ROSWELL
A Family Secret.
In 1997, a father and his teenage son arrive at the family ranch in Roswell, New Mexico to settle an estate only to discover the secret Grandpa had been hiding in the barn since 1947.
Deputy Francis Magill responds to a crash on a New Mexico ranch. Instead of reporting what he finds, he hides the survivor from the military convoy that arrives within hours. Francis keeps his secret alone.
Francis is gone. The estate is bankrupt. Patrick, 14, arrives with his father Thomas to settle what's left. In the barn: an alien named Bing. A hidden threat closes in, one that could turn the most gentle thing in the universe into the most dangerous.
A father and son who have drifted apart. A museum girl who has always known we are not alone. A grandfather's secret that forces them all together. And an alien running out of time to get home.
Skateboards, spray-paints walls, can't stand being in the same room as his dad. Roswell is the last place he wants to be.
Single father doing his best. Just the two of them and they can barely talk. Grandpa's secret might be the only thing that fixes it.
Stranded since 1947. Telekinetic. Skin changes color with emotion. The only person trying to get him home just died. His goal: survive long enough to find another way.
Has spent her whole life at the UFO Museum waiting to be proven right. When Bing arrives, she is. The one who knows what to do when no one else does.
Tracking Bing for one reason: his abilities. Telekinesis in the right hands rewrites the balance of power. He will not stop. And he is not what he appears to be.
Before It's a Film.
AI Execution. Script Ready.
Brett Stuart directs narrative AI films. SAG-AFTRA approved productions with named union talent: Fred Melamed, Ana Cruz Kayne, Ben Lloyd-Hughes. Designs and operates the full pipeline end-to-end. Trained in character animation under Disney, DreamWorks, and Pixar animators.
Two-time Nicholl Fellowship semifinalist. Multiple nominations at prestigious screenplay festivals for best script. Blacklist and Hit List credits. Script in development at John Wells Productions. Producer on Netflix documentary Travelin’ Band: Creedence Clearwater Revival at The Royal Albert Hall.
Scott Rudin Productions, then John Wells Productions where he rose to Head of Film. Set up films with Lionsgate, Warner Bros., Participant Media. Worked with Helen Mirren, Iñárritu, Emma Roberts, and Diane Keaton. Personal relationships across every major agency, streamer, and studio.
What this story costs without AI. The benchmark that makes every other number look efficient.
SAG-AFTRA. Name talent. Hollywood credibility. The film Artlist points to in every studio conversation for the next decade.
One animated film. No anchor partner. No Hollywood infrastructure. No distribution thesis.
Are Here.
SXSW, Tribeca, Sundance. AI-category circuits are emerging and we are built for them. Go where the film is received.
LA. Austin.
Culturally aligned markets. Arthouse and indie venues first. Roswell is a recognized IP the story is already in the culture.
Calls.
Netflix acquisitions. Lucky Chap. Dan Cohen. Neon, A24, Bleecker Street. No distributor commits before first cut. What matters is who picks up the phone.
Toy Story.
In 1995, one film proved CGI could carry a story that mattered. Not because the technology was perfect, because the story was, and the team knew what they were doing.
After Roswell is that film for AI. First mover. SAG-AFTRA. Hollywood infrastructure. Script ready.