When you plan the realization of a film project, what are your objectives?
As a writer, my foremost goal is to craft compelling narratives that not only entertain but also
resonate deeply with audiences.
With The Dead Ringer, I merged reality and fiction: drawing from the cultural shock I faced as a
child moving from Vietnam to France, the time my sister mistook a stranger for me, and the 2013
British reports on the creation of a special hub to fight the expansion of Chinese Triad gangs in
central London. My story unfolds against the backdrop of Triad feuds and British national security
concerns, following the journey of an illegal immigrant whose uncanny resemblance to the mistress
of a powerful London-based Triad boss makes her the ideal candidate for an MI5 mission—to
infiltrate the gang and bring them down.
My primary target audience includes not only fans of spy thrillers, but also those intrigued by the
mythology surrounding Chinese Triad gangs. Since the story addresses complex themes such as
illegal immigration and child trafficking, my aim is for viewers to leave the theater both entertained
and more aware, with new questions about these challenging issues.
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?
Unlike the transition from silent films to sound in the 1920s, Artificial Intelligence is poised to affect
nearly every trade in the film industry—from actors and screenwriters to film crews, VFX artists, and
poster designers.
However, this transformation will be shaped by legal boundaries. In 2023, the WGA stated that “AI
is not a writer, that AI-generated material is not literary material, that companies must disclose AI
generated source material when relevant, and that writers cannot be required to use AI software.”
Similarly, SAG-AFTRA emphasized that “human authorship, consent, and accountability cannot be
treated as optional implementation details” regarding digital replicas and synthetic performers.
Reflecting this stance, Matthew McConaughey and Taylor Swift copyrighted their voices to protect
against unauthorized AI-generated imitations.
I echo Steven Spielberg’s view: “He supports AI in various fields, but not when it replaces creative
individuals. The key issue is not whether tools can participate, but where responsibility lies once the
tool is used.”
While AI brings advantages, I believe human creativity and emotion will always remain at the heart
of cinema. Machines lack true sensibility and genuine feeling, so they will never fully replace the
human essence.
To which production or distribution company would you like to propose your new project? Give
us a profile, including some examples.
Profile: The Dead Ringer masterfully combines the intricate, identity-blurring tension of Infernal
Affairs with the riveting, character-driven transformation of Red Sparrow, and the poignant
vulnerability of La Femme Nikita. Like these international hits, it centers on a protagonist whose
struggle to balance high-stakes work with deep emotional wounds creates a uniquely compelling
narrative that resonates with global audiences.
All three films achieved major international success, making The Dead Ringer an especially
appealing opportunity for production companies and distributors who have previously found
success with such globally resonant, genre-blending stories.
Nikita (1990) by Luc Besson.
Producers: Patrice Ledoux, Claude Besson, Luc Besson
Production Companies: Les Films du Loup
Distributor: Gaumont
Red Sparrow (2018) by Francis Lawrence:
Producers: Peter Chernin, Jenno Topping & Steven Zaillian
Production Companies: Chernin Entertainment & TSG Entertainment
Distributors: 20th Century Fox (États-Unis & France)
Infernal Affairs (2002) by Andrew Lau & Alan Mak
Producer: Andy Lau
Production Companies: Media Asia Films et Basic Pictures
Distributors: Media Asia Distribution Ltd (Hong Kong), Miramax Films (États-Unis), TFM Distribution
(France)
Martin Scorsese remade Infernal Affairs as The Departed.
The Departed (2006), directed by Martin Scorsese, is a remake of Infernal Affairs.
Producers: Brad Pitt, Brad Grey, Graham King
Production Companies: Vertigo Entertainment, Media Asia Films, Warner Bros, Plan B
Entertainment, Initial Entertainment Group
Distributors: Warner Bros Pictures (USA), TFM Distribution (France), Belga Films (Belgium)
Production countries: United States, Hong Kong (China)
To demonstrate the strong commercial potential of my project, I’d like to highlight an excerpt from
the Script Reader Pro review by Dash Finley: “Commercially, the script has strong prospects. The
blend of high-stakes crime drama and espionage is a proven crowd-pleaser, and this project delivers
on both fronts in spades. The Hong Kong/London setting adds a vibrant international flair that is
highly attractive in today’s global market, and films that bridge Eastern and Western cultures
consistently perform exceptionally well, appealing to diverse audiences worldwide.
Moreover, Mei Li embodies the kind of complex female protagonist that is in extremely high demand
across the industry. Her journey—from victim to undercover agent to conflicted insider—is not only
compelling but offers a transformative, multidimensional role that is certain to attract A-list talent.
The dual roles of Mei Li and Anna create a rare opportunity for a gifted actress to showcase an
extraordinary range, a factor that frequently draws major performers. The project’s combination of
intense action sequences and the emotional depth of Mei Li’s personal arc promises a cinematic
experience that is both thrilling and resonant for audiences and talent alike.”
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?
Wild Filmmaker serves as a global festival showcase, spotlighting the creative projects of artists
from around the world. Beyond this, they offer creatives the chance to be featured in the
Hollywood Reporter and Variety during the Cannes Festival—an extraordinary occasion for their
names to stand alongside industry giants. Wild Filmmaker unites people across differences,
demonstrating that every work deserves recognition. I am honored and grateful to be part of this
remarkable family!
