# LEOM: full package (plain text for agents)

> LEOM (also "The Year of LEOM") is an original science-fiction feature film, Film 1 of a planned trilogy, written, directed, and produced by Garrett Sullivan in Phoenix, Arizona under Growth Advisory LLC. Logline: In a golden age with nothing left to need, a young Neolax crew and a burned-out auditor uncover a corporate plot to close space travel to everyone, via a dangerous false flag. Grounded adventure with a competence spine. Optimistic in outlook, real stakes; not a utopia.

This file is generated from the site's source of truth and mirrors https://leomfilm.com/package. JSON: https://leomfilm.com/package.json. Agent skill: https://leomfilm.com/SKILL.md. The submitted competition treatment is a separate, frozen document; this file does not reproduce it.

## The one-liner

- Title: LEOM (The Year of LEOM)
- Format: Feature film. Film 1 of a planned trilogy.
- Genre: Science fiction, Adventure, Grounded sci-fi, Sports
- Logline: In a golden age with nothing left to need, a young Neolax crew and a burned-out auditor uncover a corporate plot to close space travel to everyone, via a dangerous false flag.
- Tone: Grounded adventure with a competence spine. Optimistic in outlook, real stakes; not a utopia.
- Positioning: Industrial and engineering culture, garage builders, moto and outdoors and athletics, people who use AI as a tool and are not replaced by it. A world that has solved abundance and found that space is still not for everyone: the growing pains come first, and that is the story.

## Comps (tone and price, not plot)

- The Martian: engineering as drama; competence under pressure
- Apollo 13: problem-solving as the action; a crew and a control room
- Chronicle: first-person crew footage; proof that scale lives in the idea, not the spend
- District 9: a fully realized world on a disciplined budget
- Free Solo, The Dawn Wall, Red Bull Media House: the moto-outdoors-athletics culture the crew comes from, and the brand lane it opens
- For All Mankind: optimistic frontier with politics and cost

## Synopsis

Humanity solved abundance and found peace, and stalled. The gates that remain are technological, and behind the celebrations, someone wants those gates kept shut. LEOM follows a small crew who decide the frontier belongs to everyone, and go get their piece of it: a high-flying, gut-dropping adventure filled with heart, embracing hardship as fuel, a new band of brothers and sisters racing against time to make the world an even better place. Adventure and discovery for all, out amongst the stars.

## Characters (spoiler-safe)

### John An (lead)
- Role: The protagonist. A junior flyer with a homemade father-son jetpack.
- Age: 18 to 19
- Type: Ordinary, slim, athletic. Asian. Not a chosen one; a kid who keeps showing up.
- Arc: Starts in a garage with a pack he and his father built, qualifies into a crew that is out of his league, and becomes the one who decides the frontier belongs to everyone.
- For an actor: A physical, mostly wordless lead: the performance is in flight, in the hands, in how he carries a loss. The role ages forward in the frame.

### Linda Claire (lead)
- Role: Co-protagonist. The team's systems engineer.
- Age: Late teens to early twenties
- Type: Compact, capable, an engineer's physicality. White, freckled, practical bun. Grounded, not glamorous.
- Arc: The one who fixes what the others break and sees the pattern in the plot before anyone believes her. Carries the telepresence and repair beats; earns the crew's trust by being right under pressure.
- For an actor: The competence role. Big hands-on set pieces (hull repair, EVA, a remote body) and the film's clearest mind.

### Deckard (lead)
- Role: The burned-out auditor. The oldest flyer in the crew.
- Age: Thirties to forties
- Type: Grizzled, ordinary, less conventionally attractive. Worn but intact. The adult in the room who stopped believing.
- Arc: An audit that should have been routine pulls him into the crew and into the plot to close the door. He is the film's point of view on what abundance costs and who pays.
- For an actor: The actor's part: the one with the most to lose and the driest lines. Steady in the air, unsteady everywhere else.

### Bobby
- Role: The crew's comedic motor. Flies the biggest rig.
- Age: Twenties
- Type: Broad, red-haired, friendly exoskeleton silhouette. Warmth, not menace.
- Arc: The heart and the punchline; takes the hits that let the others keep going.
- For an actor: Physical comedy in a flight rig, and one injury beat that lands sincere.

### Dedrick
- Role: The pro-track Neolax athlete.
- Age: Twenties
- Type: Younger and fuller-faced than the hardened-pro cliché. Race-coverall logic, a competition suit, a cleaner athletic silhouette than the hand-me-down kits.
- Arc: The one who has already made it, and has to decide what the sport is for when the frontier is at stake.
- For an actor: The athlete's part: the film's cleanest flying and the swagger that gets tested.

### Rocco
- Role: The junior mechanic.
- Age: Teens
- Type: Youngest and shortest of the crew, still a little chubby. Latino. Bare hands, tool belt, no helmet. Not a contact player.
- Arc: Keeps the ship alive from the tailgate; the crew's conscience when the adults go quiet.
- For an actor: A warm, funny, ground-level part with its own set piece in the engine bay.

### Dad
- Role: John An's father. Garage, night before, pre-dawn.
- Age: Forties to fifties
- Type: Workwear. Traces of an earlier riding life; not an active flyer.
- Arc: Builds the pack with his son and sends him off. The film's first and last image of what agency looks like at home.
- For an actor: Two scenes that the whole film rests on.

### The four-arm household robot
- Role: The family's machine. Two primary arms; two auxiliary grippers stowed over the shoulders.
- Age: Weathered
- Type: Sleek, heavily used, a broad smoked screen for a head. A tool, not a character with designs of its own.
- Arc: Technology as partner: it fixes, carries, and opens its tool bay, and never takes the wheel.
- For an actor: Performance capture or practical; the brief is warmth without a face.

### The Examiner
- Role: Runs the qualification that lets a flyer out of the atmosphere.
- Age: Adult
- Type: Official outerwear, a posture of approval withheld.
- Arc: The gate John An has to pass; the first face of the system that decides who gets to go.
- For an actor: A small, precise part with one decisive look.

### The Village Elder
- Role: Balance, taught in stillness.
- Age: Old
- Type: Pre-technological dress and dwelling; the only technology in frame is the light bug.
- Arc: Teaches the crew when to be still. The film's counterweight to all that flying.
- For an actor: One scene, all presence.

### The Capital
- Role: Where the frontier gets gated: the office through which travel is permitted, and the power at the edge of the frame.
- Age: Institutional
- Type: A benevolent President, a Secretary of Travel, and the people who move between them.
- Arc: The plot runs through here. Who is complicit and who is used is the film's turn, and stays in the film.
- For an actor: Two senior roles for recognizable faces; the kind of casting that sells a poster.


## World glossary

- The Year of LEOM: A planet at peace, mid-celebration; a society in a holding pattern of abundance and anticipation for the stars.
- The Quantum Aliens: Non-humanoid visitors who scaled themselves to us and granted lightspeed.
- Unfold a black hole: Travel, folded open at will. Lightspeed gets you to port; the fold takes you everywhere else.
- Ships and ports: A port network reaching the near stars, built outward from Earth.
- The Neolax: The sport of jetpacks and scythe-staffs, played in the air. Jetpacking quidditch, of sorts.
- Telepresence booths: Step into a booth, operate off-world.
- The Chipheads: The ones who gave the wheel away: the intelligence that withdrew and left people their agency.
- The Capital: Where the frontier gets gated.
- The Elder's Village: Balance, taught in stillness.
- Savage Spacesuits: 3D-printed pressure suits, assembled by the costume department.

## Method and cost story

- Method: Written first. Story bible, treatment, 195-shot storyboard, and animatic came before a frame existed. The trailer's picture is fully generative from the written board (Veo, Kling, Seedance, Runway models via fal.ai), audio captured practically, every frame selected against its drawn board by a person. A live-action shoot with practical stunt rigging was planned and cancelled one day before principal photography when coverage could not bind in time; the method survived the pivot.
- Cost: The generative-plus-practical pipeline gives a clear cost per finished minute and a schedule that does not depend on stage days. Practical elements (costume, props, the jetpack, audio) are built; worlds are generated to the board. Costume parts are 3D-printed, which is also the start of the props-become-products lane.
- Tier: Positioned for the production tier the competition's production partner names (up to $15M). The method is built to come in under it.

## Status

- Trailer: Submitted to the Future Vision XPRIZE on August 15, 2026; receipt confirmed.
- Treatment: Cover sheet and treatment submitted alongside (public Google Doc).
- Screenplay: Film 1 feature screenplay in progress.
- Next: Screenplay, official score and track list, a short episode recap, a novel, a sequel treatment.

## Rights

- Owner: Growth Advisory LLC, Phoenix, Arizona. Original IP.
- Contributors: All contributors under work-for-hire terms.
- Music: No encumbered music in the cut. The writing playlist on the site is commercial music the story was written to; it is not the film's score.
- Generated assets: Generated assets produced under model terms that permit commercial use; selection and direction by the filmmaker.
- Union: No guild signatory status required at submission stage; post-award production would be handled with the producing partner.

## Attached

- Garrett Sullivan: writer, director, producer. Writer first. Open to pairing with an established director if a producing partner wants it; the writing is the thing being protected. Based in Phoenix, Arizona; willing to relocate for development and production.

## Seeking

- Producing and financing partner for Film 1.
- Cast for the crew leads and the auditor.
- Brand partners in the moto, outdoor, and gear lanes (integration and co-financing).
- Composer for the official score.

## Audience and brand lanes

- Builders and engineers: garage, maker, and industrial culture; competence as entertainment.
- Moto, outdoors, and action-sports audiences: the crew's culture is dirt-bike and backcountry before it is space.
- Sports audiences: the Neolax is a sport with rules, teams, a pro track, and a kit.
- Optimistic-future audiences the competition is built around: the future works, and the film argues about who gets to go.
- Global: a trilingual title treatment, a sport, and visitors from elsewhere travel without translation.

## Franchise

- Trilogy: Film 1 is a complete story with two films planned after.
- The Neolax: a sport that can be played, watched, and gamed; kit and jetpack as products.
- A world with a port network: places to return to in sequels, series, and games.
- Props become products: the costume parts and jetpack are already physical, 3D-printed objects.

## FAQ

Q: What is LEOM?
A: LEOM (also called The Year of LEOM) is an original science-fiction feature film in development, written, directed, and produced by Garrett Sullivan in Phoenix, Arizona, under Growth Advisory. Its trailer, cover sheet, and treatment were submitted to the Future Vision XPRIZE on August 15, 2026.

Q: What is the logline?
A: In a golden age with nothing left to need, a young Neolax crew and a burned-out auditor uncover a corporate plot to close space travel to everyone, via a dangerous false flag.

Q: What is the plot?
A: The Year of LEOM: humanity has solved abundance and found peace, and stalled. Lightspeed and folded travel have opened the near stars, but the gates that remain are technological, and someone wants them kept shut. A young Neolax crew and a burned-out auditor stumble onto the same thread from opposite ends: a corporate plot to close space travel to everyone, staged as a dangerous false flag so the public will ask for the door to be shut. Getting proof means leaving the celebration, borrowing a ship, and flying into the frontier that is being taken away. It is a high-flying, gut-dropping adventure about a band of brothers and sisters racing against time to keep the future open to everyone. The full turns are in the film, not here.

Q: What is the film about, underneath the plot?
A: Agency: taking action without outsourcing your thinking, moving with intention, knowing when to be still. The world has solved abundance and stalled; the story is about a small crew who decide the frontier belongs to everyone.

Q: Who made LEOM?
A: Garrett Sullivan, writer first, then director and producer. He is the founder of Growth Advisory (growthadvisory.ai) in Phoenix, Arizona, and documents the build in the Building LEOM series on YouTube.

Q: Was LEOM made with AI?
A: The writing is human: the story, the treatment, the screenplay in progress, the shot list, and the storyboard direction are Garrett's. The trailer's picture is fully generative. A live-action shoot was planned and cancelled one day before principal photography when stunt-rigging coverage could not be bound in time, so the images were generated (Veo, Kling, Seedance, and Runway models, run through fal.ai) from the written storyboard, with audio captured practically and the animatic cut in Remotion. Every generated frame was selected and revised against a drawn board by a person.

Q: What is the Neolax?
A: The sport of the world of LEOM: jetpacks and scythe-staffs, played in the air. Jetpacking quidditch, of sorts. The young crew at the center of the story is a Neolax crew.

Q: Is LEOM a feature or a trilogy?
A: A feature, Film 1 of a planned trilogy. The trailer and treatment are for Film 1; the screenplay is in progress. A novel and a sequel treatment are planned after.

Q: Who owns LEOM?
A: LEOM is original intellectual property owned by Growth Advisory LLC, Phoenix, Arizona. All contributors work under work-for-hire terms.

Q: Where can I watch the trailer and read the treatment?
A: The trailer is on YouTube at https://youtu.be/uU6aY6L6yQQ (unlisted by competition rule until staff make entries public; the link is free to share). The cover sheet and treatment are a public Google Doc at https://docs.google.com/document/d/1k3e9T6oUdhJ09cWmFPOH3iSSpmHHaedY-FzHEGaxIuk/edit?usp=sharing.

Q: What is the Future Vision XPRIZE and where does LEOM stand?
A: A global competition, presented by XPRIZE with partners including Google and Range Media Partners, for hopeful, compelling, technology-forward visions of an abundant future. LEOM was submitted on August 15, 2026 and confirmed received. Garrett will attend the Moonshot Gathering in Los Angeles on September 25, 2026 whether or not LEOM is a finalist.

Q: Is LEOM open to notes and feedback?
A: Yes. Every note that changed the film is recorded on the notes and revisions log at leomfilm.com/log, and reader-feedback ranking sessions run on Wabbit (wabb.ai). Fellow competitors, producers, and readers are invited to write to gbsullivan@mac.com.

Q: Is Garrett willing to relocate for the production?
A: Yes. He is based in Phoenix, Arizona and will relocate for development and production wherever the producing partner needs him (Los Angeles included).

Q: How can I follow the build?
A: The Building LEOM daily series on YouTube (https://www.youtube.com/@Garrett-Sullivan) documents the road to the trailer one day at a time, and leomfilm.com is updated as the screenplay, score, novel, and sequel treatment progress.


## Building LEOM, the series (episode index)

Daily build diary, 13 episodes. Machine-readable at https://leomfilm.com/series.json. Transcripts (cleaned auto-captions) exist for the pivots and bookends; URLs below. A build diary spoken to camera, not the film's script.

- Day 1 · Series launch (2026-07-19, https://youtu.be/c9j_BbfTxvk)
  Inaugural announcement: Garrett reveals LEOM (working title The Year of LEOM), a sci-fi trilogy script he has carried since middle school, and commits to a 21-day public sprint to build a 2 to 3 minute trailer for the Future Vision XPRIZE. He lays out the plan (week one lock story and shot plan, week two a two-day green screen shoot with real stunt rigging, week three post) and frames the project as a bucket-list regret-minimization move made possible by AI tools. The thesis is set: optimistic future, agency, intentional movement and stillness, PG rating, real performances with generated backgrounds.
  Transcript: https://leomfilm.com/series/day-01.txt
- Day 2 · Day 2 (2026-07-21, https://youtu.be/ZuhITf_PAWg)
  Recorded first call with a director of photography about the green screen shoot: motion control versus gimbal versus slider, why lighting must be designed to the intended background for clean compositing, and the need to scout the studio before a lighting plan. The DP agrees to quote a day rate, camera package, a DJI Ronin, plus a gaffer and a swing; Garrett commits to delivering a detailed storyboard and shot list by the weekend and asks for one shoot day by the following Friday so VFX can start.
- Day 3 · Day 3 | Trailer direction for Future Vision XPrize (2026-07-22, https://youtu.be/j10LyLhZjyw)
  Short story session defining what the trailer owes the script: the world is in post-scarcity abundance and a holding pattern, so the characters ask what the next frontier is. Garrett articulates the three pillars of an optimistic future (resource abundance, AI that does not go rogue with long-term safety, no social strife or war) and clarifies that agency means not delegating your thinking to AI, using it intentionally.
  Transcript: https://leomfilm.com/series/day-03.txt
- Day 4 · Day 4 | Medtech research for Visuals (2026-07-23, https://youtu.be/pXOCCdP3oRU) · PIVOT
  Recorded from the couch the day after foot surgery, Garrett realizes the trailer has no medical or life-sciences visual despite abundance being a core theme. He runs a live voice-prompted brainstorm on first-principles vectors for ending human suffering (energy first, then biomaterials, genomics, robotics, neurotech, post-scarcity systems) to source a visual beat, and ties it to his habit of context loading personal data (WHOOP, time, finances).
  Pivot: Adds a medical or life-sciences beat to the trailer that the shot list did not have.
- Day 5 · Day 5 | Shot list (2026-07-24, https://youtu.be/VLXYIhAm3Q4)
  First pass walkthrough of the shot list spreadsheet (sequence, framing, movement, priority, capture method, DP and compositing notes). Garrett explains that the trailer is shaped for the XPRIZE audience and judges rather than for LEOM alone, then narrates the story arc: a kid preparing for his first Neolax rite of passage, a dream montage of the abundant world, morning flight, stunt sequences, the Oklahoma drill clash, and a closing cityscape. Voice over will be real performance, not AI; the list mixes fully generated, composite, and practical shots and goes to the DP next.
- Day 6-9 · Days 6-9 | Multiple workflows/styles & proof of concept Background (2026-07-29, https://youtu.be/Gw58XOBO_sw) · PIVOT
  The first big pivot episode. Garrett applies the 'eye test' to his original plan (live actors on green screen composited onto generated backgrounds) and, with no directing experience and an Aug 7 self-imposed deadline, decides to run three parallel tracks: the live composite shoot, a fully generated stylized animated version, and a fully generated photoreal version. He also gives the history of the proof of concept (the 2024 'Space Ad' Cybertruck toolbox idea that was killed over a $20k locking prototype and shipping logistics) and builds a weighted eye-test score formula.
  Pivot: Moves from one live-composite plan to three parallel workflows (live composite, generated animated, generated photoreal) after doubting the original plan would pass the eye test.
  Transcript: https://leomfilm.com/series/day-06-09.txt
- Day 10 · Day 10 | Basketball x Neolax (2026-07-29, https://youtu.be/mO_HJUzaS-U)
  A reflective episode built around a never-posted basketball highlight reel from five years ago (edited in Premiere, After Effects, Blender). Garrett introduces Neolax (neo plus lacrosse), the jetpack-and-scythe sport derived from starship maintenance mechanics, and explains how his 12-year athletic run and the chip-away mentality feed the story's themes of agency and willpower. He positions the XPRIZE sprint as one of many sprints toward the full feature.
- Day 11 · Day 11 | Trailer Storyboard (2026-08-01, https://youtu.be/RFTzjQKKT7I)
  Director review of the first full animated storyboard (166 frames, rendered locally and with Google models) frame by frame, flagging consistency errors, off-brand jetpacks, and accidental Star Wars lookalikes, while confirming the trailer flow. Garrett lays out his vision for pre-visualizing an entire feature in software (layered shots, crew login, watch the film in shoot order) and the lesson that crew must be context loaded as deliberately as an agent. Shoot dates are confirmed for the following week after the surgery delay.
- Day 12 · Day 12 | Costume Design: Measure to Print (2026-08-03, https://youtu.be/f4PxN1XVJOE)
  Costume design session: race suits from Marketplace as the base, PLA versus TPU 3D prints for armor pieces, dirt bike gear as the lived-in combat reference, and green screen constraints (no green, low reflectivity). Garrett describes the measure-to-print pipeline (inventory, measurements, STLs from concept art and from Wabbit-ranked generations) and credits his sister with sewing and assembly. Half the episode is a broader argument that the same context-loading workflow applies to fabric, code, and everything else.
- Day 13 · Day 13 | Stunts and Insurance 101 (2026-08-03, https://youtu.be/caoDhR8Yxmc)
  Quick overview of the wire-stunt shot packet sent to riggers, coordinators, and performers: spreader bars, hip and foot pick points, swivel pulleys, 2:1 and 3:1 hand hauls, never more than two performers rigged at once. Garrett covers the insurance side (a payroll service, height exposure, excess liability, workers comp, broker briefing to meet the studio's threshold).
- Day 14 · Day 14 | Losing Crew Days Before the Shoot (2026-08-05, https://youtu.be/WE-YAdEufq8) · PIVOT
  The night before prelight, an actor and a gaffer drop out over the AI and VFX pipeline that was disclosed in the materials from the start; prelight is cancelled and the shoot slides to the weekend, leaving roughly five days of post before the deadline. Garrett processes the industry pushback (cliquish, group think) against his 'computers used to be people' abstraction argument, asks the XPRIZE Slack for VFX help, and introduces the /jury agent that seats every team member and surfaces their questions before each meeting.
  Pivot: Actor and gaffer exit days before the shoot; prelight cancelled, dates pushed, and the full VFX load lands back on Garrett.
  Transcript: https://leomfilm.com/series/day-14.txt
- Day 15 · Day 15 | Going Fully Generative (2026-08-12, https://youtu.be/Oe7gX9VuPek) · PIVOT
  The 180: the live-action green screen shoot is shelved because costs ballooned past what the output would be worth, and the submission goes fully generative on two parallel tracks (photoreal and stylized animated). Garrett frames it as bummer turned excitement, says the story will be told regardless of the XPRIZE timing, restarts livestreams for the crunch, and plugs the Sept 25 Moonshots live event.
  Pivot: Live-action green screen shoot cancelled; submission becomes 100 percent generative (photoreal plus animated).
  Transcript: https://leomfilm.com/series/day-15.txt
- Day 16 · Day 16 | Ranking Movement Shots on wabb.ai (2026-08-12, https://youtu.be/nEPvwsEOHnE)
  Live demo of wabb.ai, the gesture-ranking tool built alongside the film: Garrett ranks 55 Iron Man and Spider-Man flight clips 1 to 10 on his phone, pulls the leaderboard from the terminal via CLI/MCP, and plans to feed the top slice into a 3D-capable model for Blender blockouts that diffusion models then paint over. He explains Wabbit's origin (daily cron-generated logos ranked in downtime), its broader use cases, local-hardware ambitions on an M2 Ultra, and invites beta signups and feedback.
  Transcript: https://leomfilm.com/series/day-16.txt

## Notes and revisions log (newest first)

- 2026-08-17 · Site copy re-centered on the plot
  Note: Own review of the live landing page: the hero led with the theme, the trailer copy read like a competition timeline, and the sections did not share a left edge.
  Change: New plot logline in the hero, competition play-by-play cut, every section on one edge, the About page rebuilt around writer-first.
- 2026-08-15 · Treatment re-centered on the Film 1 plot
  Note: A full plot dump for Film 1 was audited for holes and theme coverage against the trailer's father-son spine.
  Change: The treatment was rewritten around the film's plot rather than around the trailer, and the logline followed. Cover sheet personal statement kept.
- 2026-08-12 · Reader feedback loop opened
  Note: The treatment had only been read by its author.
  Change: Ranking sessions for treatment readers and for the generation process were set up on Wabbit, with copy corrected the same day when a draft post overstated the production.
- 2026-08-06 · Live shoot cancelled, trailer goes fully generative
  Note: Stunt-rigging insurance could not be bound before the wire days, one day ahead of principal photography.
  Change: Rather than shoot suspended stunts without coverage, the shoot was cancelled and the trailer became fully generative from the existing storyboard. Audio stayed practical.
- 2026-08-03 · Storyboard V3, per-shot technology manifest
  Note: The drawn jetpacks looked dated and varied frame to frame while the real prop was practical and locked.
  Change: Every shot in canon got a technology manifest audited against its frame; jetpack and console frames were regenerated to the locked design.
- 2026-08-03 · Stunt vocabulary back in the cut
  Note: The animatic v3 had excluded the nine sequence-K stunt shots as capture recipes.
  Change: Reversed: they are the film's flight and combat language, not just coverage. Animatic v4 runs 194 shots.
- 2026-08-02 · Two-performer rig cap
  Note: Stunt-coordination input on how many people can safely be suspended and directed at once on the planned truss.
  Change: Doctrine set: at most two rigged performers on camera; sequence choreography rewritten to it. A just-in-case bank of 20 background-agnostic mixin shots was added so the edit never lacks a connective beat.
- 2026-07-31 · The camera becomes one of the crew
  Note: Feedback that the trailer's world was seen from outside, never from inside the group.
  Change: A 12-shot Chronicle POV unit was added: direct-to-lens friend footage, mute rule (score carries), practical-led. Also, a fair-market camera-department range replaced an under-market one before the crew blast went out.
- 2026-07-30 · Blitz mode
  Note: Two shoot targets lapsed with no stage, coverage, or DP locked.
  Change: A one-day sprint with timed steps and an evening go/no-go replaced the rolling plan; every outward artifact was reissued the same day.
- 2026-07-18 · Camera package rescoped, not the shots
  Note: The first DP quote came in well above the plan.
  Change: The package was trimmed and the shot list protected; the ceiling decision was made on the numbers rather than by cutting coverage.
- 2026-07-11 · Judging language taken to heart
  Note: The RenderCon Abundance panel stated the sensibility out loud: hopeful, compelling, an abundant future you want to live in; personal origin; human authorship; technology as partner.
  Change: The treatment and personal statement were QA'd against that list; the public landing page was written to it.
- 2026-07-09 · Build in public, never miss two days
  Note: The story had lived privately since middle school.
  Change: The Building LEOM daily series launched with a never-miss-two-days rule and a canon-safety rule: process public, twists private.

## Links

- site: https://leomfilm.com
- trailer: https://youtu.be/uU6aY6L6yQQ
- treatment: https://docs.google.com/document/d/1k3e9T6oUdhJ09cWmFPOH3iSSpmHHaedY-FzHEGaxIuk/edit?usp=sharing
- channel: https://www.youtube.com/@Garrett-Sullivan
- competition: https://futurevisionxprize.com
- faq: https://leomfilm.com/faq
- log: https://leomfilm.com/log
- about: https://leomfilm.com/about
- characters: https://leomfilm.com/characters
- package: https://leomfilm.com/package
- llmsFull: https://leomfilm.com/llms-full.txt
- packageJson: https://leomfilm.com/package.json
- skill: https://leomfilm.com/SKILL.md
- series: https://leomfilm.com/series
- seriesJson: https://leomfilm.com/series.json

## Contact

Garrett Sullivan, writer, director, producer. Growth Advisory LLC, Phoenix, Arizona.
gbsullivan@mac.com · garrett@growthadvisory.ai