It was February 2019 when I met Glenn Kenny while I was preparing a film to be shot in New York. I wanted to meet in person the author of one of the cinema books I had loved the most: Made Men: The Story of Goodfellas, featuring exclusive interviews with Martin Scorsese and Robert De Niro. I had been deeply fascinated by Glenn’s ability to recount the context in which the masterpiece directed by the great Italian-American filmmaker was born.
I believe that to truly understand a film, it is essential to know the social and cultural reasons that led the producer and director to make it. There’s no point in having a student read Socrates without first telling them about Ancient Greece, and in the same way, I believe it is essential today to explain to audiences the world in which certain films were born—otherwise, they simply won’t be understood.
We often complain that younger generations are increasingly less interested in Cinema. But this happens because, for example, showing The Kid by Charlie Chaplin to a teenager today without first explaining what the Great Depression of 1929 was, is like handing them a book written in a language they don’t know.
That’s why I consider the work of film critics like Glenn Kenny a necessary mission to help save Cinema. It is a great honor to welcome Glenn Kenny today into the WILD FILMMAKER Community.
-Who is Glenn Kenny?
Glenn Kenny is a New York based film historian and critic who contributes reviews to the New York Times and RogerEbert.com. He is the author of “Anatomy of an Actor: Robert De Niro” (Cahiers du Cinema, 2014), “Made Men: The Story of ‘Goodfellas'” (Hanover Square Press, 2021), “The World is Yours: The Story of Scarface'” ( Hanover Square, 2024) and the editor of “A Galaxy Not So Far Away: Writers and Artists on 25 Years of ‘Star Wars'” (Henry Holt 2002).
-When did your collaboration as a film critic for The New York Times begin?
In 2015 my friend Manohla Dargis approached me and asked if I would be willing to write a review of “Hotel Transylvania 2.” Having seen the first “HT” movie I was aptly prepared, so I agreed. The piece turned out sufficiently well that I was asked to contribute more. And there you are.
-What inspired your book MADE MEN – THE STORY OF GOODFELLAS?
I needed a summer job. I am an instructor at a well-known arts college but I don’t teach summers. So there was that. Also: “Goodfellas” was a movie I’d seen many times and felt rather close to. I met its director while he was editing it, so I felt a special attachment to it. When he signaled that he would cooperate with the assembly of the book (which he did, most generously), I felt I could proceed with some confidence.
-Do you think that today, independent cinema is still a place where the most innovative stylistic approaches can be found?
Not necessarily. I think, as good as the films at major festivals tend to be, maybe one out of thirty shows an unusual/innovative formal bent.
-In the past, film festivals played a key role in discovering new talented directors. Nowadays, they often seem to favor already well-known filmmakers. Why do you think that is?
Like every other sector of film, festivals are infected by business. That’s the simplest answer and I think the most accurate.
When I was five or six, I would lie in bed at night and ask myself why there is something rather than nothing at all. I think I did this every night for a while, or until I became scared by the question. So I guess at heart I am a philosopher – as I later majored in philosophy in college and found out that’s a question many philosophers grapple with at some point in their lives. Later, after I saw The Matrix, I realized I could take all the philosophical thoughts I was having and make movies out of them! I eventually pursued an MFA in Film and Media Arts, made some fiction films, and also started a documentary film production company. Now, I teach filmmaking, and also enjoy making films with my students.
-Do you remember the exact moment you fell in love with cinema?
Well, I remember the first moment I was so shocked by a film that I had nightmares. My parents used to take me – along with my brother and sister – to see every film that came to the theaters where we lived. I grew up in the 70s, and the one film that altered my mind was the 1978 remake of Invasion of the Body Snatchers. Donald Sutherland was in that film, and there’s a moment where he’s fallen asleep outside and a pod person (spoiler alert if you haven’t seen it) suddenly starts getting birthed by a pod, and Sutherland wakes up and takes a shovel and chops his own fetal, webbed-faced, pod head in half. That image and that film gave me nightmares for 20 years. I think I had just turned eight when it came out. Still to this day, I believe I owe my interest in film, sci-fi, and in becoming a filmmaker to that film, and also to the less traumatic coming-of-age bicycling film, Breaking Away, which has stayed in my subconscious for many years.
-Tell us about your project “Her Own Skin”.
The idea for Her Own Skin came to me from a past experience where I noticed just how controlling men can be. I observed a very controlling relationship where the man was acting as if he owned his girlfriend, and years later I thought, what if he actually did? What would that look like? And how would she regain her freedom? I then realized he could own her if she was an android. Luckily, I found a great actor (Giovanna Baccini) to play the role of the android. She has that ability to magically transform into any character right in front of your eyes.
Even though there are other sci-fi films about androids out there, I knew this was going to be different because it wasn’t about showing the audience how an android is being developed, or that it’s possible to create one some day in the future, etc., but rather my focus was on the couple’s already existing relationship, and that neither Gia (the android) nor the audience know that she’s not human. That last piece became a hook, and also made me more excited to write the story back in 2022.
-Which Director inspires you the most?
Wow, there are so many amazing directors out there. I saw Coralie Fargeat’s The Substance a few months ago and was blown away. I thought the directing in the first hour of that film was incredible. The second hour brought me back to the days where my nightmares come from – so it was harder for me to process it, and I couldn’t sleep after seeing it.
In terms of sci-fi film inspiration, I rewatch a number films each year: Tarkovsky’s Solaris, Close Encounters, Alien, Inception, Truman Show, Contact, District 9, Children of Men and the list goes on!
-What do you dislike about the world and what would you change?
This is a big question, and I have approached it through the documentaries I make – which focus on climate change, Indigenous Peoples’ rights, and overall, by challenging oppression through creating awareness.
-How do you imagine cinema in 100 years?
It’s hard to imagine beyond the next ten years. I’m worried about AI taking over everyone’s jobs in the film industry, and there being completely AI-produced films watched by mindless humans. Hopefully, AI will be ethically incorporated into the filmmaking process (though there’s the question if even using it is environmentally ethical and also doesn’t constitute some form of copyright infringement).
-What is your impression of WILD FILMMAKER?
I think it’s great. I remember when I graduated film school in 2005, film festivals prided themselves in stating that they were “independent festivals” made for independent filmmakers. Nowadays, after you receive a rejection from a festival that used to be considered “independent,” you see all these famous Hollywood folks populating the festival. Not everyone has a few million dollars to put into making their films, but that doesn’t mean the world shouldn’t know about all the great art that’s being made by indie filmmakers!
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Hiding in Holland: A Resistance Memoir By Max Rothschild and Dr. Shulamit Reinharz
I suppose I am a collage of experiences, like everyone. So I’ll tell you some: I grew up by the sea, skipping class to go to the beach close by the school with my bicycle. At the time I was living on a small island with no television at home, so I was doing my own story tales playing with nature, books, and toys . To go to the closest cinema we had to take a ferry to cross the ocean to the big city. There, I watched for the first time the big screen that left me breathless and full of emotions. Maybe that´s the beginning of this. And maybe the theater group who was rehearsing at my living room with my parents was an influence too. Today I am a mother and an artist.
-You’ve worked with great actors. Let’s start with the cast of Milarepa — what was it like working with Oscar winner Murray Abraham and Harvey Keitel?
With Mr. Keitel I had 2 or 3 scenes and it was a dream come true working with him, I have been a huge fan of his work since I was a teenager. I liked his way of working, he has a special mood to deliver words and emotions, I basically learn from him.
And Mr. Murray, well, he is my father in the movie and I found him to be such an amazing actor, very focused on the work, his presence was a lot already. His energy was something incredible to play with during the scenes, with an energy like that you can definitely be creative in the present moment playing with characters. I was obviously a little nervous to work with two incredible actors like them.
-How did you meet Louis Nero?
I didn’t know him. He ask me for a casting (a very long one in fact haha)
I was on vacation in Italy (Elba Island) and a request for a casting arrived, I made a selftape. I normally do a lot of castings (like every actor), But this one was special, I loved the texts, those words made my imagination fly. I was really hoping to get the character because I was already enchanted with the story I knew only from the extracts of the casting, and fortunately I did get it. And then I met him in a video call before the shooting of the movie.
-What was it like working with Tim Roth?
Tim Roth has been an incredible colleague from whom I learn so much.
His humanity while working has left a mark on me forever. He is fun, and down to earth. I have seen that true artists are very down to earth. He has worked with every director I admire in films, so his conversations about work were delightful.
-What would you change about the world?
Right now the world is going crazy. Bombs, hunger, injustice, are horrible. Nothing of that comes from a good place, you can watch that with my character in Milarepa, Daka is sick of sadness, hate and revenge. From those feelings is where racism and wars come from. I would change so many things. But I can only start with myself and the people who surround me, live with peace and conscience. Be aware of what’s happening in the world and not in a little bubble of privilege, and do something about it at least with little steps, films can be one of those little steps.
-How do you imagine cinema 100 years from now?
Good question, to be honest i Have never thought about that. I won’t be here for sure.
The other day I watched a chapter of a TV series where an actor was going inside an old movie with the help of technology, so the actor was living for real inside that old movie interacting with the old actors and the fictional reality. It made me think.
Or maybe movies will be projected in strange places, like the clouds, and you fly in aerostatic balloons to watch. Who knows.
-What’s your impression of WILD FILMMAKER?
It is an important platform to connect visions in the language of cinema, to share creative experiences. To give space for independent voices coming from every corner of the process of doing a film. I am happy to do this interview in such a cool magazine, thanks for the space.
“I see myself as a very ordinary person, full of dreams, desires, and a deep inspiration derived from everyday life. I have a strong inclination to convey my feelings and observations, hoping to illuminate the inherent beauty in life. Simultaneously, I recognize the importance of personal growth and feel a profound sense of responsibility to support those who have been affected by misfortune and illness.
Since 2006, my passion for social support has materialized in my role as President of Associazione Vita, an Italian non-profit organization committed to offering comprehensive solutions for the health, social, and psychological needs of individuals. Professionally, I work in a bank, where I focus on understanding and addressing the needs of both individuals and companies, primarily in the area of credit solutions. I’ve found that the soft skills I’ve developed in both my professional and voluntary roles have uniquely positioned me to undertake ambitious projects such as producing a movie.”
Do you remember the exact moment you fell in love with cinema?
“As for the moment I fell in love with cinema, I remember dreaming of owning a video camera from a young age. That dream became a reality when I purchased my first one at nineteen, using my very first paycheck. Since then, I’ve continuously used cameras for both video and photos. For ‘Queen: Checkmate for the King,’ my focus was initially on production, and I really delved into the film during the editing phase. This was because we used freelance cameramen, and all the recording was done live, without the possibility of replays. This methodology made the editing process a crucial and intimate engagement with the material.”
Tell us about your project “Queen: Checkmate for the King.”
“The title ‘Queen: Checkmate for the King’ is inspired by the chess game, where the queen puts the king in check, switching from defense to attack. This metaphor extends to life, and the project truly began as a vision following the theatrical event in Palermo in May 2023. While editing the recordings of the show, I was struck by the raw emotion and profound depth of the experience, realizing its potential as a film. Furthermore, I had made a promise to one of the individuals I interviewed, a lady whose story deeply moved me, to share her narrative. It was this commitment, combined with the original vision, that gave birth to the movie.
I am very proud of the movie, not so much for the awards received, but for having believed that it was possible, for having reached a dream even if some others told me it was impossible and would be embarrassing. It’s a testament to just trusting in yourself and your dreams.”
Which Director inspires you the most?
“Well, to tell the truth, I had no idea how to edit the movie. I didn’t consciously think about any particular director, but simply followed the emotion and what I felt watching the files. I followed the speeches and kept the message’s core meaning in mind, imagining the viewer in the cinema. I recognized the need to approach this project unconventionally to truly capture the public’s attention. I wanted to create something dynamic that would demonstrate how extraordinary moments can be found within the fabric of ordinary life.”
What do you dislike about the world and what would you change?
“I’ve had the opportunity to travel around the world – not extensively, but enough to observe and hear what people say and do. I believe there are many people who truly have a global, holistic vision for the world. They care about environmental justice, social equality, and work to evolve, feeling a responsibility to leave a better Earth for their children than the one they inherited. Then there are others who are more insular, who believe money is the ultimate path to success and satisfaction in life. But there’s more to it; there’s a humanity and happiness in every day we live in, and I would want people to know that if everyone did their best for their communities, everyone could live better. We should stop building walls and open doors; stop closing our fists and open our hands towards the next person. It would be enough to encourage everyone to do their best.”
How do you imagine cinema in 100 years?
“I like both old movies and modern action films, and I hope that in future productions, care will still be taken with dialogue. I think that AI will be a part of movies more than it is now, but I hope that the human element remains the core of the film, as the storytelling.”
What is your impression of WILD FILMMAKER?
“I’m deeply impressed by WILD FILMMAKER and its mission. I believe initiatives like this are crucial for giving a voice to unique and authentic stories that might otherwise go unheard. I particularly appreciate their commitment to diverse narratives and their role in fostering a community for independent filmmakers.
I value their focus on innovation and their ability to connect audiences with thought-provoking content; its dedication to showcasing high-quality, impactful cinema is evident, and I admire their ability to catalyze change and inspiration within the filmmaking community. They truly represent a beacon for films that explore new perspectives.
Carter Cox is a goofy, tall, handsome (at least in my grandma’s eyes) who’s passion in life is to entertain and use his gifts to serve his community and God.
-Do you remember the exact moment you fell in love with cinema?
Honestly, I’ve loved movies for as long as I could remember, but I believe I really got serious about cinema was when I watched “They Live” for the first time. That film showed me how much of an impact film could really have on the world. The cultural significance and the messages, and also just the absolute badassness of that movie truly inspired me!
-Tell us about your project “Green Thumb Weed Killer”.
Green Thumb Weed Killer is a found footage/analog horror film that pokes fun at old infomercials but with a massive fun twist! I got inspired to do this from the Adult Swim Infomercials where they would trick their viewers into thinking they were watching a real infomercial. Also, with the current craze of analog horror that has been sweeping online lately it felt like the perfect time! The project has been a massive undertaking but I believe it will be possibly my best film to date!
-Which Director inspires you the most?
The director that inspires me the most is definitely Sylvester Stallone. I admire him because of his insane work ethic and grit when making films. His rise to stardom from his humble beginnings is one of the most inspirational stories of all time. When he makes a movie he stars, directs, writes, he even does his own stunts, and that’s something I can relate to being a small independent filmmaker!
-What do you dislike about the world and what would you change?
Honestly what I dislike most about the world is the evil that exists in it. Thats probably the most vanilla answer ever but its the truth. Evil is everywhere and it has many faces, from actions to words to thoughts. But, god gives us the power to fight against the evil of this world and its up to us to fight against it. I plan on changing the world by using my skills in film and philanthropy to give back to those in need. I feel like through the magic of film you could really change the world in more ways than one!
-How do you imagine cinema in 100 years?
With AI on the rise the future of Authentic cinema looks murky. Ai is already making massive changes in the industry and its not going away anytime soon. Honestly in 100 years I think authentic film will be sought after like gold. Will all of the sludge coming out of mainstream Hollywood these days, indie productions seem to be on the rise and I believe that we are witnessing a massive shift in film coming back into the hands of small creators.
-What is your impression of WILD FILMMAKER?
Wild Filmmaker seems like a great place for small creators to get dip their toe into the film industry and hopefully get their work noticed
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Something ain’t right
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Heat and Love
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Hot Afternoons Have Been in Montana
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Sheldon Mashugana gets Stooged
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Only in Malibu
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The Days of Knight: Chapter 1
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Doctor Hyphoteses
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Alta California
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Medea
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Water
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