"Club Is Dead" started as a music video for Jeane Marie, but from the beginning the images were demanding more. The film wanted to live beyond performance, it wanted a spine, a character, a story. That’s when we brought in Echo, the survivor, to give the audience someone to follow through this dead city. For me, the project became about silence, awakening, and the way sound and music can jolt us back to life. I didn’t want the city to wake up through violence, I wanted it to come alive through rhythm, movement, and light. The leap at the end is left unresolved on purpose. Did Echo make it? Was he destroyed, absorbed, transformed? That ambiguity is the space I want the audience to sit with, the tension between destruction and transcendence. Visually, the film pulls from the worlds of *Euphoria*, *Enter the Void*, and Afrofuturist dream-logic. Stylistically, it carries music video DNA but refuses to stay in that box. *Club Is Dead* is a hybrid, part narrative, part experimental, part spectacle, but all cinema. As a director, this film represents my bridge: from high-concept, music-driven visual work into short film storytelling. I don’t just create content, I build culture.