RZR

RZR is the first ever web3 funded Hollywood produced TV Series. We created NFT collections in the writing stage, that gave our community incredible access to our process. My partner Gala is one of the world's largest blockchain gaming companies. We are building a watch-to-earn model for our NFT holders that will reward our community through the success of the show.

We held a web3 casting call, where the NFT holders voted on who would earn a principal speaking role in the series. We are proud to be leading the charge and writing the new wave of technological innovation in filmmaking. I firmly believe that blockchain, NFTS and smart contracts can solve a littany of IP and residual payment issues that plauge our industry.

Artistically, Cinema is always first. Even though we created an episodic series, the first language is always cinema, light, picture and sound. The tech-noir world of RZR is fueled by my immersion in blockchain tech and the web3 community since 2017.

My vision was to create a universe with a tech dystopia reminiscent of Black Mirror and Mr. Robot, with the flare of Blade Runner and the gritty human condition of Children of Men.

Next is the demographic, I wanted to tell a tech driven story that would appeal to a sophisticated audience but not be so cryptic in it's delivery that it would be unrelatable to the masses.

Diversity is massive for me. Being Afro-Latino of Brazilian decent, Hollywood was always difficult for me to break in. I was never black enough or Latino enough to fit the rigid categories in casting.

As a showrunner, I want to ensure that the cast reflected my struggles. We have 50 speaking roles and only six of them are caucasian players. We made sure to write in a trans player, even two bi-racial identical twins. By creating a contemporary dystopia I was able to weave in multi-racial players that made sense to the world we built in a seamless way.

My series directors are all diverse. Yuri Alves my lead series director is Brazilian. I chose Yuri to lead the visual aesthetic of RZR because of his euro-noir sensibilities. He would bring a visual language to the show that would be anti-American-pop-culture. The visual language needed to be existentialist and brave.

In production, the majority of my executive team are women, from my producer Noelle Hubbell, line producer, UPM, production coordinator, second AD, production designer, art director, costume designer, make up leads, even camera operators and some transportation heads were women.

The mission I carry is to empower, inspire people and open up opportunities. We bumped up six diverse ethic extras to speaking roles granting them taft hartleys into the Screen Actors Guild. We have to give where we have received.

My goal is to remain a self sustaining artist and become a good ancestor in the process.