When you plan the realization of a film project, what are your objectives?
When I begin developing a film project, my first objective is to create a strong cinematic identity where image and sound are inseparable. For me, storytelling does not start only with plot, but with atmosphere, rhythm, and emotional resonance. Very often I “hear” a scene before I fully see it, which comes from my background as a soundtrack critic and continues to influence the way I direct and edit today.
At the same time, I try to design projects that can evolve beyond their initial format. Cassandra Venice, for example, started as a short film but was conceived from the beginning as part of a larger cinematic universe. I see cinema as something that grows step by step through encounters with audiences, festivals, and collaborators.
Ultimately, my objective is to create films that remain accessible while still carrying symbolic depth. If a viewer leaves the screening with the feeling that something stayed with them beyond the story itself, then the film has succeeded.
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?
Artificial Intelligence represents a major transformation, but I see it primarily as an expansion of cinematic language rather than a replacement of filmmaking.
In independent cinema especially, A.I. opens possibilities that previously required very large production structures. It allows filmmakers to visualize mythological imagery, symbolic environments, or complex atmospheres that would otherwise remain out of reach. Used thoughtfully, it becomes a creative ally rather than a shortcut.
In my recent film When Cassandra Venice Speaks, I explored what I describe as a Hybrid Vision approach — combining traditional filmmaking with carefully integrated A.I. visual elements. The intention was not to replace reality, but to extend it in a way that supports the emotional and mythological layers of the story.
Cinema will always remain a human art form. Technology can transform the tools, but meaning still comes from the filmmaker’s perspective.
To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.
I am interested in collaborating with production and distribution partners who support visually distinctive cinema with international resonance and long-term creative vision.
A project like Cassandra Venice, which combines mythology, environmental reflection, and a hybrid cinematic language, naturally fits within production environments that are open to innovative storytelling across formats such as short film, feature film, and limited series development.
Companies such as A24, FilmNation Entertainment, or StudioCanal represent this type of ecosystem, where strong cinematic identity and international accessibility can coexist.
At the same time, I strongly believe that cinema evolves through encounters. I am particularly interested in working with co-producers who see a project not only as a single production, but as part of a broader creative trajectory that can grow over time.
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?
Yes, and I believe this role is increasingly important today.
Cinema has always depended on spaces where artistic voices can develop independently from purely commercial expectations. Platforms that support filmmakers internationally and encourage cultural dialogue help keep cinema alive as a creative movement rather than reducing it to a marketing structure.
In my own experience with Cassandra Venice, I have seen how valuable it is when organizations create visibility for projects that explore new cinematic languages and symbolic storytelling approaches. These initiatives help filmmakers connect across borders and open new possibilities for collaboration.
Supporting cinema as an artistic dialogue between cultures is already a meaningful contribution to its future.
