Tag Archives: character development

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April 29, 2025

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A Sneak Peek Into 2060’s Wardrobe in AI KNOWS

For those of you who haven’t heard about my upcoming short film, AI KNOWS, it’s set in 2060, a world where artificial intelligence is deeply embedded in everyday life. The story follows a young rookie officer, tasked with escorting a 45-year-old man to his forced retirement at a space station. As their journey unfolds, the officer must choose between the wisdom of the old man and the ever-advancing AI that guides them. However, all is not as it seems, and the AI may be concealing or ignorant of a deadly malfunction.

AI is being integrated into everything, whether we want it there or not. Chances are, your phone already utilizes AI, and most email programs now summarize messages for you, saving you the effort of reading certain emails. Change is coming fast, and by 2060, AI will likely be woven into the fabric of our clothes.

Imagine a tag on your shirt that tells you how many times it’s been washed, how old it is, and whether it’s still in style. It might even suggest which items in your closet pair best with it, streamlining your decision-making. With these ideas in mind, I had to design outfits for AI KNOWS that always look sharp, reflect each character’s unique style, and function in a world where technology is an ever-present companion.

My goal for AI KNOWS wasn’t to craft a utopian or dystopian world but to create something that feels grounded in the present while still accommodating space travel. I wanted the setting—and the clothing—to be plausible enough that viewers wouldn’t be distracted by the future. Instead, I wanted them to quickly get in sync with the world I’ve built, allowing the story to take center stage.

Davis: The Young Rookie Shuttle Pilot

Davis is the main character in AI Knows, and he undergoes the most significant transformation. As a 14-year-old shuttle pilot, he has been taught to believe that AI knows best, people over 45 are irrelevant, and that AI holds the answers to everything. However, as the story unfolds, Davis is compelled to confront the limitations of AI and the value of human wisdom.

When designing Davis’s outfit, I wanted to ensure it reflected his role as a young pilot while also highlighting his discomfort with the rigid, AI-driven world he inhabits. His uniform needed to be formal enough to pilot a space shuttle but simple enough to allow for ease and comfort, reflecting his youth and inexperience. The design had to embody his journey—initially stiff and structured, mirroring his blind faith in AI, but gradually becoming more relaxed as he begins to question everything he has been taught.

Jet Carlson: The Aviator Mechanic

Jet Carlson’s life as an aviator mechanic has shaped his every move, and his outfit reflects the grounded, no-nonsense personality that comes with it. In a world where clothes constantly notify their owners when they need cleaning or care, Jet is one of the few who doesn’t mind getting a little grease on his elbows. His outfit consists of earthy tones—muted greens, browns, and tans—matching his practical, steady nature. But there’s one item he’ll never part with: his bomber jacket. It’s a symbol of his past, a worn piece of clothing that still holds its own style, even in the face of an AI-dominated world.

Despite his quiet demeanor, Jet is a man who knows when to push back. He maintains a calm exterior but isn’t afraid to make others uncomfortable if it means standing his ground. Once he’s done pushing, however, he lets go—accepting that not everyone is ready for the help he offers, and sometimes, that’s okay.

Elara Carlson: The Creative Spirit

Elara Carlson, Jet’s 12-year-old daughter, is the embodiment of creative flair. Unlike her grounded father, Elara embraces a playful, artistic spirit that spills into every aspect of her life—even her outfits. She’s the type of person who can mix and match items in her closet to create a look that feels fresh and new every day. No matter the circumstance, Elara’s outfits are always perfectly put together, each one a reflection of her personality, with the exception of her school uniform.

While her creativity shines through in her clothing choices, Elara’s fun-loving nature ensures she never takes herself too seriously. She holds everyone in high regard, always finding joy in connecting with others. When Jet tells her about Davis’ impending doom, she demands action, showing a level of maturity that surprises him. But once she’s confident things are in motion, she quickly returns to her playful self, telling him she’ll visit once she’s got her shuttle license. Accessories are Elara’s signature—whether it’s a fun pair of pink glasses or a custom necklace, she ensures every detail of her look is on point.

Fashion as a Reflection of the World

As Davis escorts Jet to his new room, they pass a billboard that reads Jet’s presence and immediately advertises the latest tech-wrench for his consideration. This subtle moment quietly reveals that the AI hasn’t been updated since Jet’s forced retirement. After all, he no longer needs tools.

But the real eye-catcher is the woman on the billboard, displaying the wrench in a sparkling one-piece suit—a glamorous worker’s outfit designed to catch the eye of the intended audience. It’s the kind of futuristic material I recall being shown back in sixth grade, an innovation that, at the time, seemed poised to revolutionize the fashion industry. Of course, it never took off.

It’s funny how companies constantly push the latest trends, but only a few clothing styles per decade truly capture the public’s imagination. Most fade away as quickly as the next season’s releases, leaving behind only a faint trace of what might have been.

The key to speculating on sci-fi fashion isn’t about trying to predict what could be, but about making sure everything fits seamlessly into the world I’ve created. After all, we all remember the future vision from Back to the Future II, released in the 1980s—flying cars were supposed to be everywhere by 2015, and the Cubs winning the World Series? Well, that seemed like a total joke at the time, and yet it actually happened, just one year later than in the movie.

That’s the beauty of world-building: it’s not about predicting the impossible, but creating a world so plausible that it feels natural.

In AI KNOWS, the fashion I design won’t be about futuristic outfits for the sake of spectacle, but about ensuring every piece fits into the everyday lives of my characters. The clothing needs to make sense in the context of the world I’ve built, from the sleek uniforms of the young officers to the retro-inspired attire of characters like Jet. If the audience doesn’t notice the clothes because they fit so naturally into the world, then I know I’ve done my job. After all, the focus should always be on the story.

A Life-Changing Story

For me to truly speak into the hearts and lives of teens and tweens about the importance of data-driven AI and the irreplaceable value of experiential wisdom—something AI can’t develop—I need to create a world that focuses the viewer on the core elements of the story. The quality of the production will help ensure that the audience is drawn into the world, allowing them to fully engage with the choices the characters make and the lessons they learn.

When Davis faces a life-changing decision, the audience will be right there with him, exploring the same considerations for their own lives. No one will tell them how to think; instead, they’ll be invited to make their own discoveries as the story unfolds. That’s what makes a truly life-changing story—one that can be watched again and again, each time offering something new.

So, keep following my journey, and let’s see if we can bring this vision to life together. In the meantime, I need to find costume experts to bring this vision to life.

© 2025 by CJ Powers

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April 28, 2016

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The Love Triangle (or Box)

Love TriangleYoung filmmakers rarely use a love triangle within their movies. They miss the tremendous amount of conflict and story development that rises naturally from the mix. Their eyes are closed to the internal stories tumbling within the souls of each character and how it externally manifests itself in humor and drama.

Relationship triangles in life happen more times than we admit. But, I’ve experienced the dreaded relationship “box” and found the experience stranger than fiction. However, the true elements from within the experience make great tools for interesting movies.

I spent a couple summers in high school and college at my family cottage on beautiful Bughs Lake. It was a small lake that perfectly reflected its surroundings until the ducks flew in, putting ripples in the water just before dinner.

There were four of us that hung out together. Sue was the most beautiful, the smartest and most charismatic. She had the artistically sculpted legs of a dancer and a personality that could keep people entertained for hours. Her cousin Lori was also hot with well-toned muscles and a deep tan. She was the most energetic of the group and pumped life into every room she entered.

David lived one lake over and joined us numerous times for whatever the day’s activity would bring. He was a jock that looked like a California surfer and turned every head. We had a blast water skiing together and cruising around trying to figure out how we could win the hearts of Sue and Lori.

When the four of us hit the nightlife together, we were the most fun group in town. This was partly due to the group dynamics and we simply had lots of fun, which was contagious. But there was one other factor that stimulated interest. No one knew who might someday have the chance to date whom. It was like being in a lover’s triangle of sorts. But I’ll call it a four-cornered box to make my point to filmmakers.

I wanted to spend as much time with Sue as possible. Although our time together was limited to practicing dance for clubbing and planning how we could connect her with David. I wanted Sue to be happy, so I did everything possible to persuade him, but David was fixated on Lori. And yet, I was the one Lori invited to her prom – Forming a box.

I’m not sure if Sue ever dated David, or if he ever dated Lori, but I was pulled out of the mix. In fact, my family situation escalated with one crisis after another until it culminated in the selling of the cottage. With all the emotional turmoil I faced and the overwhelming responsibilities dumped in my lap, I lost touch of everyone. My last memory of Lori was when I totally messed up her after prom swimming event and never had the guts to apologize.

I never reconnected with David. And as for Sue, I eventually noticed her on stage during a performance my wife and I attended. She and her husband were professional dancers that traveled with the show. I took my wife backstage so we could reminisce for five minutes in between Sue’s performances. My wife felt a bit awkward since Sue was far more gorgeous than I had ever described. But it was okay because Sue and I were never more than summer friends and dance partners.

Love triangles, whether real or only perceived by a character, fuels internal struggles that launch external actions. Some are filled with humor and others drama, but in either case an audience is captivated until the end of the story.

In addition, the director can take turns revealing something first to the audience, while keeping the character in the dark, or vice a versa. This shifting of patterns also creates great interest in seeing the story to its conclusion.

For instance, let’s say our relationship box only existed from the perspective of my character, which is probably true in real life as well. Maybe Lori never liked me enough to date, but couldn’t stand the kids at her school. Because of our group friendship she trusted me enough to escort her to prom. In other words, she was just drawing from our friendship with nothing more in mind.

If the audience knows her request was just one of friendship, but my character was convinced she liked him, he’d find himself in awkward moments – Trying to avoid getting too close for fear of losing focus on Sue. Or, maybe she really likes him and uses the friendship to leverage an opportunity, but he’s so blinded by his false hope for Sue that he misses his opportunity with Lori.

Now, keeping the triangle/box idea in play, we can see that the only person that stands a chance at winning is David. He could realize what Sue has to offer and change his focus, or he could finally get Lori to slow down enough for him to win her heart. The audience then feels sorry for my character, as he slowly walks off into the sunset alone.

The reason love triangles work in movies is because they force the storyteller to reveal things about each character to a depth that stirs the audience. The viewers learn to care about the characters and want to see how things work out. The triangle technique develops the characters beyond the two dimensional stereotypes that reveals both internal and external circumstances.

Multi-dimensional characters always draw an audience and build the fan base for a sequel. The simple interaction between each character’s goals is enough to drive interest for a 90-minute stretch of story.

Copyright © 2016 by CJ Powers
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August 3, 2015

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5 Steps that Create the Middle of a Story

© ktsdesign - Fotolia.comOver the weekend, I coached a couple of young filmmakers in a Google Hangout. Their goal was to create an award winning short story that could be produced as a film. They had a beginning and an end, but struggled to know how to get from one to the other in a plausible fashion for the audience.

I shared five story analysis steps to guide them in how to fill out the middle of their story:

  1. Review the Logline.

I asked what the film was about and they weren’t able to answer within two sentences, which suggested clarification was needed on the core story. Our first step was writing down the logline to make sure they understood their story and its key elements including protagonist, antagonist or obstacle, setting, and protagonist’s goal.

  1. Determine Character Development.

The writer and director knew who the protagonist was in the beginning of the story and the end, but didn’t know how to move him through his character development transitions. In this case, the hero starts out selfish and ends up selfless. A simple response could’ve been the following progression: Selfish -> Disinterested -> Apathy -> Selfless.

However, the excellent conflict between the protagonist and antagonist throughout the story suggests the development should instead be based on the character’s relationship. This perspective led to the following progression: Selfish -> Acknowledgment -> Respect -> Selfless.

More information about the process can be found here.

  1. Make the Scenes Visual.

Motion pictures are about motion and emotions. Something needs to be moving and stimulating. This forces the story to be visual, which opens the door to symbolism, metaphors and allegories. We indirectly discussed what the film would look like if there were no sound, just action.

While the writer feared that the success of the picture would rest solely on the actor’s visual performance (facial reactions), those visualized moments would catapult the story to award winning levels at festivals. Projects that rest on the dialog to tell the audience what’s happening depower the story’s impact.

  1. Find the Symbolism.

Finding symbolism within a story and attaching it to a physical object for visualization makes for a powerful story. This short story was about a precious commodity that the hero holds dear. The physical element quickly emerged as a symbol on its own merits once the story was sound. Having a key visual element tied in to the story as a symbol always turns the heads of festival judges and most audiences appreciate the added depth brought to the screen.

  1. Test the Story.

By writing down a sentence or two for each of the story beats, the writer and director can create a mini treatment that will reveal the strengths and weaknesses of the story. Making alterations at this stage is simple compared to reworking several pages of script.

By reviewing the above five items, an obvious outline of the story emerged for both the writer and director to work from. By adjusting their perspective when reviewing each element, more potential scenes came to mind for exploration. This process makes it easy to create numerous scenes from which the best can be selected for the middle of the final script.

Copyright © 2015 by CJ Powers