Studio
Luminous Device develops cinematic worlds, visual systems, and controlled public fragments.
Project
All Dior Models Go To Heaven is a television series in development, written and shaped alone, aimed at eventual live action production.
Signals
Public fragments from Luminous Device
Visual studies and process tests from a solo, no-budget production. For now, AI tools do the work of the crew this project does not yet have, on the way toward real performance in front of a real camera.
EMILE
Supporting character.
Realm: Halfway.
Between domestic and feral. Sour. Grim. Not dangerous, just disappointed. Gifted with supernatural skills.
Involuntary tremors, micro-expressions, pent-up emotions seeping through glances. The creativity of an artist. A fresh interpretation of a sequence, a scene. Everything you want and need from human actors.
When you work with animals, you want and need the exact opposite.
You need precise performances, with precise timing, to deliver precise meaning. Their presence on screen depends on the action. Not on how they hold their martini.
As far as I know, working with animals is not exactly budget-conscious. Their unpredictability, even when trained, makes them... awkward for the accounting guys.
Incredibly, that is where new technologies can be invaluable. Precise results, in action, for performers who do not smile or hide their emotions from others.
In *All Dior Models Go To Heaven*, there are animals. And without saying a single word, they propel the story forward. In the pitch deck, I call them "the discreet agents of change."
A welcome change for the equally discreet Mr. Accountant.
Here I present Emile. A cat. To see what makes him special, and how some of his interventions are crucial, perhaps we should wait to see him on screen. Or perhaps we will need to jump to another dimension, "behind here."
S—309
September 2026
Emile – Tech and Budget
SOPHIE (25-30)
Supporting character.
Human. Not alive.
Realm: Halfway.
Helper. Embodies the "wise janitor" archetype. Assertive. Skilled with machines.
Even though *All Dior Models Go To Heaven* is firmly rooted in fantasy and science fiction, it does not attempt to deliver meaning, awe, or engagement through an intense and unrestrained use of CGI, elaborate gleaming armor, or latex suits with flashing LEDs.
There are strange realms, yes. But the series relies primarily on the dramatic weight carried by the characters.
On screen, they do not fire off brilliant dialogue that makes it clear what they feel or what they fear. They are emotional con artists. They deceive. They pretend. They lie to themselves and to others. Most of the time, they do not even know what is really going on.
They betray themselves through tics. Involuntary tremors. A warm and honest smile while their eyes grow moist with anger, without the expected "I hate you."
The show is a beautiful disguise covering an emotional shipwreck in frenetic slow motion.
I soon saw that something like this could never be delivered by anyone but human actors.
Sophie is a perfect example of this. In the TV Bible, she is "the embodiment of patience, inner peace, equanimity. Everything about her screams 'techno, raves, and Pride.'" Most of the time, she does not explain. She does not announce. She is an enigma, smiling subtly.
I worked hard to conjure a visual version of the discreet Sophie I had put on the page.
Yes. Like many others, she wears a halo and wings. But not because she is special. Only because of her strange circumstances.
S—304
September 2026
Sophie – Character Study
Realm: Halfway.
Beautiful. Too old, decaying. Mid-sized building and its grounds. Baroque style.
When I started giving the world its shape on the page, with defined characteristics, aesthetics, and styles, I did not know the kind of challenges this would bring later on. Especially when the story needs to resonate at the right frequency inside a specific realm.
Halfway is one of the worlds where the series takes place. The characters, and much of the action in this realm, exist inside a medium-sized French Baroque château.
When I started working on an old version of the pitch deck, I did not pay much attention to the images I was making with early versions of the new tools. Without a budget, and working alone, those tools were a blessing. Besides, my immediate goal was to continue writing the scripts for the following episodes of the first season.
Now I know it is not so easy.
The locations in a series or film are not just "places." They are not just sites where characters come and go, talking and waving their hands. The locations tell stories on their own. And for the story to make sense, the locations must be right.
They must be consistent with the tone and feeling of a project intended to last for episodes and seasons. It has to make sense. It has to be true to itself.
The château is a challenge in itself: hallways, corridors, rooms, a kitchen. The infirmary. Eva's, Linda's, and Betty's rooms. The dining room. The Office.
While the show is intended to be filmed with real actors, in front of a real camera, emerging technologies bring fascinating possibilities for independent productions with big dreams. It is now possible to generate realistic, three-dimensional, budget-conscious locations.
And yet, a set designer is a must. An artist capable of building a coherent world, with meaning. Defined and realistic architecture. Utilitarian. In harmony with the tone of the project. Making a statement about the show on screen.
Soon, I will start filming short proof-of-concept shots. Tests. I will have to deal with this on my own. But when I think about this world, sometimes I imagine myself talking to a set designer, an artist. One who might fall in love with the château, the garden, and its rooms filled with impossible secrets.
S—280
August 2026
The Château – Location Study
MALACHIAS (33-38).
Legionnaire. Not human.
Realm: Up There.
Unit: 5th Legion (*No nickname.*)
Rank: Centurio.
Happy trigger killer. Fanatic soldier-monk. Ascetic. Pale skin. Tattooed with His words. Almost white eyes.
While writing the scripts, as soon as I gave a character a name, their face and physical traits would appear in my mind. From there, I kept writing while watching them on my mental screen.
When I moved into creating the Character Style Sheet and the Pitch Deck, I ran into a problem: ADMGTH is strange. And for some reason, the image generation tools kept fighting the clichés. They behaved as if I were trying to invent the rubber ball, or the cappuccino.
*All Dior Models Go To Heaven* is built on clichés, stereotypes, and archetypes. The show *loves* them. They are useful. Sacred, even. Then they are twisted, transformed, and translated into the strange grammar of the project.
That is not quantum physics. Most villains dressed in black, across fantasy and science fiction, are just old archetypes wearing new masks. The point is not to avoid the cliché. The point is to know what it is doing there.
Malachias embodied this strange fight with the tool. He is not an angel, nor a monk, nor a perfect villain, nor a victim. He is all of those things at the same time.
I soon learned that the tool had to be used like a dumb camera, with tight and tyrannical directions. After that: lots and lots of Photoshop. The current version of Malachias is close to the image in my mind, and I think it is a good starting point from which an art director, a casting director, and real, talented artists could take the character to the screen, and to the next level.
S—260
August 2026
Malachias – Character Study
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