Introduce Yourself : Hi everyone ! by Brially-Michaël MÉfumes

Hi! Brially-Michael

I love projects that use concepts like time not only as a narrative tool, but as a way to explore the psychological side of the characters.

The idea of internal conflict combined with external pressure is always powerful—especially in thrillers.

I'm also developing stories with a strong focus on identity, systems, and human decisions under stress.

It would be great to exchange ideas with you.

Hi Tomás,

Thank you, I really appreciate your message.

I completely agree with you — using time as a psychological tool rather than just a narrative device opens a lot of powerful possibilities, especially when it starts affecting identity and perception.

I’m particularly interested in how internal conflict can slowly become as dangerous as external threats, and how characters can lose control under pressure.

Your focus on identity and human decisions under stress really resonates with the kind of stories I want to tell.

I’d definitely be interested in exchanging ideas with you.

Looking forward to hearing more about your projects.

Hello, Brially-Michael

I really like how you put it — especially this idea that internal conflict can escalate to become as dangerous as any external threat. It is precisely at this point that, for me, the story begins to take on another dimension.

In the projects I am developing, I explore characters embedded in systems that shape behavior — where decisions under pressure are not just choices, but reactions conditioned by larger structures. Over time, the line between identity and adaptation begins to disappear.

One of the concepts I am working on involves precisely this: not only the control of time, but how the perception of it can be manipulated to the point of altering memory, guilt, and even the notion of responsibility.

I'm curious — in your project, does the characters' internal conflict arise more as a consequence of circumstances… or as something that already exists and is only amplified?

I would really like to exchange ideas with you.

That is exactly where it gets interesting. In my view, the internal conflict already exists deep within the characters; the universe and its circumstances simply act as a catalyst to amplify those pre-existing struggles.

​While the setting and circumstances certainly shape some of their choices and decisions, the true danger lies within the characters themselves. The world they inhabit merely awakens and intensifies what was already there.

​I’ve always preferred character-driven stories where the plot is fueled by internal turmoil rather than the external environment. To me, a great psychological thriller is one where the characters' choices and conflicts are so central that the influence of the world becomes secondary to the impact they have on themselves and others.

​I’m drawn to narratives where the protagonists are more dangerous than the world they live in—dangerous to those around them, but also to their own souls.

Regarding your work on time manipulation, I’m curious: do you see this control over time as a tool the characters use to escape their own internal identity, or does it ultimately become the very thing that forces them to confront the guilt they’ve been trying to suppress?

Hello Brially-Michaël,

The way you described the danger coming from the characters themselves—especially this idea of them being a threat to themselves—is exactly the kind of tension I'm most interested in exploring. In my case, controlling time doesn't function as an escape… quite the opposite. Initially, the characters believe they can use it to correct mistakes, avoid pain, or rewrite decisions. But, as they progress, they realize that each alteration only exposes even more of what they were trying to hide. Time, in this context, becomes almost a tool of revelation—it doesn't allow escape from identity, but forces an increasingly direct confrontation with guilt, memory, and responsibility. Eventually, the question ceases to be "what can I change?" and becomes "to what extent am I responsible for what I continue to choose to repeat?" That's where, for me, the concept stops being about time… and becomes about human nature under pressure. I was curious about something in your process: When you build these characters who already carry this "inner danger," do you start with their psychology from the beginning... or do you discover it as you write? I think we have a very aligned creative ground here—it would be great to continue this exchange.

do you already have a colorist in mind for this project? the mood is right up my alley I’d love to collab.

Thanks, Terrance! I'm glad the mood resonated with you. I'm currently finalizing the script and starting the hunt for producers.

​Since I'm in the development phase, I’d love to see your portfolio/showreel. It could be very interesting to collaborate on the visual identity of the pitch deck to really capture that specific atmosphere I have in mind. Do you have a link to your work?

Tomás Daniel

I definitely identify as an Architect. I am a strong advocate for a concept I created called 'The Originals Story'—the idea that a story must remain as original as the author's initial vision, staying 98% true to that first spark without getting lost in constant rewriting or 'gardening.' While I occasionally mix the two, I am an Architect at heart.

​To answer your question, I almost always start with the psychology of the characters before anything else. I prefer to construct about 80% of their psychological profile beforehand, allowing the remaining 20% to reveal itself naturally through the writing.

​My current project also centers on time travel, and it’s incredible how much our narrative grounds overlap! I would love to dive deeper into this discussion with you. Should we move this conversation to private messages to share more of our ideas?

Brially-Michaël MÉfumes Welcome, Brially that sounds like a compelling direction.

Blending time manipulation with internal conflict is a strong space, especially when the emotional stakes drive the narrative as much as the external tension.

I’m a director–writer currently developing a character-driven feature, and I’ve been exploring a similar idea where the real weight of the story comes from what the characters are dealing with internally rather than just the plot mechanics.

Curious when you approach time as a concept, do you see it more as a narrative device, or something that directly shapes the characters’ psychology?

Thanks for the welcome, Abhijeet Aade ! It’s great to connect with a fellow director who values internal stakes as much as plot mechanics.

​To answer your question: as an Architect following my 'Original Story' concept, I definitely see time as something that directly shapes the characters' psychology. For me, time travel isn't just a device to move the plot; it is a psychological burden. It forces the characters to confront their guilt and responsibilities in a way that no other concept can. The 'weight' of the story comes from how their minds break or evolve when faced with the consequences of their temporal choices.

​I’d love to hear more about your character-driven feature. It sounds like we are exploring very similar thematic territory!

Hi Brially-Michaël MÉfumes, welcome to Stage 32! I’m Ashley, Head of Community here on the platform. It’s great to meet you. As you start building connections here, I’d encourage you to stay active in the Filmmaking Lounge (https://www.stage32.com/lounge/directing), the Screenwriting Lounge (https://www.stage32.com/lounge/screenwriting), and the Authoring & Playwriting Lounge (https://www.stage32.com/lounge/playwriting). Those are great spaces to share your work, join conversations, and connect with creatives working in similar genres.

You may also find it really helpful to reach out to our Success Team at Success@Stage32.com. If you tell them more about your series and your goals, they can help guide you toward curated resources and opportunities that align with where you want to go next.

Your concept around time manipulation and inner conflict sounds really compelling. How does the time element specifically impact your story?

“Fascinating! The combination of internal tension with narrative mechanics creates a truly engaging story.”

Brially-Michaël, welcome to Stage 32. Emotional thrillers that combine psychological tension with deeper character exploration are always compelling, especially when high-concept elements like time manipulation are involved. Wishing you success as you continue developing the series and connecting with fellow creatives.

Hi Ashley Renée Smith , thank you for the warm welcome! To answer your question, the time element acts as a physical manifestation of my protagonist's inner conflict. It forces them to face their past mistakes literally, making the 'inner struggle' an external race against time. I'm excited to dive into the lounges and connect with the community!

Thank you, Charmane Wedderburn ! I really appreciate the warm welcome. You hit the nail on the head—balancing the 'high-concept' time mechanics with genuine psychological depth is my main priority for this series. Looking forward to connecting with you and following your work!

Thanks so much, Ana Rodrigues ! I believe that the best genre stories are those where the mechanics serve the character's internal journey. I'm glad that specific combination resonated with you!"

“Fascinating! The combination of internal tension and narrative mechanics creates a truly engaging story. I’m curious to see how the psychological depth unfolds.”

Ana Rodrigues

Thank you so much! This is exactly what I’m trying to build: a story where internal tension doesn’t just accompany the plot, but shapes it from within. For me, psychological depth is the driving force that reveals the true stakes, and I’m eager to show how it gradually unfolds through the characters and their choices.

Brially-Michaël MÉfumes Thanks, I really like how you frame time as a psychological weight rather than just a narrative device that adds a lot of depth to the concept.

In my current feature, Pie & Coffee, the scale is more grounded, but I’m exploring something similar in terms of internal pressure. Instead of time travel, it’s the past itself that acts as that “weight” shaping the character’s decisions and holding him back from moving forward.

The story follows a man returning to his hometown after burnout, trying to rebuild a sense of purpose, but he’s constantly pulled between who he used to be and who he’s trying to become. So the conflict is less external and more about how those unresolved parts of himself resurface over time.

I’m really interested in how quiet, everyday environments can carry that same psychological intensity, just in a more subtle way.

Your approach sounds like it pushes that idea into a more heightened, conceptual space, which is really compelling.

Would love to hear more about how you structure those psychological shifts across your story.