1) The film explores the essence of the New York spirit. Was this aspect included intentionally, or did it emerge naturally from the story?

New York naturally found its way into the film. I’m based in LA, but there’s something about NYC — its rhythm, its edge, its creative tension — that always inspires. It’s one of the most cinematic cities I’ve ever worked in, and every time I’m there, I find myself wanting to pick up the camera and make something new.

Over the years, I’ve shot several key projects in New York, including a video with Priyanka Chopra getting ready for the Met Gala — a collaboration with Bulgari. That shoot, along with many others, has made the city a meaningful part of my creative journey.

Our main character lives in New York, and you can feel it in her pace, her presence, her words. So while we didn’t set out to make a “love letter” to the city, it absolutely ended up capturing a slice of its atmosphere — especially the fashion-forward, fast-moving, no-filter side of it. That energy of inspiration is very present in this film, and I’m glad if people can feel it.

2) You also expressed your views on hustle culture. Is this the message you intend to convey to the younger generation aspiring to build a career in fashion?

In many ways, yes — and I think that energy is deeply tied to the spirit of New York itself. This city moves fast, and if you want to succeed here — or in fashion in general — you have to be bold, relentless, and fully committed to what you do.

From both personal experience and professional growth, I’ve learned that full dedication is non-negotiable. That level of commitment is what allowed me to build trust with high-profile clients, celebrities, and international publications. It’s what opened doors in my career.

So while the film captures that hustle through the voice of our character, it’s also a reflection of what I’ve lived through myself. I’m not saying everyone has to burn out to succeed — but there’s definitely a level of intensity that’s necessary if you want to reach the top in this industry.

3) Why did you decide to keep the film under two minutes? Were you aiming for a record for the world’s shortest film, or something similar?

The short length wasn’t a gimmick — it just felt right. Sometimes one honest moment lands stronger than five minutes of overexplaining. I’ve done a lot of short-form work for major brands and magazines, so I’ve learned how to tell a complete story in a tight window.

In this case, we were also working with a very real limitation: we shot part of the film on actual film stock, and we only had one roll — about three minutes total. What made it into the final cut was just over a minute of that, and I think that limitation added something special. Shooting on film forces you to be intentional. You don’t have the luxury of overshooting like you do with digital. You have to be precise, you have to trust your instincts, and I love that discipline. It makes you sharper.

4) What motivated you to choose the rooftop as your filming location?

The rooftop location was actually chosen as part of a photo shoot organized by Anastasiya Solovey and Marina Vdovtsova, who initially invited us to join the creative process. My co-director Anatol Trofimov and I showed up and simply worked with what we had. We didn’t scout it in advance — it was a creative freestyle, and that spontaneity became part of the film’s DNA.

Usually, in commercial projects, I always do location scouting — studying how light moves throughout the day, planning specific angles, all the technical prep. But with this project being experimental, we embraced the unknown. Sometimes that kind of approach brings even better results.

The rooftop and studio combination gave us a nice balance — a contrast between internal and external spaces. It added more dimension to the story, both visually and emotionally. Whether it was luck or intuition, something about that place just clicked, and it became the perfect canvas for what we wanted to express.

5) You’ve worked with many global talents and high-end fashion brands. How have those collaborations shaped your approach to storytelling and visual direction?

Working with people like Zoe Saldana, Priyanka Chopra, Gisele Bündchen, and Miranda Kerr  definitely pushed me to refine how I think visually.

When you’re on set with that level of talent, you realize how important trust is. They need to feel safe, understood, and seen — not just lit well. That kind of pressure taught me to be precise, but also intuitive.

It also helped me understand the power of minimalism. You don’t need ten things happening in a frame — you need one thing that’s true. That mindset influences all my work, even the most experimental pieces. It’s about clarity, presence, and honesty.

6) Your work often blends editorial fashion aesthetics with emotional storytelling. How did you arrive at this style, and why do you think it resonates with audiences today?

I come from a fashion background, but I’ve never been interested in visuals just for the sake of aesthetics. I want the image to feel something — not just look good.

Over time, I started combining clean, editorial compositions with emotional textures: voiceovers, gestures, fragmented thoughts. That’s how my current style formed — somewhere between a fashion film and a personal diary.

In today’s world, where AI can generate flawless visuals, the human touch stands out more than ever. I think people connect with work that isn’t perfect — but honest. That’s what I try to create: beautiful frames with something real at the center.

You can feel this approach in many of my projects — from the Vogue editorial with Milla Jovovich to the Marie Claire shoot with Renée Zellweger. Even when working with major celebrities, I try to preserve something personal and emotionally grounded.

7) Your portfolio spans shoots across the U.S., Europe, India etc. How has working internationally shaped your creative perspective?

Traveling and shooting in different regions really opened me up to the nuances of storytelling. Every place has its own rhythm, light, architecture, and energy — and I try to stay sensitive to that.

At the same time, working across such different cultures helped me notice not just the differences, but also the emotional common ground that connects us. Regardless of the country, people respond to the same core feelings — beauty, longing, joy, vulnerability. That emotional thread is what I’m always looking to capture.

Maybe that’s why I’m so drawn to telling stories that feel honest rather than overly stylized. I’ve never been about heavy effects or surface-level visuals. What matters most to me is creating something that makes people feel — because that’s what AI can’t do. Emotion isn’t a preset — it’s what makes us human.

8) Are you planning to create a sequel to the film? I’m asking because you referred to it as “chapter one” at the beginning.

We actually might. My co-director, Anatol Trofimov, and I talked about making this a long-term creative series — something we return to whenever the moment feels right. There’s no timeline or pressure. Just a shared desire to capture people and moments in this kind of honest, cinematic way.

9) Which of your recent projects have resonated with you the most?

Over the past few months, I’ve been lucky to work on a few projects that really hit home for me — especially those involving music artists like Audrey Nuna and Genevieve.

For Audrey, we shot a tour promo series where she performed stripped-down versions of her songs, sometimes a cappella. The way she sings, her charisma, her whole style — it’s magnetic. We developed a set of concepts together that felt raw and expressive, and the final pieces reflect that intimacy.

With Genevieve, we created two music videos, and she’s just a rising star with a completely unique vibe. Her sound and energy really speak to me — there’s a sincerity in her presence that I always try to capture on camera.

Even though these were music-related projects, we treated each one with a fashion-forward approach. That same mindset shaped Frankly as well — blending cinematic storytelling with visual style. Whether it’s a short film or a music video, that emotional layer is what I always come back to.

10) Finally, what is your next project?

Right now, I’m focused on developing new projects through my production company, Marty Rush, and continuing to explore fashion as my main creative direction. Fashion is what I naturally gravitate toward — but what excites me most is mixing it with other formats: fashion meets short film, fashion meets commercial work, fashion meets social content.

Beyond the visual side, I’m interested in injecting real emotion into those stories. That’s what gives fashion depth — sincerity, vulnerability, and narrative honesty. I think when you combine strong visuals with something that actually feels human, that’s when it becomes complete. That’s the kind of work I want to keep doing.