Director introduction

Two films by Felipe Orozco

Both were made with AI. What follows for each one is the story, and then the part of it that was hard to direct.

Film one

Flicker

A single mother, a boy, and a broken lamp they bring home from a warehouse store.

The mother is not an actress. The boy is not a child. The lamp is not a lamp.

What was hard

  • Two faces holding consistent across an entire story.
  • An object directed with the attention a performer gets.
  • A turn in the last act that arrives with no dialogue to carry it.
Client
Runway
Role
Story and direction, Felipe Orozco
Taught as
Runway Academy case study, Agent 2.0
Runway Flicker

Film two

Runway The Watch

The Watch

A man who can move time forward and back on his wrist. A boy too short for the ride. A woman who wants her years returned.

Three separate human wants, resolved through one object, in thirty six seconds.

What was hard

  • Small wants, played straight, with nothing ironic to hide behind.
  • One prop carrying three resolutions without repeating a beat.
  • A third resolution that has to land after two already did.
Client
Runway
Runtime
00:36
Role
Story and direction, Felipe Orozco
Recognition
Grand Prize, Commercial of the Year. The Generated Awards 2026, New York. Six independent jurors, roughly 1,700 entries.
Reach
Past 136 million views

The director

Twenty years of directing, then the tools

Everything in those two films came out of staging, pacing, casting a face and knowing where to cut. Felipe was doing all of that long before any of this existed.

Two theatrical features. One bought by Universal for a remake with Nicole Kidman's company.

Three seasons of scripted television for Fox and Sony.

A number one film for Amazon Studios.

Ten years cutting at MAkinÉ.

A year inside Runway as one of their senior creatives.

Now directing out of the MAkinÉ AI lab.

The studio

MAkinÉ

A creative production studio with an AI lab. Open since 2003 in post, design, animation and VFX, with studios in New York, Mexico City and Los Angeles. They built the visual world of Audible's The Big Fix from nothing, ran social for Avatar: The Way of Water for two years, and made the full show package for National Geographic's Pole to Pole.

Before anything gets generated, they lock the creative canon. The language, the references, the tone, and the things they never want to see.

The ask

Send me the one you shelved

The board that never got made this year because production could not get there, or the idea that kept getting talked down until it was something safer. I will come back with names, and if none of them is the route I will say that instead.

bettina@momentum-reps.com→