She Builds Bridges Between AI and Film: Yoko Higuchi-Zitzmann From DREAMKITE

Yoko, you recently founded DREAMKITE Studios GmbH together with AI filmmaker Mark Wachholz. What inspired you to do that?

Yoko Higuchi-Zitzmann: I’ve been working very intensively on AI and film for the past two years. For example, together with Medien.Bayern GmbH, I hosted the “AIME – AI and Media” conference in Munich this past April, where we brought together 300 opinion leaders from the AI and film industries. With DREAMKITE, I want to establish first-class, premium storytelling with a cinematic vision from Europe.

How is DREAMKITE different from a traditional film production company?

Yoko: We’re on friendly terms with many European and American startups. But there aren’t that many companies in Europe yet that have set out to create top-notch long-form storytelling using AI. In advertising, on YouTube, in animations, and in children’s series, this business is already a reality, and we, too, will start producing short-form content right away. Our long-term goal, however, is to use AI to produce feature-length films, movies, and series—which is still a long way off at the moment. But we’re convinced that what isn’t possible today might be feasible in four or eight months, given the rapid pace of technological advancement in AI. We have to start building now: developing content, writing screenplays, presenting trailers, and bringing major distribution partners, broadcasters, and streaming services on board. A new industry doesn’t emerge out of thin air—it takes people who are willing to roll up their sleeves and get to work—and we want to be part of that.

Do you already have your first productions in the pipeline?

Yoko: I can mention two specific projects: a short film and a feature film. The feature-length film is called “The Wind Before the Name.” It’s a science fiction film by our co-founder, Mark Wachholz. Mark is one of the world’s most successful AI filmmakers. Over the past three years, he has won nearly every AI award as well as many audience awards. With the accompanying trailer, he made an impression at the Future X Awards in Silicon Valley among nearly 4,000 submissions and made it into the top 50. He’s a true visionary with a very distinctive style. Technologically, it’s already possible to produce short films between five and ten minutes in length with very high quality. I’m collaborating on this with AI filmmaker Shamila Lengsfeld. The project is called “Blake” and centers on a female, queer superhero with an immigrant background. Based on her short film idea—which has already won her many awards—we’re now developing a YouTube series with episodes ranging from five to ten minutes in length.

AI as an Opportunity for the European Film Industry

You primarily work with AI. Will you stick with that, or are you also open to hybrid productions?

Yoko: Definitely hybrid as well. We have real storytellers on our team who write screenplays, develop story concepts, and bring their personal touch to the projects—we don’t just press a button to generate a movie. I believe that audiences still enjoy seeing real people. Especially on large-scale projects, we’ll be working with human actors, directors, and costume designers.

Nevertheless, I see AI as a huge opportunity for Europe. A major science-fiction film like “The Wind Before the Name,” which is set in space and features many action scenes, would have been virtually impossible to finance through traditional European film production—in the past, that was almost exclusively possible within the Hollywood system. But as a hybrid production filmed in front of a green screen, something like that can now be produced right here in Germany.

That sounds like you’re aiming to reach an internationally competitive level.

Yoko: We want to produce global content, but the local aspect also plays a major role. We’re a Bavarian company based in Munich. Right now, I’m developing several AI projects with strong ties to Munich and Bavaria. I’m a producer from Munich and have already produced projects here such as “My Blind Date with Life” and “Herzogpark.” This connection to my hometown is important to me.

At the same time, thanks to outstanding artists like my co-founder Mark, we have the opportunity to compete at the highest level globally. With AI, we can cover a wide variety of genres, from science fiction to fantasy to action. And we can bring stories to life that resonate with audiences worldwide.

Are there areas that AI can never take over—where humans remain irreplaceable?

Yoko: AI production simply isn’t possible without people. What we do isn’t just automated, slapdash work. In our premium division, human creativity plays a central role. Without a good storyteller who has values, good taste, a clear vision, and a strong sense of purpose, nothing gets done in our studio.

I believe that not everything has to be done with AI. Actors and actresses are incredibly valuable. I wouldn’t want to replace a romantic comedy starring a stunning actress with AI—and neither would the audience. We don’t have to go out of our way to digitize everything.

The Business Model: Innovative and Responsible Use of AI

How is Bavaria, as a hub for film and media, responding to the transformation brought about by AI—do you see more of a pioneering spirit or a tendency toward caution?

Yoko: It’s no coincidence that we founded our company in Bavaria. Bavaria is a fantastic place to start a business, with a great mindset. You can really feel the support from institutions like the State Chancellery, the ministries, and the film funding agency. There’s a very positive overall atmosphere for innovation and growth.

In the creative industry, however, some skepticism still persists. Many film and media professionals are worried about their jobs. How do you view these fears?

Yoko: A certain amount of skepticism is absolutely justified and understandable. With such a disruptive technology, no one knows exactly what the future holds. That creates uncertainty. But fear is not a good guide. The more we delve into this technology and understand it as a tool, the more confident we’ll become. Producers, writers, and directors who embrace this technology will be very successful in the future. I see traditional film, AI film, and hybrid forms coexisting, and I can only encourage everyone to explore them.

It’s important to act responsibly: to protect copyrights and to keep ethical and legal guidelines in mind. I hope we can act with humanity and responsibility while seizing opportunities.

The Strategy: Step by Step, but with Clear Goals

Let’s take a look together at the future of DREAMKITE: The name alone gives us high hopes.

Yoko Higuchi-Zitzmann: The idea for the name came from Mark, who sent me a few suggestions. I was on vacation in Tuscany, sitting on the beach, when I watched my daughter fly a kite. It was a magical moment for me, and I knew right away: Our company has to be called DREAMKITE. My daughter then drew the first logo featuring the kite right away. Later, at the Trevi Fountain in Rome, she was allowed to make a wish after tossing a coin. Instead of asking for a toy, she wished that my company would become as famous as Disney!

It’s so wonderful to have that kind of support from my family.

Yoko Higuchi-Zitzmann: Absolutely. My family fully supports me and gives me the strength to build my company. I also like to share these stories to inspire young women who want to balance family and career. My advice is: Be brave, forge ahead, take action, and don’t let anything hold you back.

Where might DREAMKITE go in the future if you don’t let anything slow you down?

Yoko: We’re taking it step by step. First, we’re producing our short-form content. As for feature-length films, we’ll see how quickly the technology advances. But our goal is very clear: to be one of the leading AI film studios in Europe in about five years—with outstanding content. The focus is on first-class human storytelling, the talent of our creative team, and outstanding European IPs.