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now a graduate of the university’s PhD programme in Audiovisual Arts & Media Studies and a lecturer also at the university, Michael is leading the Improv(e): Extending Character Development in Fiction Film project. Funded by institutions across Estonia and Australia, including the Ministry of Culture and the Cultural Endowment of Estonia, the project challenges the most traditional parts of filmmaking: the script, the director, and the idea of control.

“We deliberately set out to break with two industry norms,” Michael explains. “First, we didn’t write a full script before filming. Instead, we worked with actors in improvisation workshops and let the screenplay emerge organically. Second, we didn’t rely on just one director or team… We built two full film crews, one in Estonia and one in Australia, who collaborated in real time.”

That collaboration - messy, unpredictable, and deeply creative - is the heart of the project. “It’s like jazz,” he says. “You’re responding to someone else’s choices in real time, not planning everything in advance. That tension creates something new.”

A researcher’s journey: From MA thesis to PhD to the classroom

Michael’s fascination with non-traditional film practices goes back to his MA thesis at Tallinn University, where he studied how early 2000s Romanian filmmakers redefined character portrayal through minimalist cinematography and psychologically complex protagonists.

“That work planted a seed,” he says. “In my PhD, I explored interactive film and directed a project called The Limits of Consent, another experiment in challenging the audience’s expectations.”

Now, through Improv(e), he’s building on that trajectory, mentoring students, and showing what’s possible when you blur the lines between researcher, director, and collaborator.

Rethinking research: Lessons from the field

Reflecting on the process, Michael offers a few takeaways for other researchers and potential researchers,  especially those considering artistic research or collaborative international work:

• Follow your obsessions. “Don’t worry about trends. Start with what fascinates you. That passion becomes the foundation for meaningful work.”
• Communicate, always. “Collaboration breaks down without trust and transparency. Weekly Zoom calls, shared rehearsals, and clear expectations have made our cross-continental project work.”
• Leave space for the unknown. “Plans are important, but they’re not everything. Some of the best parts of this project came from surprises we couldn’t have scripted.”

Why this matters

The Improv(e) project is a powerful example of the kind of experimental, internationally connected research happening at Tallinn University, especially within the School of Humanities and the Baltic Film, Media and Arts School. It’s also proof that students and researchers can go from studying film to shaping it. 

Come study Literature, Visual Culture and Film at Tallinn University.