Cameron sits down with PJ Accetturo, founder and CEO of Genre.ai, to talk about what happens when generative AI moves beyond experimentation and becomes a real production business.

Known online as the "viral AI madman," PJ built his reputation with the Kalshi commercial that aired during the NBA Finals, one of the first AI-generated ads to run on broadcast television at scale. Since then, he has led AI-native campaigns for Nike, LVMH, Qatar Airways, Oracle, Popeyes, Ramp, Google, and more, generating hundreds of millions of views across platforms. Through Genre.ai, he has built one of the most active AI-native production studios working in commercial production today.

But instead of focusing on prompts and workflows, this conversation digs into the questions that rarely get asked: pricing, margins, creative constraints, failed campaigns, staffing, and what AI actually means for the economics of production. PJ explains how AI-native productions are structured today, why some projects still work better as traditional shoots, and how agencies, production companies, and filmmakers are adapting as the technology rapidly improves. The discussion also explores the changing relationship between AI and traditional craft, from commercials and VFX workflows to narrative filmmaking, virtual production, performance capture, and the emerging hybrid models being tested across the industry.

The conversation also touches on the Wonder Project's hybrid approach to narrative production, blending volume stages, performance capture, and AI-generated wide shots as a model for what ambitious mid-budget storytelling could look like going forward.

Perhaps most notably, PJ reflects on how his own thinking has evolved. A year ago he was telling Hollywood it was doomed. Today his message is different: the tools are coming regardless, the talent is there to adapt, and what's ahead may look less like a reckoning and more like a golden age of creativity.

For producers, creative directors, and anyone trying to understand where AI fits in the production landscape, this is one of the more grounded and honest conversations on the topic you'll find.

The views and opinions expressed by guests on this podcast are solely their own and do not reflect the views of Wrapbook, its employees, or affiliates.

Cameron sits down with Neil Champagne, Head of Development at Tinygiant, to unpack how an independent film moves from a promising script to a major festival and why that strategy starts much earlier than most filmmakers realize.

Neil has over a decade of producing experience spanning television and independent film. His TV credits include Dirk Gently's Holistic Detective Agency (BBC America), Unspeakable (CBC/Sundance Channel, named a New York Times Best Series of 2019), Fargo (FX), The Girlfriend Experience (Starz), and Blackstone (Netflix). At Tinygiant, he oversees creative workflow across the company's commercial and scripted work, bridging story, capital, and execution. Under his leadership, the company has earned multiple New York Times Critics' Picks and maintains a 98% Rotten Tomatoes average across its film slate.

Using Tinygiant's latest feature, She Keeps Me Young, which premiered in the U.S. Narrative Competition at the 2026 Tribeca Film Festival, as a case study, Neil walks through the realities of producing a low-budget indie with an ensemble cast, finding locations that satisfy both the creative and financial demands of the film, and building a production model nimble enough to make ambitious work at the sub-$2 million level.

The conversation then goes deep on festival strategy: why Neil is thinking about a film's festival fit from the moment he reads the script, how timing and programming tendencies shape submissions, why simply submitting to dozens of festivals is rarely enough, and what producers can do to ensure their film actually gets seen. He also breaks down the role of sales agents, publicists, earned media, and relationships with programmers once a film begins moving through the festival ecosystem.

Ultimately, Neil makes the case that production and go-to-market strategy shouldn't be treated as separate disciplines. The creative identity of a film, including who directs it, what it's about, and who it's for, should be quietly informing every decision along the way, from scheduling and casting to which publicist you hire and which programmer you're sending your press release to. The festival premiere isn't where that thinking starts. It's where it surfaces.

The views and opinions expressed by guests on this podcast are solely their own and do not reflect the views of Wrapbook, its employees, or affiliates.