Ryan Patterson: Award-Winning AI Filmmaker & Founder of Queen One Studios
Why AI is a game-changer for brands trying to stay culturally relevant
In the heart of Toronto’s creative scene, Ryan Patterson is reshaping what cinematic storytelling looks like in the age of generative AI. A video producer with over a decade of experience in marketing and communications, Ryan’s career has always centered on emotional storytelling. But in 2023, a spark was lit: he discovered Midjourney, and with it, an entirely new language for bringing emotive narratives to life.
The founder of Queen One Studios and a director at GRAiL, Ryan is pioneering a new wave of visual storytelling powered by AI. His films Sacred Mountain and The Ribbon blur the line between fantasy and futurism, drawing from ‘80s adventure films and deeply human emotion, all while experimenting with the technical frontiers of AI video production.
Named a Top 100 AI Creative on LinkedIn, Ryan collaborates with platforms like Runway, Luma, and Minimax, not just as a creator but as an educator and bridge-builder between traditional filmmaking and the emerging AI-native creative class.
In this edition of The Imagination Age Spotlight, we dive into Ryan’s journey and explore how Queen One Studios is building a future where human storytelling and machines collide in the most empowering ways.
Q: You’ve spent over a decade producing content in advertising and communications, and now you’re pioneering AI filmmaking through Queen One Studios. What inspired you to make this leap into generative AI, and how has it reshaped your creative vision?
A: I’ve tended to lean into projects over the years in traditional video production that focus on emotional storytelling. I’ve sat and interviewed hundreds, if not thousands, of people from diverse backgrounds over the years and found that everyone has a unique story but you need to ask the right questions to get to the heart of it. I’ve always considered myself a good conduit for their stories and amplifying the underlying emotion behind them.
When I first started playing with Midjourney in 2023, I realized fairly quickly that this was going to be a new medium to tell those stories. Being able to imagine and bring a feeling to life through visuals almost instantly is what drew me into generative AI. Once I started learning and playing with these new tools I discovered that I had a lot of my own stories I wanted to tell.
Q: Sacred Mountain draws us into themes of friendship and hidden knowledge, wrapped in a dreamlike aesthetic. What was the origin of that story? And how do you see AI opening up new dimensions for cinematic narrative, especially in terms of scale, emotional tone, or visual imagination?
A: I wrote Sacred Mountain because I wanted to see if I could make something with generative AI that looked and felt like a traditional film I would want to watch. I grew up inspired by a lot of fantasy, adventure and mystery films in the ‘80s so I like to blend those genres. I’m new to screenwriting as well so I was experimenting with character arcs and beats to try to keep it engaging.
I also wanted to challenge myself to see if it was technically possible to create a cohesive story, while facing a lot of the issues AI creators struggle with, like character/environmental consistency and lip sync. I definitely had mixed results. The running joke now is that once you finish a project the quality of every AI tool that you started with has become exponentially more powerful.
I think we’re in a moment in time where the boundaries of traditional storytelling and filmmaking are going to be obliterated by the scope and scale of what’s possible. When I think about the biggest change that’s coming in visual storytelling, for me it’s definitely going to be the amount of diverse voices that will be present.
Q: With your roots in advertising and Queen One Studios now creating original films and branded work, where do you see the biggest commercial opportunities emerging for AI-generated content? Are there specific industries or formats you believe are most ready to embrace this shift?
A: AI enables a level of visual experimentation and iteration that used to take weeks — now it can happen much quicker. That’s a game-changer for brands trying to stay culturally relevant.
In terms of industries, I see early and enthusiastic adoption from entertainment, fashion, and consumer tech — especially when it comes to worldbuilding, rapid prototyping, or content localization. But I’m most excited about emerging formats: branded short films, interactive campaigns, narrative social content. I think the industries that see AI as a creative partner are going to leap ahead.
Q: As a creative partner with leading AI platforms like Runway, Luma, and Hailuo/Minimax, you’re deeply embedded in this next wave of visual storytelling. From your perspective, what’s needed across the industry to better serve AI-native creators and artists?
A: I think the AI platforms that are working hand-in-hand with creators and encouraging dialogue and feedback are doing it right. Everyone in the AI space right now is a pioneer, it all still feels like a bit of an experiment and the variables are changing every day. There’s such a broad range of artists using AI tools and each individual has a unique style and way of using them. I think it’s going to be interesting to see how the bigger players in generative image and video tackle the issue of providing different features or services for different creator needs.
The other issues I’ve seen creators face are definitely in distribution and monetization. We’ve seen some AI video streaming sites launch and they’re doing a great job curating and promoting the content. I think we’re still very much creating for ourselves, the AI community, and we’ll need to find solutions to reach more people. Will AI content get blended in with traditional media? We’ll have to see how it plays out.
Q: As an educator yourself, what gaps are you seeing in the current ecosystem for aspiring AI filmmakers, and how are you thinking about mentorship or upskilling as part of the creative future?
A: I think there’s a massive opportunity for collaboration between visual AI artists and film and television writers, producers, actors and musicians. We’ve had AI filmmaking meetups in Toronto and they’re bringing out everyone. I think we all have a lot to learn from each other. For example, an AI artist can make an epic-looking spaceship explosion but not necessarily know how to connect the dots to tell the story around why it happened or who was involved. In that sense, the AI explorers have a lot to learn from those who have mastered their crafts. Similarly, I know studios are already reaching out to learn how they can integrate AI artists on their teams or learn how to use the technology for themselves.
Q: Looking ahead, what’s your long-term vision for Queen One Studios? Are there specific genres, collaborations, or innovations you’re most excited to explore as AI filmmaking continues to evolve?
A: I want Queen One Studios to always be a place for original storytelling in film, television and advertising with a focus on strong characters. My dream would be to have a team working on episodic and longer form content, bringing together writers, actors, musicians and artists from all backgrounds.
Q: Which AI art or artists have inspired you recently?
My favourite AI artists at the moment are:
Also, I know I’m biased but our team of AI directors atwelcometograil.com are doing awesome things - the work speaks for itself.