Cinema, for me, is not spectacle.
It is consequence.
I approach screen storytelling the same way I approach writing — by first understanding the system underneath the story: power, fear, loyalty, grief, and the invisible forces that move people when institutions fail.
Some of these narratives were conceived as films, some as novels, some as long-form stories that demanded time. All of them are built with enough depth and material to travel across formats — without dilution.
I am drawn to stories where action carries emotional cost, where villains are systems rather than caricatures, and where victory is never clean.