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Check Out Katja Müller’s Story

Today we’d like to introduce you to Katja Müller.

Hi Katja, we’re thrilled to have a chance to learn your story today. So, before we get into specifics, maybe you can briefly walk us through how you got to where you are today?
I’ve always been someone who loves storytelling. Creativity was how I processed my experiences, film, music, paintings, visuals. It never felt like a choice, it was just the way I made sense of things.

I studied film production at Chapman University, but honestly the education that mattered most happened outside the classroom — in the work, in figuring out the tools, in figuring out what I actually had to say.

I came to AI not because it was trending but because it felt like a mirror of the moment, of us. Ever since the early image and video generators I’ve been embedding these tools into my work, documenting the rise of AI as it happens. Every new tool that comes online, my work refines with it. I’m just trying to adapt and keep up.

Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
It can be a lonely space to work in, the tools are still forming, the community is still finding itself, and everything shifts weekly, sometimes daily. You build a workflow and the next morning something has changed. That instability is real and it costs you.

There’s also still a lot of fear around AI. People who don’t understand what actually goes into making something with it can sometimes jump to conclusions or assumptions of what my work is. I’ve been on the receiving end of that, which is frustrating. But it’s also clarifying.

I believe that if the story is there, the medium is irrelevant. A good script, good lyrics, good ideas — that’s where I spend most of my time. Charcoal or code, I have a story to tell. AI frees me from the gatekeeping. Instead of waiting for funding to make a show, I’m writing it and producing it myself. That’s the part that still amazes me.

Can you tell our readers more about what you do and what you think sets you apart from others?
I make films and music using AI as a genuine creative medium. Right now I’m probably best known for Artemis, a song and visual piece built entirely from real NASA Artemis II astronaut transmissions, released while the crew was still in space, and for Hurrian Hymn No. 6, a reimagining of the world’s oldest known musical composition.

The work is always rooted in something real. A source, a moment in history, a reason. I want stories that make people care about the ocean, the environment, where we came from.

The freedom of this medium is something I’m still getting used to. The only constraints are the ones I impose on myself. That’s liberating and exhausting in equal measure. But what comes out of it surprises me in ways I don’t think are possible any other way.

My current focus is MAPS, an original sci-fi series I’m writing and producing entirely with AI. Just me and the machine.

I try to use that freedom responsibly — always labeling AI content, never using someone’s likeness without consent. The technology is moving faster than the laws. I hope the work contributes something to that conversation.

If we knew you growing up, how would we have described you?
Intense and curious from the start. I was the kid who needed to understand everything deeply.

I loved animals, I loved being outside, I loved watching tadpoles turn into frogs. But I was also completely girly about it. I’d be outside in a princess dress with mud on the hem and animals everywhere
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I grew up in Mexico City, spending summers on Coronado Island in San Diego. At home we spoke English, but my childhood was fully Mexican. The culture, the color, the chaos of the city. I moved to Southern California permanently at 14 and that collision of worlds shaped everything.

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