I direct AI-generated commercials, and I don't sell them one at a time. I build a comic world for a brand — the characters, the look, the rules, the running joke — and then we live in it. The first film pays for the world. Every film after it costs less and takes less time.
Open for commissions & collaborations — autumn 2026
ProductionMMXXVI
Format
15–60s · 9:16, 1:1, 16:9
Crew
None
Locations
A Naples street, a Gulf palace, an Istanbul taxi, a control room in China
Shot on
Nothing
Lead time
First film three weeks. The next ones, less.
Languages
English, Serbian, and lip-sync to any voice you can record
Selected work
Four countries, one argument.
Client — Pizza Bar CRUST, Belgrade
Everybody argues about Belgrade pizza
A serialised comedy campaign. Each episode lands somewhere else in the world, where people who ought to know better cannot explain why the best pizza they've heard of is in Serbia. Same joke, rising stakes, one brand mention held to the last beat — a taxi driver asking for a table, a sheikh repeating the name on a private jet.
01NaplesReleased
Two Neapolitans eliminate every explanation in the street — the flour, the water, the oven — until only one is left standing, and they are furious about it.
02The GulfReleased
A sheikh grants that Serbia has perfect ćevapi, musaka and sarma. Pizza, though — he stops, and shouts one question into an empty hall.
03IstanbulReleased
A couple argue in the back of a cab about a city they've never eaten in. The driver has heard every word, and would like a table for himself.
04ChinaReleased
An intelligence apparatus registers an anomaly in Belgrade: foreigners who don't know each other, all arriving at one address. Eleven hours later two men in suits are asked whether they have a reservation. They don't.
Paris releasing next · two more in production
Grade
The Gulf episode did something a commercial isn't supposed to do: the comments under it turned into a market signal, and the client is now working through a real question about their menu because of it.
Dir. Antonio Pavlovski · Prod. Storyteller 369 · Belgrade
The money that stopped being money
The Hidden Ledger · The StorytellerDocumentary44% average view durationBelgrade
Grade
Own productions
The Storyteller · The Hidden Ledger
Two documentary channels, Serbian and English, on financial history — currencies that stopped being currencies, banks that stopped being banks. The first film held a 44% average view duration on a 5.4% click-through. That number is why I trust a fully directed, faceless format over a presenter.
Written, directed and produced in-house · Belgrade
Before this
Music video, selected.
Crews, call sheets, artists who are late. Fifteen years of directing the conventional way — which is the part that makes the new way work. The tools changed; the job didn't.
And some of it was already made small. Four of these were shot by two people — the director and the artist, nobody else. One of those is a film in two parts that begins in Budapest and ends in Hong Kong.
Stevan AnđelkovićTugo, nema te dugoPart I · Budapest · 2025 · Crew of twoStevan AnđelkovićNisam smeoPart II · Hong Kong · 2026 · Crew of twoTijana DapčevićNajskupljaMusic video · 2025 · Crew of twoTijana DapčevićKilometriMusic video · 2018Marija ŠerifovićPametna i ludaMusic video · Crew of twoMarija ŠerifovićSama i nervoznaMusic video · 2015Daniel KajmakoskiAutumn LeavesEurovision Song Contest · 2015Ron HolseySrpkinjaMusic video · Director, editor, one camera
Method
01
Build the world
Week one
The look, the lens language, the grade, the rule the joke obeys. Each one is locked as a reusable reference, not a lucky frame someone got once. This is the step everybody skips, and it is exactly why their second episode looks like a different company made it.
02
Direct the film
Weeks two–three
Script first, with a hook inside three seconds or it doesn't get made. Then shot design, then generation — hundreds of takes for a dozen usable seconds, which is the job and not a complaint. Dialogue is synced to a real recorded voice, so the language is always right in the mouth.
03
Run the series
Shorter, each time
The world already exists, so the next episode is a writing problem, not a production one. New country, new cast, new joke, and it still reads as the same series, because what repeats is the style, not the people. This is where the economics stop resembling film production and start resembling publishing.
The films cost roughly the same to make either way. The difference is the part underneath them — and it is the expensive part.
Engagements
What it costs
Fixed fee, agreed before anything starts. Never an hourly rate — speed is the whole product, and I'm not going to charge you less for having it.
The Pilot
One film, 15–30 seconds. Concept, script, world bible, production, grade, delivery in every ratio. The world stays yours whether or not we make another.
from €2,900per film
The SeriesMost of my work
Four films in one world, released to a schedule. Priced as a campaign rather than as four pilots, because after the first one the expensive part is already built.
from €9,500per campaign
Standing Room
Continuous production for brands that publish weekly — six to twelve finished films a month, plus cutdowns, variants and platform versions.
from €4,500per month
Brand Film
Sixty to a hundred and eighty seconds. A single piece with a story in it, for a launch, a founding, or a room you need people to feel something about.
from €8,000per film
Usage rights are quoted separately, the way production has always done it — term, territory, exclusivity and buyout each have a price, and none of them is hidden inside the fee. Agency white-label is available at trade rates.
Editorial line
Where I won't take this.
I don't do sincere.
This technology is extremely funny and not yet moving. Comedy, absurdity, spectacle, places that cannot be built — yes. Your family at Christmas, a real grief, a real reunion — hire a crew and a human face. The brands that got this wrong in public all got it wrong in the same direction.
The joke is never on the nationality.
My characters are Neapolitan, Gulf Arab, Turkish, Chinese. Every one of them is right, likeable, and in on it. The joke is on something universal — money, distance, expertise, pride — that they happen to be wearing that day. Every premise gets checked against this before a frame is made.
Real places get replicated, not imagined.
If a location exists — a view, a street, a building someone can drive to — it gets rebuilt faithfully. Inventing it is a guaranteed fail, and the audience catches it before the client does.
No synthetic person without their written consent.
No real face, voice or likeness gets generated without documented permission from the person it belongs to. This isn't a legal posture, it's the line that keeps the work defensible.
Delivery
What actually lands in your inbox.
Graded masters in every ratio9:16, 1:1 and 16:9, plus the cutdowns your media plan needs.
A provenance sheet for every assetWhich models were used at which stage, creation dates, version records, and a plain statement of who owns what. Procurement asks for this now. Almost nobody in this field can produce it.
An EU AI Act Article 50 disclosure recommendationThe transparency obligations came into force on 2 August 2026 and they reach any content used inside the EU, wherever it was made. You get a per-asset read on what needs disclosing and how, before it runs.
The world bibleCharacters, locations, look, rules — documented well enough that another production could pick it up. It's yours.
Contact
Bring me something that can't be filmed.
Commissions, series work, and collaborations with directors, writers and agencies who need this capacity and don't want to build it in-house.