Scomoroh is more than just a creative platform—it's a movement designed to bring bold ideas to life through the power of collaboration.
Our mission is simple: to connect creators, artists, and storytellers with a passionate community ready to collaborate, contribute, and grow ideas into fully realized productions.
We provide a space where inspiration is met with support, and
imagination is transformed into action—not alone, but together.
Our mission is simple: to connect creators, artists, and storytellers with a passionate community ready to collaborate, contribute, and grow ideas into fully realized productions.
We provide a space where inspiration is met with support, and
imagination is transformed into action—not alone, but together.
About us
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About us
My name is Sam Bozaunts, I and my comrade Seva Berkolayko, while imprisoned, worked on a number of screenplays, mainly inspired by our own stories. Fortunately, the time and isolation from the flow of free life provided us with such an opportunity – the chance to discuss, understand situations and characters, develop potentially interesting plot lines, and generally reflect on these things.
A homemade boiler, usually hidden in the sleeve of a jacket hanging by the door, was lowered into a large coffee mug filled with water. The boiling water was poured into custom-made ceramic mugs; from a can of coffee, coffee was measured out of a coffee jar with a spoon that had long taken on a coffee color, and to make the work more fun, we would get out a pack of cookies.
At a certain time of day, we would sit down; from under the metal table nailed to the wall, we would roll out gray plastic boxes, stacked one on top of the other,
which are issued for storing documentation related to the trial, but which we had stuffed with books (since the library refused to accept any more, because over the years a whole collection had accumulated there, and we were denied new shelves). The bottom box had wheels attached, so we had an additional, easily movable table.
Nabokov's lectures on literature, from which came the understanding of creating text as such, describing situations, with an awareness of the importance of all details. And we watched movies no longer simply as viewers, but analyzed them, noting details of the scenery, the capacity of the dialogues, etc.
Dostoevsky, read five, six times, if not more, where you begin to understand the characters as deeply as possible. Books on screenwriting, which had to be navigated with irritation because of the imposed standardness.
Dostoevsky, read five, six times, if not more, where you begin to understand the characters as deeply as possible. Books on screenwriting, which had to be navigated with irritation because of the imposed standardness.
Drawing, writing a book – all this helped to identify a certain inner rhythm that we want to find in our projects, and most importantly, in the series "Comrades" (which we are presenting on this site).
Throughout this process, a pleasant, promising thought ran through our minds that soon, though not quite yet, we would be free and able to really immerse ourselves in the creative process of filming our material.
Throughout this process, a pleasant, promising thought ran through our minds that soon, though not quite yet, we would be free and able to really immerse ourselves in the creative process of filming our material.
We sketched drafts in notebooks, argued, spoke dialogues, or, leaning back, some on the back of the plastic chair, some on a pillow, orally developed scenes. We also had editors to whom we gave the text with explanations, and a person, like, for example, a character named Dafi, who went to the library to type it up, correct inaccuracies, and upon returning, enthusiastically suggest some changes or clarifications that he thought were necessary, which in most cases did not meet with our approval. "You must understand," he would say, "that you are not writing for yourselves, but for a wide audience that does not know all the nuances of the Russian criminal world and generally lives by values different from those of your characters."
Nabokov's lectures on literature, from which came the understanding of creating text as such, describing situations, with an awareness of the importance of all details. And we watched movies no longer simply as viewers, but analyzed them, noting details of the scenery, the capacity of the dialogues, etc.
Dostoevsky, read five, six times, if not more, where you begin to understand the characters as deeply as possible. Books on screenwriting, which had to be navigated with irritation because of the imposed standardness.
Dostoevsky, read five, six times, if not more, where you begin to understand the characters as deeply as possible. Books on screenwriting, which had to be navigated with irritation because of the imposed standardness.
Throughout this process, a pleasant, promising thought ran through our minds that soon, though not quite yet, we would be free and able to really immerse ourselves in the creative process of filming our material.
Drawing, writing a book – all this helped to identify a certain inner rhythm that we want to find in our projects, and most importantly, in the series "Comrades" (which we are presenting on this site).
We sketched drafts in notebooks, argued, spoke dialogues, or, leaning back, some on the back of the plastic chair, some on a pillow, orally developed scenes.
"You must understand," he would say, "that you are not writing for yourselves, but for a wide audience that does not know all the nuances of the Russian criminal world and generally lives by values different from those of your characters."
We also had editors to whom we gave the text with explanations, and a person, like, for example, a character named Dafi, who went to the library to type it up, correct inaccuracies, and upon returning, enthusiastically suggest some changes or clarifications that he thought were necessary, which in most cases did not meet with our approval.
We also had editors to whom we gave the text with explanations, and a person, like, for example, a character named Dafi, who went to the library to type it up, correct inaccuracies, and upon returning, enthusiastically suggest some changes or clarifications that he thought were necessary, which in most cases did not meet with our approval. "You must understand," he would say, "that you are not writing for yourselves, but for a wide audience that does not know all the nuances of the Russian criminal world and generally lives by values different from those of your characters."
We started test shoots several times, held castings, fortunately many guys agreed to support us, we paid for equipment and operators from our salaries, but as a result, we realized that we were not ready and could not create something of high quality this way. We need a team, co-writers, because we are, we must admit, a bit one-sided in our approach. We need cameramen, an editor, open to working just like partner co-authors, actors, and everyone who is interested. We are absolutely sure that with such a team, united by one goal, one vision, perhaps after long discussions and disputes, presenting the project, investors will be found, since this will not just be an idea, or even a script, but a whole team ready and able to create something original, bright, and promising.
Once free, we, like most people burdened with financial obligations, were of course forced to find employment and did not immediately find the opportunity to start doing something in the field of what we had planned.
Seva Berkolaiko. Frame from the movie Brighton 4."
Real Stories. Real Passion.
Real People.
Real People.
At Scomoroh, we’re not just another production platform—we’re built on lived experiences, raw creativity, and a deep commitment to authentic storytelling. Our journey began in the most unlikely place, proving that true art can thrive even in confinement. We’ve faced challenges, overcome limitations, and emerged with a powerful vision fueled by purpose, not profit. What sets us apart is our drive to collaborate, not compete. We invite creators, thinkers, and dreamers to become part of a team that values your voice, your story, and your perspective. Whether you’re a filmmaker, writer, actor, or editor—this is a space to grow, create, and build something original together.
Choose Scomoroh because we don’t just make content—we craft meaning.
Scomoroh Production invites all creators, dreamers, and supporters to share or back ideas in film, theater, YouTube, and other forms of entertainment. Let’s build a space where creativity meets collaboration—and where imagination becomes reality.
We know that a great idea doesn't need to be perfect—it just needs to resonate. When an idea excites others enough to join in and contribute their time, creativity, and expertise, it becomes a living force. And with that momentum, support and funding often follow.
We know that a great idea doesn't need to be perfect—it just needs to resonate. When an idea excites others enough to join in and contribute their time, creativity, and expertise, it becomes a living force. And with that momentum, support and funding often follow.
Great Projects Start with the
Right People
