-When you plan the realization of a film project, what are your objectives?
I work completely alone, “one-man band”, style. When I make a documentary or a work of fiction, or an animated short, my goals are different. When it comes to documentaries, I try to create an arthouse film that is connected to the story of the author portrayed, like “The Way of Mizoguchi,” for example. When it comes to a fiction film based on my own script and screenplay, it’s much more demanding because as said before, I always work alone, and in this case I try to achieve a highly original result or at least something that has never been done before. For example, for my latest short film, “Your Father, who sees in secret,” I had to do extensive research on that type of narrative to ensure it included elements that would surprise the viewer, as well as very profound discussions on the subject, with philosophical and mythological reflections on femininity, creation, and spirituality. For my animated works such as “Forevermore”, I had to resort to very in-depth research on the figure of the American chapelan Anton Boisen, and on the cultural and historical contextualization of the man, so as to create a sort of parallel universe where the characters I created, and drawn by hand, with pencil, could express themselves in a manner appropriate to a dramatic story. The story is inspired by the clinical case of Anton Boisen, in particular about his reflections on the role of his family as he attempted to write a treatise about his faith during his mental illness.
-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?
I completely agree. It was possible for me to create stories set in Japan, for example, without the exorbitant production costs, as with “Zone” and “Your Father, Who Sees in Secret.” Artificial intelligence programs have always been helpful for the transition between key drawings to animation. Working on animated films alone is a tough job, so you’d need at least ten people, but as said I’m one-man band. Because I’m forced to write the storyboard in pencil, from the script to the screenplay, which is very time-consuming.
-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.
There’s a project called “Cette Vie Nouvelle” that I’m still working on, which is difficult to produce. It’s a feature film for which I wrote the story and developed the main characters. The screenplay is ready, but there are other complex steps to explain. The goal for now is to first make a short film to gauge audiences, and then move on to a feature film. I’ve been working on it for many years, and it’s a huge challenge. I hope it will attract the world’s major streaming platforms like Netflix or Amazon Prime. I’m also looking for producers. It’s a thriller movie with an interesting story. Here there’s a synopsys : “Cette Vie Nouvelle” follows Frank Penn, a talented but disillusioned photographer whose personal and professional lives spiral into chaos after he becomes entangled with a mysterious young photographer, Meredith, and a dark underground network known as the One Shot Club. The story begins with Frank’s ordinary life: his complicated relationship with his girlfriend Fabienne, his loving family, and his young sister Annabel, a ballet student. When Frank meets Meredith at a fashion shoot, they form a creative and romantic bond. However, Meredith introduces him to the One Shot Club — an exclusive and disturbing photography circle that pushes artistic limits through voyeurism and exploitation. As Frank learns more, he discovers that the club is connected to violent crimes and the disappearance of young women. Meredith herself becomes a victim, apparently murdered, leaving Frank devastated and descending into alcoholism. Later, he learns she is alive and that the club operates as a front for human trafficking and snuff imagery. Tragedy strikes again when Frank’s girlfriend Fabienne is murdered and Annabel is kidnapped by the same criminals. It’s a dark psychological thriller blending noir aesthetics, emotional drama, and moral introspection, exploring obsession, art, and the blurred boundary between creation and corruption.
-WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing.
Do you think we are doing a good job?
It was a brilliant idea; Wild Filmmaker is revolutionizing everything, making “filmmaking” not something exclusive to a select few, but rather allowing for the creation of works that can capture the audience’s interest. This is possible thanks to its creator, Michele Diomà, who had the foresight to see this revolution unfold. Participating in major festivals is certainly a great privilege that Wild Filmmaker is promoting. Everyone should be grateful for what they’re doing. I’m really glad to be a part of this community.
