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    <description>Working notes on AI directing, pre-visualization, festival craft, and the Neverenders feature in development with A24.</description>
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      <title>Why the Cannes YDA Gold for Run This still matters in 2026</title>
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      <pubDate>Mon, 15 Jun 2026 06:00:00 +0000</pubDate>
      <description>The Cannes Young Director Award Gold I won in 2015 for Thugli&#x27;s Run This is eleven years old now. The framework is the one AI directors should be paying the closest attention to right now.</description>
      <author>amos@amosleblanc.com (Amos Le Blanc)</author>
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      <title>Neverenders in pre-viz</title>
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      <pubDate>Sat, 13 Jun 2026 06:00:00 +0000</pubDate>
      <description>Neverenders is the feature. A24 is the producing entity. The script exists. The pre-viz is well underway. Three frame studies I can describe in prose because the prose does not give anything away.</description>
      <author>amos@amosleblanc.com (Amos Le Blanc)</author>
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      <title>The Aoki Bud Light shoot, reconstructed in 2026 AI tools</title>
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      <pubDate>Fri, 12 Jun 2026 06:00:00 +0000</pubDate>
      <description>The Aoki Bud Light shoot in 2018 is the cleanest case I have of a project that ran a full traditional pipeline once, and which I have now rebuilt twice in 2026 in AI tools. The frame by frame comparison is the most honest answer.</description>
      <author>amos@amosleblanc.com (Amos Le Blanc)</author>
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      <title>Sora vs Veo vs Kling for narrative</title>
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      <pubDate>Wed, 10 Jun 2026 06:00:00 +0000</pubDate>
      <description>Sora 2.0, Veo 3.1, and Kling are the three models I actually use in 2026 production. Each one is good at exactly one thing and bad at exactly one thing, and the trick of directing with them is knowing which is which.</description>
      <author>amos@amosleblanc.com (Amos Le Blanc)</author>
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      <title>What an AI director actually does</title>
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      <pubDate>Mon, 08 Jun 2026 06:00:00 +0000</pubDate>
      <description>What an AI director actually does, in five hundred working hours, is the same thing a director has always done. Watch the frame. Listen to the room. Trust the cast. Hold the shot one beat longer than is comfortable.</description>
      <author>amos@amosleblanc.com (Amos Le Blanc)</author>
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