在短剧行业同质化加剧、全球市场竞争白热化的当下，有一家跨欧短剧制作公司凭借独特的创作理念与硬核实力迅速突围 —— 它就是AMO PICTURES。
自2017年成立以来，这家公司已在伦敦、洛杉矶等多个国际城市搭建起制作网络，累计产出70余部系列作品、2000多集内容，通过Drama Box、ReelShort、My Drama等多家主流短剧平台触达全球观众，包括《Spark Me Tenderly》《Love at Dangerous Speeds》等热门短剧皆是出自其手。
AMO PICTURES部分代表作
目前该公司的制作团队已经达到200余名，其中专业编剧便有35名之多，更有15个摄制组日夜兼程产出优质短剧。凭借着如此硬核的配置，AMO PICTURES在定制内容与自主创新领域双线开花。
今天，我们特别邀请到AMO PICTURES的Showrunner（主负责人） Anastasia Filonenko，一同聊聊他们在短剧创作中的差异化路径、AI 技术的应用实践，以及如何在合规与创意之间寻找平衡的独家经验，以下为采访正文。
一、破局全球竞争：数据+创意，构筑核心壁垒
广大大：在竞争日益激烈的全球短剧市场中，最初是什么促使您的工作室进入这个领域？与其他同样专注于全球市场的团队相比，您认为你们的核心差异化优势是什么?
AMO PICTRUES： 早在垂直视频应用大规模普及之前，我们就已经开始制作垂直内容了——最初是通过在Facebook上发布自己的内容来获利的。
那段经历让我们深谙制造噱头以及撰写吸睛剧情的技巧，更学会在瞬息万变的信息流中精准捕捉并持续锁定受众注意力。为此，我们将IT驱动的数据洞察与创意叙事深度融合，打造出独具特色的垂直叙事体系，最终产出真正打动目标受众的竖屏内容。
AMO PICTRUES短剧拍摄现场
广大大：从选题策划到最终发行，贵工作室制作一部面向全球市场的完整短剧通常需要多长时间？整个流程中哪一环节最具挑战性，又会如何攻克这些难题？
AMO PICTRUES： 制作周期会根据客户需求和剧本复杂度有所不同。比如，情节较简单的项目，前期筹备与拍摄阶段通常需要1.5个月左右，后续的后期制作则需一个多月。若项目包含特技动作、排练环节或更精细的场景设计，周期自然会延长——这些元素需要额外的筹备与协调工作，以确保安全与质量双达标。
我们并非一人包揽所有工作，每个环节都由专属专业人员负责：剪辑、配乐、调色与混音均单独推进。这种分工模式能让我们始终保持高标准质量，也能让每个环节都得到应有的细致打磨。
二、跨文化创作：以“专属世界观”打破风格同质化
广大大：看完《My World Ends with You》后，我们发现这部剧和常见的短剧风格很不一样 —— 制作方在创作中是否融入了什么独特的创意巧思？
AMO PICTRUES： 这正是我们与其他团队真正不同的地方。我们设立了创意制片人/剧集总监一职，负责塑造项目的整体世界观、氛围和创意方向。我们会与导演一起，为每一部剧本构建专属的独特世界——而非仅仅将文字内容直白搬上银幕。
当然，这也意味着更多的工作量和更高的要求，但也正因为如此，我们才能打造出极具辨识度、独一无二的作品，而非批量产出重复单调、套路化的故事。
工作人员现场调试中
广大大：在跨文化合作过程中，您是否遇到过因文化差异造成的创意分歧或沟通障碍？不同平台的风格有何不同？
AMO PICTRUES： 每个客户都有自己的优先事项——有些事情至关重要，而有些则可以稍作调整。关键在于与合作伙伴紧密合作，深思熟虑。这正是创意制片人/剧集总监的职责之一：了解每位客户最看重的是什么，并据此指导团队的工作重点。
当然，每个地方都有其独特的文化和思维模式，但这并非限制，而是一种优势。它有助于我们更深入地分析剧本，并进行策略性的项目分配，确保每个故事都由最适合的团队来开发，从而真正取得成功。
广大大： 我们注意到《Love at Dangerous Speeds》在YouTube上的表现十分亮眼，但背后似乎没有大量广告投入——做出这一决策的考量是什么？
AMO PICTRUES： 营销相关的工作就不由我们负责了，主要由上线的短剧平台团队统筹处理。
三、行业痛点应对：在合规与创新间找平衡
广大大： 我们都看到，目前短剧剧情同质化的现象日益明显，贵公司是如何如何看待这一趋势？创新对您的团队而言是否构成挑战？
AMO PICTRUES： 并不会构成挑战，因为客户不同、合作模式各异，我们也会自主创作内容并展开各类尝试，《Love at Dangerous Speeds》其实就是我们展开的一次尝试。关键在于要有策略、有智慧地开展测试。这时候，营销领域的A/B测试原则就能派上用场。与其凡事从零开始推倒重来，不如只调整一个变量，分析结果、总结经验后再稳步推进。
不过，竖屏短剧有其自身的规律和特性。在我看来，不能仅凭觉得自己的方式更好，就无视这些规则去试图 “重构行业”，这并非正确的做法。
广大大： AI技术的发展是否对你们的工作产生了影响？你如何看待近期AI短剧的兴起？
AMO PICTRUES： AI并非替代品，它是一种工具，或者说是合作伙伴更为恰当。我们在日常工作中每天都会使用AI，将那些无需创意或精力投入的常规任务简化优化。AI短剧也是如此，我们所有工作的核心始终是人，作为专业创作者，运用AI来增强和提升自身创意成果并没有问题。
已有短剧平台开始投放AI素材
广大大： 随着各国内容监管政策不断演变，贵工作室采取了哪些具体措施和流程来确保合规？你们如何在遵守当地法律与保持自身创作特色之间取得平衡？
AMO PICTRUES： 我们团队拥有深厚的Facebook合规背景，因此对我们而言，竖屏短剧的创作从一开始就伴随着这样的疑问：“等等，我们真的可以在屏幕上呈现掌掴镜头吗？剧中角色可以手持酒杯饮酒吗？”尽管如此，每当接手新剧本时，我们总会与客户就合规要求、亲密场景尺度，以及虐待等敏感话题的可呈现范围进行沟通确认，我们会严格遵循合作方的指导原则。
至于我们自主开发的项目，我们会努力在合规要求、道德准则与内容传播效果之间寻找平衡。在我们看来，任何亲密场景或戏剧冲突的呈现都必须以剧情为核心驱动力，而非为了制造噱头或单纯追求“为性而性”。
四、未来展望：竖屏短剧将成不可替代的文化消费形态
广大大： 你认为短剧市场未来会持续扩张吗？它是否有可能发展成为像短视频那样的新型文化现象？
AMO PICTRUES： 会的，竖屏短剧无疑会长期存在。我认为从长远来看，市场上不会有太多同类应用，可能最终只会剩下约五个主流平台，其余的都将在竞争中被淘汰。
但这种内容形式本身会一直延续下去，因为它完美契合了当下观众的需求和人们的内容消费习惯。这就像当初Netflix的出现曾让人觉得极具革新性——而如今，我们已经无法想象没有流媒体平台的生活。又比如TikTok，起初它看似小众难懂，最终却重塑了我们体验生活的方式。
简短，节奏快，充满戏剧张力，且随时可在手机上观看——这类内容永远会有受众。
下面附上采访原文，广大大数据研究院采访翻译后整理呈现，未经允许不得转载。
1、In the increasingly competitive global short drama market, what initial market insights and positioning led your studio to enter this field? Compared with other teams that also focus on the global market, what do you think is your core differentiating advantage?
We’ve been working with vertical content long before the mass boom of vertical video apps — initially monetizing our own content and publishing it on Facebook.
That experience gave us a deep understanding of hooks, introductory content, and how to capture and hold audience attention in a fast-moving feed.
As a result, we’ve developed a unique blend of IT-driven data insight and creative storytelling, which together enable us to craft truly engaging vertical narratives.
2、From topic selection and planning to the final release, how long does it usually take for your studio to produce a complete short drama for the global market? Which part of the process is the most challenging, and how do you overcome those challenges?
Timelines vary depending on the client’s needs and the complexity of the script. For example, a simpler story typically takes around 1.5 months for pre-production and production, followed by over a month of post-production. When a project includes stunts, rehearsals, or more elaborate production design, the timeline naturally extends — these elements require additional preparation and coordination to ensure both safety and quality.
We don’t have one person handling everything — each stage is managed by dedicated specialists: editing, music, color grading, and sound mixing are all done separately.
This approach allows us to maintain high quality and give each stage the careful attention it deserves.
3、After watching My World Ends with You, I noticed that the show feels quite different from typical short dramas. Did the producer incorporate any unique creative touches into its production?
That’s what truly sets our approach apart from other teams. We have a Creative Producer/Showrunner role responsible for shaping a project’s entire world, vibe, and creative direction.
Together with the director, we build a unique world for each script — we don’t just film what’s written on the page.
Of course, it’s a lot more work and a more demanding process, but this is exactly what allows us to create distinctive, one-of-a-kind projects, rather than producing repetitive, formulaic stories.
4、During cross-cultural collaborations, have you encountered creative disagreements or communication barriers caused by cultural differences? How do the styles of different platforms vary?
Each client has their own set of priorities — some things are absolutely essential, while others can receive less focus. The key is to work closely and thoughtfully with partners. That’s part of the Creative Producer’s / Showrunner’s responsibility: to understand what matters most to each client and to direct the team’s focus accordingly.
Of course, every location comes with its own cultural and mental context, but rather than being a limitation, it’s an advantage. It helps us analyze scripts more deeply and assign projects strategically, ensuring that each story is developed by the team best suited to make it truly successful.
5、We noticed that Love at Dangerous Speeds performed very well on YouTube, but there doesn’t seem to be a lot of advertising investment behind it. What was the reasoning behind that decision?
The responsibility for marketing does not lie with us — it’s handled by the vertical app teams.
6、As short dramas become increasingly homogeneous, how do you view this phenomenon? Do you consider innovation to be a challenge for your team?
No — because there are different clients and different approaches, and we also create our own content, experimenting with it as well. Love at the Dangerous Speed was, in fact, one of those experiments.
The key is to approach testing strategically and intelligently. This is where A/B testing principles from marketing come in handy. Instead of reinventing everything from scratch, it’s often better to adjust just one variable, analyze the results, gather insights, and move forward.
That said, vertical dramas have their own rules and specifics, and ignoring them in an attempt to “rebuild the industry” simply because you think your way is better isn’t, in my opinion, the right approach.
7、Has the development of AI technology affected your work? What’s your view on the recent rise of AI-generated short dramas?
AI is not a replacement — it’s a tool and a collaborator. I use AI every day in my work to minimize and optimize routine tasks that don’t require creative or intellectual input.
The same applies to the production process. At the core of everything we do are people — creative professionals who use AI mechanisms to enhance and elevate their own creative work.
8、As content regulation policies continue to evolve across different countries, what specific measures and procedures does your studio take to ensure compliance? How do you balance adhering to local laws with maintaining your own creative identity?
We come from a strong Facebook compliance background, so for us, vertical dramas started with questions like:
“Oh, wait — are we actually allowed to show a slap on screen? Can we have a character drinking from a glass?”
That said, whenever we take on a new script, we always consult with the client about what’s acceptable and what’s not — in terms of compliance, intimacy, or sensitive topics such as abuse. We follow our partners’ guidelines precisely.
When it comes to our own projects, we strive to find a balance between compliance, ethics, and performance. In our view, every expression of intimacy or drama must be story-driven, not there for shock value or “sex for the sake of sex.”
9、Do you think the short drama market will continue to expand in the future? Could it potentially grow into a new cultural phenomenon like short videos?
Yes, vertical dramas are definitely here to stay. I believe there won’t be that many apps in the long term — probably around five dominant platforms, while the rest won’t survive the competition.
But the format itself will endure, because it perfectly reflects the audience’s needs and the way people consume content today.
It’s similar to how Netflix once felt revolutionary — and now it’s impossible to imagine life without streaming platforms. Or like TikTok, which at first seemed confusing or niche, but eventually reshaped how we experience stories.
Short, fast, dramatic, and always on your phone — there will always be an audience for that kind of content.
