AI, Betrayal, and the Broken Indie Film Machine - How my career in aviation software and filmmaking collide

“The Actress Who Finally Had Enough”

I’ve been an actress for 24 years.
I’ve been on hundreds of sets, seen hundreds of dreams die slow deaths in post-production limbo.
And for years, I kept hearing the same line—
“This one’s gonna be it.”
“This is the movie that’s gonna change everything.”

That movie for me… was Nation’s Fire.

I didn’t write it—
A writer-director friend of mine did.
But I believed in it.
So I went all in.
I acted in it, I raised financing, I brought in investors—
I put my name and my life on the line for that film.

“The Trap That Bleeds Filmmakers Dry”

YOU:
And what happened?
We got stuck between a rock and a f***ing hard place.

If we stopped spending, the movie would have died.
If we kept spending, we were being overcharged, manipulated, bled out little by little.
There was no win.

We chose to keep going—
And it buried us in debt.

And then came the harshest lesson of all:
Distributors. Don’t. Pay.

There is no system watching them.
No union protecting filmmakers.
No financial justice for the people who create the product the entire industry depends on.

“The Other Industry Where I Saw It All Before”

YOU:
Now—here’s where it gets real.

You want to know why I’m so passionate about AI in filmmaking?
Why I believe it’s not just useful—but essential?

Because I’ve been here before.

Before I was deep in indie film, I spent 14 years in aviation software development.
Yeah. You heard that right.

We developed an automated dispatch and curbside system for the airport taxi networks in New York City.
It was built to eliminate scams, line-jumping, traffic jams—pure chaos.
It was clean. Fast. Transparent.

“They Blew Up Our Project Manager’s Car”

YOU:
But when we launched it?
The pushback was violent.
Literal chaos.

Brooklyn and Queens drivers walked out.
I had to kick people out of my training classes—they refused to even touch the software.
Our project manager’s car? Blown up in his driveway.
He was supposed to pick me up in Manhattan that day.
I got called in by the feds for questioning on the entire operation.

All because we were cutting out the corruption.
All because the old system was being exposed.

Sound familiar?

“AI Isn’t the Threat—It’s the Exit”

YOU:
That’s why I’m not scared of the pushback I see right now about AI in filmmaking.

I’ve seen this before.
And I already know what’s coming.

Right now, they laugh at it.
They resist it.
They say it’s not real filmmaking.

But soon?
They won’t be able to function without it.

“Studios Want You to Fear the Tools That Set You Free”

YOU:
That same fear today is being pushed by studios, distributors, and sales agents who need you to stay at the bottom.
They want to keep you spending time and money on tools that keep you slow, dependent, and broke.

They don’t want you to automate your shot lists.
They don’t want you generating pitch decks in minutes.
They don’t want you testing your story’s financial potential before you shoot.
Because the second you understand the business and start using tools that remove their power…

They lose their grip.

“Filmmaker Berserk Was Forged in the Fire”

YOU:
Filmmaker Berserk was born from betrayal, yes—
But it was forged in experience.

I’ve lived through the collapse of broken systems.
I’ve seen tech transform industries.
And I’ve watched fear kill progress—until the same people who resisted it, had no choice but to adopt it.

Filmmakers, listen to me…

You’re not wrong for wanting to get paid.
You’re not wrong for wanting control.
And you’re damn sure not wrong for using tools that make you faster, sharper, and more dangerous.

“The Future of Film Belongs to the Berserkers”

YOU:
The future of filmmaking isn’t about replacing the artist.
It’s about freeing them.

And we’re not waiting for permission.

We're already building it.

Stay savage.
Stay sharp.
And stay Berserk.

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