In this 1,000,000 subscriber Q&A, I talk through the practical side of Like Stories of Old: why I moved from a faceless format to being on camera, what my creative process actually looks like, and where AI does—and doesn’t—fit into my work. The big reason for going on camera was scope: film footage can be limiting when I want to drift into a philosophical “rant” or broaden beyond a single movie, and it also helps make the work feel more personal, harder to rip off, and more authentically mine. I also break down how I write: sometimes an idea becomes a video within a month, other times I’ll sit on it for years until the missing 20% clicks into place. The process is messy on purpose—blurring out fragments, rearranging paragraphs, and searching for a natural progression, especially when the subject is abstract. On AI, my answer is basically no for anything genuinely creative; the only place it helps me is as a slightly smarter search engine for examples or academic terms I might not find via normal keywords. Beyond process, I do a speedround on movies and taste—films I’ve rewatched the most, why I don’t enjoy “so bad it’s good,” what I look for in a great movie (increasingly: emotion, immersion, atmosphere), plus books, critics, trailers, and a bit of personal context about why certain videos mean the most to me.