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1. What's been the most defining mo- ment in your career so far? A few moments come to mind. However, working as an art director on a film (that is yet to be released) based on an iconic fantasy book that I grew up reading is definitely up there. There was something quite surreal about stepping into a world I had first experienced as a young boy, and then helping shape it physically for the screen. After months of work, seeing sets I helped develop, in collaboration with the production designer, being used by actors and coming alive on cam- era, was deeply satisfying. The second defining moment comes from my debut as a graphic novel writer and artist. Holding my book Dance of Death in my hands for the first time was incredibly fulfilling, especially after the long and often demanding process behind it. But what stayed with me more was seeing someone close to me read it and genuinely connect with it. That moment made the whole experience feel real in a different way, because the work had moved beyond me and started to live in someone else's imagination. 2. As a creative, how do you navigate the world and speed of social media? When it comes to social media, I have a fairly deliberate relationship with it. I don't engage with it much on a personal level, mainly because I find it draining and often toxic. It's a space that encour- ages comparison more than anything else. It's quite frustrating that nowadays every artist is expected to have a strong grasp of marketing just to show and sell their work, but that's the reality of the modern world. It shifts your focus away from the work itself and toward visibility, which can be a distraction if one isn't careful. That said, I do recognise its value as a professional tool. For sharing work, building an audience, and creating visibility, it's incredibly useful. So, while I keep a healthy dis- tance from it personally, I use it strategi- cally when it comes to my work, making sure it serves the work rather than the other way around. 3. Do you consider artificial intelligence a threat to your career, or an opportu- nity? As for artificial intelligence, I currently see it more as a tool than a threat, but not as a creative equal. I use it in a limited capacity, almost like an assistant to improve efficiency, but I don't rely on it for creative output. I am a steadfast believer that AI-generat- ed art is not truly art, but more compa- rable to something like fast food when set against a wholesome meal your mum makes. It might be quick, accessible, and even appealing on the surface, but it lacks depth, genuine nourish- ment, and lived experience. Therefore, it should help and empower us, not replace or strip away the joys that make life meaningful. For me, art is deeply tied to human experience, particularly the hardships, contradictions, and emotional weight that come with it. Until AI can genuinely embody that, I don't feel threatened by it. 4. How do you stay motivated and inspired, especially during tough times or when the work feels hard? I don't believe inspiration is something mystical that arrives out of nowhere. It's something you actively develop and maintain. Going through slow moments is part of that process, not a failure of it. Often, it simply means your mind is gathering new experiences, ideas, and references that will eventually feed into your next piece of work. It's about trust- ing that even when nothing seems to be happening on the surface, something is quietly forming underneath. Everything has its ebb and flow, and you don't fully appreciate moments of clarity and momentum without periods of stillness. I believe that staying inspired, especially during difficult periods, comes down to consistently exposing yourself to great work across disciplines, not just within your own field. Staying motivated often comes down to turning up, and making time, even when the muse seems absent. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? In terms of balancing creative instincts with audience expectations, I tend to start from a very personal place. Without meaning any disrespect, I rarely begin a project by thinking about what an audience might want. I focus first on what I'm drawn to and what I find compelling. My belief is that if I don't genuinely con- nect with the work, it's unlikely anyone else will either. I also think audiences can sense when something is made with sincerity and passion versus when it's shaped purely to meet expectations. Art is rarely democratic, even though it exists for the masses. In the end, I believe people respond to conviction. If they can feel that you stand behind what you've made, they're far more likely to respect it, even if it challenges them or is something they may not be used to. 6. How do you approach a new project? Do you have a specific process or rou- tine you follow? My process is quite visual. When ap- proaching a new project, I usually begin with sketching and writing loose notes. More often than not, everything starts with a single strong image, something that captures a mood or moment. That image becomes the seed, and from there, the rest of the story begins to grow organically. The early stages are often messy and exploratory, with ideas shifting and evolving as I go. I know an idea is worth pursuing when it gives me a physical reaction, almost like butterflies in your stomach, similar to the feeling of a successful first date. That sense of excitement is usually a good indicator that there's something worth developing further. 7. Can you let us in on some future projects or works? Looking ahead, I wouldn't say I have clearly defined future projects just yet. There are ideas forming, but they're still in an early, undefined stage. What I can speak about, though, is my current graphic novel, Dance of Death, which launched on 1 May. It's a super- natural horror story inspired by the Dancing Plague of 1518, and it repre- sents my first step as a writer/artist in the public domain. Beyond that, I want to continue explor- ing the medium of the graphic novel. It's an incredibly powerful form of storytell- ing, with strengths that no other medium quite replicates, particularly in how it blends visual and narrative elements. I also think it's still highly underexplored locally, which makes it an exciting space to keep working in and pushing further. maltatoday | SUNDAY • 17 MAY 2026 Culture Maltese writer wins regional Commonwealth Short Story Prize ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A STEVEN X. HABER 7 questions for... Extra round Who are your biggest influences, and how have they shaped your work? My inspirations come from a wide range of sources across different mediums. Too many to count, in truth, but there are certain names I find my- self returning to time and time again. In visual art, I'm drawn to artists like Ashley Wood, Alberto Mielgo and Piotr Jabłolski. In film, directors such as Ari Aster, Yorgos Lanthimos, and Robert Eggers have had a strong influence on me. In literature, I admire writers like Ted Chiang and Stephen King, and in comics, creators like Brian K. Vaughan, Alan Moore, and Junji Ito have all shaped how I think about storytelling. I'm also deeply inspired by my collaborators, Hassan Hameed Tabrizi and Astrid Thorvaldsen, whose work continues to influence me. What connects all these influences, for me, is a strong sense of atmosphere and a willingness to take creative risks, which is something I try to carry into my own work. Steven Xuereb Haber is a film and TV art director and set designer with an MA in Production Design from the National Film & Television School (RCA) and an M.Arch in Architectural Design (RIBA part II). He has worked in art departments for feature films by HBO, Apple, Fox Searchlight, Netflix, Universal Pictures, Sony Pictures, Warner Bros, Bigscope and Silver Reel. Steven also has experience working as a production designer on several short films and stop- motion animations, as well as a theatre set designer and illustrator. He recently published his debut graphic novel Dance of Death. 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