

09

Music and the final cut

Sound design first, music second — footsteps, room tone and traffic make a generated shot feel filmed. Then lay one music bed under the whole piece. Cut on action, grade everything once, and export at the highest resolution the plan allows.

One music bed per film. Two fight each other.