I am primarily a television screenwriter, an executive producer, and since 2024 also Head of Drama for generalist projects at IIF, one of the oldest film and television production companies in Italy. I began writing professionally in the early 2000s and my name is attached to some of the biggest Italian TV successes, such as Distretto di Polizia, RIS (which had three European remakes), and Romanzo Criminale – The Series. For cinema, I helped launch the careers of directors like Stefano Sollima, writing the script for ACAB, and Edoardo De Angelis with Mozzarella Stories. I was also a comic book writer, which was my very first love, but for now I have put it aside to focus on television work.
Do you remember the exact moment you fell in love with cinema?
There is a moment I will remember forever, and it was my encounter with the cinema of Steven Spielberg. Raiders of the Lost Ark was the first film I explicitly asked my parents to take me to see. Until then, they chose the movies; that time, I chose. Before that, I wasn’t interested in who made films, I didn’t know directors’ names. From that moment on, everything changed. Spielberg became a reference point, also because that historical period was shaped by the aesthetics of his Amblin and of Lucasfilm. It was a shock to discover, with The Color Purple, that Spielberg didn’t only tell beautiful fairy tales and that cinema could also be something else. Ultimately, I was nurtured and weaned by Spielberg: a talent and an idea of cinema that are probably unrepeatable.
Tell us about your project “TV Man – Te L(e)o Comando”.
TV Man – Te L(e)o Comando is the first fully realized short film I directed back in 1997. It disappeared into nothingness for twenty-eight years and then, out of nowhere, resurfaced in 2025. I had already made short films before, but they were fragments, without real narrative development. With this one, I challenged myself for the first time with a “structured” story: setup, first turning point, second act, midpoint, second turning point, climax… and epilogue. In the 1990s, for a kid from a small town, it was very difficult to find someone willing to produce a short film (especially one like TV Man). But the ’90s were also the era when talents like Robert Rodriguez, Kevin Smith, and Richard Linklater emerged—people who picked up a camera without asking anyone for money and, with a few thousand dollars scraped together personally, produced their debuts. I didn’t have a few thousand euros; I had a few hundred. But I was inspired by the DIY ethic to make my short film. No crew—just me and the actors, who were friends—four locations, all shot on S-VHS, which was the only recording medium I had. Editing and sound design were also DIY: two VCRs and an audio mixer. The result was a small miracle that, twenty-eight years ago, no one saw and that vanished into thin air. Today, thanks to my sheer nerve in sending it around without shame, it has been selected by over 60 festivals, received 10 honorable mentions and 8 awards—and it hasn’t finished its run yet. TV Man is naive, imperfect, innocent, but it has something that reaches the four corners of the globe.
Which director inspires you the most?
Today, I am especially inspired by Eastern directors, particularly Japanese filmmakers, who culturally manage to keep in check the logic that has devoured and killed our sense of wonder, and who are capable of a meditative calm that we no longer seem able to find. That said, my favorite directors are many: from Spielberg to Scorsese, passing through David Lynch, John Woo, Chuck Jones, and Isao Takahata. I don’t have recent reference directors because I find most contemporary cinema derivative. I don’t need to see “a new version” of something I already know—I prefer going back to the source.
What do you dislike about the world, and what would you change?
Hypocrisy, cynicism, fear of others, cruelty. We are dehumanizing ourselves without realizing that the solution is to connect, to build networks. We had arrived at this great dream toward the end of the 1980s, with the fall of the Berlin Wall: the dream of a global world, of a united Europe. That dream was destroyed, while making us believe that there are no alternatives to cruelty and reciprocal violence. That is not true. I wish someone would help people recover faith in a great shared project—something we are missing today. Because only a great common project can allow us to look at the future with hope. Today, they have taken the future away from us. They have taken hope away from us.
How do you imagine cinema in 100 years?
I have to be realistic. New forms of AI push me to think that, in 100 years, movie theaters may no longer exist, and each of us will be able to create our own personal film at home using prompts. This will globally lead to the collapse of traditional production systems. Human originality, however, will still manage to assert itself, because only the most powerful, original works—those with a true voice—will be able to leave living rooms and reach a wider audience. But it will be a self-sufficient genius, who won’t need huge budgets and will generate very high profits. Just think that today an application like Suno can already create music tracks from scratch using prompts and roughly hummed melodies. How long will it take before an artist born with Suno becomes a massive commercial success? Not long, I’m sure. From there to a film produced entirely at home, the step is very short.
What is your impression of WILD FILMMAKER?
I only know WILD FILMMAKER superficially, but it seems like a dynamic and extremely interesting initiative. I love its philosophy and I am impressed by the visibility results it has achieved. I’m very happy to have taken part in this interview for you.
In the Time of Night and Day, a war between Heaven and Hell rages. Which side will you choose?
Introduction
‘Rise of The Accenniri’ is a supernatural quadrilogy detailing the origin of a 8-year-old girl named Antonina who becomes The Accenniri. A story of religion and faith in a caring Higher Being versus the fear and terror of the evil Human Beings. The story begins in Sicily during the Second Italian War (1499 –1504) and continues through the centuries to our present world. As The Accenniri rises, she becomes the ‘Capo Ombra’ (Shadow Boss) of the ‘Ombré Ma Fí’.
Writer / Director
My name is Charlotte (Charli) Brown, President/CEO of 311Studio Productions, LLC. 311Studio Productions, LLC is an independent production company that creates content for web series, movies, shorts, and videos. As a writer and director, my work varies from multiple genres (horror, thriller, drama), book adaptations and educational productions. My imagination created a concept and I decided to pursue the possibility of writing. It is very important that the true meaning of a story is kept intact and free of formed opinions. Words are powerful and vulnerable at the same time. It depends on how, who and when they are spoken. I am a retired ‘Air Force Brat’. I grew up traveling the world. As a ‘bookworm’, I would get lost in the stories and incorporate a character’s traits into my life. It was fun to see the world from a different perspective and have a new voice to share the experiences. It would be amazing to film all over the world to show that while we are different in race and religion, we share one common trait – the ability to kill. Humanity is a very loose term and hides behind civilized alliances. It would be amazing to explore the mindset of people who justify murder in the name of religion, war or survival. The Amoral Collective was influenced by the expansive imagination of David Bowie. It is amazing that he is able to create a character, write songs as that character, have messages in the lyrics and invite you into his world. He knows you will be able to relate. ‘Diamond Dogs’, ‘Ziggy Stardust’, ‘Space Oddity’, etc. reads like a novel and performs like a movie. After all these years, I get lost in his reality.
I’m a director that loves emotionally resonant characters and visuals. Retro cinema is a huge inspiration behind how I frame everything. I love the style of films from the 1970s and 1980s particularly. It’s really about texture and restraint, rather than “cosplay”.
I actually became interested filmmaking through stop motion work. Using figures to understand blocking and staging was very important in developing my filmmaking style.
Do you remember the exact moment you fell in love with cinema?
There is no one “moment”, I’ve always loved movies. However, when my parents took me to the movies for the first time at 3 years old to see Cars (2006), I was cheering on lightning McQueen as little me stood up in the movie theater chair.
Tell us about your project “After Dark”.
“After Dark” is a short film about a vampire mob boss who hunts down his brother’s killer, all while the rest of the mafia family plots his downfall.
This film is both a thriller and comedy. What makes the film work is both genres complement each other instead of distract. I’m interested in how visuals and music shape identity and I certainly played with this idea throughout the film. Taking characters that could easily be incredibly dislikable and making them likeable was a fun challenge when writing the script. I really let the characters do the talking and try not to interfere with them even though I’m their architect. The reason they could’ve been dislikable is because of their status and nature. A vampire mafia family. Standing above everyone and everything. Instead of making them too distant to connect with, I put them at the heart of the film by following the boss. However, the caveat is that the character, “Ezekiel”, secretly doesn’t want to be in charge of the mafia family and wants to live life on his own terms.
Which Director inspires you the most?
Martin Scorsese inspires me most, but another favorite would be Paul Thomas Anderson. The way Scorsese uses camera movement and editing to emphasize character moments is incredible. The music choices are amazing as well, they’re always motivated and intentional just as every other aspect of Scorsese’s filmmaking.
What do you dislike about the world and what would you change?
I dislike how divided everyone is nowadays. We can disagree but still be kind. Cinema certainly had that power to both unify and divide which is scary, but also quite empowering if the right people are behind and in front of the camera.
How do you imagine cinema in 100 years?
I don’t know but I imagine cinema and the filmmakers that curate it will evolve constantly until then and beyond.
What is your impression of WILD FILMMAKER?
My impression of WILD FILMMAKER is that is a high profile magazine that is useful for indie filmmakers to get their work seen and voice heard.
I’m a narrative non-fiction writer who has so far focused mostly on Stanley Kubrick. After the publication of my first book, Stanley Kubrick and Me: Thirty Years at His Side, in its English translation, I was described by The New York Times as “Italy’s leading Kubrick expert.” I have been studying Kubrick’s life and films for about twenty years and have now written four books and numerous essays on different aspects of his work. I also adapted Stanley Kubrick and Me into the documentary S is for Stanley, which won the David di Donatello Award for Best Documentary Feature.
Tell us about the Kubrick Archive in London, what were the most surprising discoveries you made there?
My work on Kubrick is always based on new, original research. I interview people who worked with and knew Kubrick well, and I visit archives — the largest and most important of which is, of course, the Stanley Kubrick Archive, held at the London College of Communication, University of the Arts London. It contains material donated by Kubrick’s widow Christiane after his death, ranging from film scripts and correspondence with collaborators to research he conducted, behind-the-scenes photographs, and artefacts such as costumes and props. It is a treasure trove of daunting scale and a unique source for understanding, truly and for the first time, how Kubrick worked.
It is difficult to single out one particularly revealing item. I can tell you what surprised me most on my last visit, when I was studying the long and convoluted creative process that culminated in the production of Eyes Wide Shut. I knew that Kubrick wanted to adapt Schnitzler’s Traumnovelle as early as the late 1960s, but I had no idea how extensively he revisited the project in the early 1980s. He corresponded with Schnitzler’s nephew and had Schnitzler’s own adapted screenplay — written in the 1920s for a proposed film by G. W. Pabst — translated into English. Comparing that script to Eyes Wide Shut, it becomes clear that Kubrick incorporated several ideas from Schnitzler’s version. Kubrick even drafted a preliminary production plan to shoot the film in London standing in for New York, with Steve Martin and Meryl Streep as the leads. I can’t wait to understand it all better and write about it in my next book.
A.I. Artificial Intelligence, directed by Steven Spielberg in 2001, was originally a Stanley Kubrick project, an work that stages one of the central debates of our time, namely to what extent AI can be a resource and how to prevent its misuse, potentially even harmful uses. Did you find information in the Kubrick Archive about the original project that differs from what ultimately became the film?
A.I. was always conceived as a fable, and when Kubrick wrote it there was little available information about artificial intelligence as we understand it today. The story revolved around intelligent robots capable of performing specific tasks, reflecting the predominant view of AI at the time. From the drafts and notes Kubrick left, I would say his main concerns involved the evolution of the human species through technology — quite literally as hybrids between organic and mechanical life. The latest drafts are more abstract, as is Spielberg’s completed film.
The film we know is obviously different from what it might have been had Kubrick directed it, but it remains faithful in terms of story and character — at least to Kubrick’s latest drafts. The issue is that Kubrick kept rewriting the project, alone and with another writer, so we simply cannot know where he would ultimately have taken it. It is not just a matter of directing, but of development. Spielberg wrote the screenplay and directed the film based on the second-to-last treatment and the preparatory work Kubrick had done. But Kubrick was still revising the story when he abandoned it in 1995, so the point I tried to make in a chapter of my book Cracking the Kube where I chronicled the development of the film is that we will never know what A.I. by Stanley Kubrick would have been.
I consider 2001: A Space Odyssey to be the Sistine Chapel of the 20th century: just as Michelangelo’s work in the 1400s represented the pinnacle of artistic expression, the same is true of Kubrick’s film. Can you reveal something surprising about this infinite masterpiece that we haven’t already heard?
The surprising fact is that the film as we know it emerged almost at the last minute. 2001: A Space Odyssey is the perfect example of Kubrick’s working method — he kept generating new ideas until the very end, often reshaping the project entirely. As I explain in my book 2001 between Kubrick and Clarke, the film began as a fictional documentary about the early stages of human space exploration; over four years, it gradually evolved into a mythological statement about humanity’s place in the universe.
The most radical change — when Kubrick moved away from Arthur C. Clarke’s more literal and scientific approach — occurred only at the end of their collaboration. In the last five or six months, Kubrick made the decisions that transformed the film’s tone and feel: he eliminated the voice-over narration, which explained much of the action, cut several dialogue scenes, and used music to guide emotional responses. We often imagine a genius filmmaker who executes a perfectly designed plan, but with Kubrick nothing could be further from the truth. He knew what he did not want, and worked tirelessly to discover new and more compelling ways to tell the story he had chosen. Nothing in a Stanley Kubrick film was fixed from the beginning.
WILD FILMMAKER is a global movement created to support independent authors; we aim to be what James B. Harris was for Stanley Kubrick. Without James B. Harris, we certainly wouldn’t be here today talking about the greatest American director in the history of cinema. Do you think our work is useful, and that people who discover and help launch artists with an original vision are missing—or are rare—in today’s contemporary film industry?
My view of the current film industry is too limited for me to speak with any authority. It is true that without his partnership with James B. Harris it is possible — if not likely — that Kubrick would have remained on the margins of American filmmaking. But Harris did not “discover” Kubrick, nor did he nurture him as a patron or mentor.
They were equal partners who wanted to make good films, and they were both satisfied with their roles: Harris as a producer who could also write, and Kubrick as a writer-director who also understood the production side extremely well. Their split happened, in fact, because both wanted as much creative control as possible. Harris and Kubrick were true soul mates in their approach to cinema and to art in general, and Harris’s influence on Kubrick is often underestimated.
Given your intense study devoted to the filmography and biography of Stanley Kubrick, I’d like to ask you a question that touches on your unconscious: have you ever dreamed of him?
I must have, given how much of my daily work revolves around him, but I don’t recall any specific dream. Perhaps I think about his films enough while awake that my subconscious needs a break!
George Megrelishvili( stage name: George Megrela) is an actor from Georgia, ( a republic of, country). Now he is based in LA , CA. He’s bending his rich cultural background with his passion for acting and performance.
-Do you remember the exact moment you fell in love with cinema?
Yes, I do. I remember I was a young boy when I first watched one of the legendary movies “The Godfather” and it strongly impressed me. It excited and influenced me so much that I remember seeing it three times during a day.
-Tell us about your project “Call of duty”.
I’m incredibly proud to be a part of the popular game “Call of Duty” as Viktor Reznov (Only the face). It’s amazing to see my face in the game, especially alongside the iconic Gary Oldman whom I’ve always admired. It’s truly an amazing gift for me that after such an iconic actor, I also had a chance to bring this character to life again.I’ve always dreamed of sharing the set with Gary Oldman, and I truly believe that one day it will happen. I’m excited for what the future holds.
-Which Director inspires you the most?
Martin Scorsese, Christopher Nolan and David Fincher.
-What do you dislike about the world and what would you change?
I wish I could live in a better and more humane world, the world without wars and violence, where there are no people living in poverty and no children dying in wars or going hungry.
-How do you imagine cinema in 100 years?
I’m sure after 100 years, the film industry will be far more developed, emotional, and fascinating, with new ideas and technologies shaping cinema. People will still talk about cinematography and legends like Scorsese, De Niro, DiCaprio, Brad Pitt, Al Pacino, and other great filmmakers and actors—and I hope that one day they will talk about me and my role in cinematography too.
This is my dream, and I believe it will come true.
Dr. Željko Mirković is a highly acclaimed and internationally recognized filmmaker whose documentary work has earned over 136 awards from festivals and competitions around the world. His feature documentaries The Second Meeting and Tesla Nation were both officially Oscar-qualified, a rare distinction that speaks to the global reach and artistic credibility of his work. Alongside his filmmaking career, Dr. Mirković is an Associate Research Professor at the Werth Institute for Entrepreneurship & Innovation at the University of Connecticut, where he brings together media, communication, and entrepreneurial storytelling to study how narratives can shape culture and innovation. He also holds a PhD in the field of documentary film, in which he explored how documentary storytelling can function as a form of soft power — a way for nations, communities, and ideas to influence the world not through force, but through compelling, human-centered narratives. Together, his academic research and award-winning films demonstrate how documentary can be both an artistic medium and a powerful tool for cultural diplomacy and global understanding.”
Filmography
Documentaries – Film Director, Producer & Scriptwriter
“He is UCONN- Big Red” (26 min.) University of Connecticut, 2025.
“Innovation in Connecticut” (56 min.) University of Connecticut, 2024.
“Saban Bajramovic- My Journey” (56 min.) Optimistic film, 2024
“Tesla Nation” / season 3/ (10 x 25 mins.) Radio Television of Serbia – Optimistic Film, 2023.
“My Dear Friend Science with Vladimir Cmiljanovic- Basel University, Switzerland” – (3 x 25 mins.) Radio Television of Serbia – Optimistic Film. 2022.
“Tesla Nation” / season 2/ (10 x 25 mins.) Radio Television of Serbia – Optimistic Film. 2021.
“My Dear Friend Science with Gordana Vunjak Novakovic- Columbia University” – (10 x 25 mins.) Radio Television of Serbia – Optimistic Film. 2021.
“My Dear Friend Science with Vladan Vuletic- MIT and Harvard University” – (10 x 25 mins.) Radio Television of Serbia – Optimistic Film. 2020.
“My Dear Friend Science with Jelena Kovacevic- NYU Tandon.” – (5 x 25 mins.) Radio Television of Serbia – Optimistic Film. 2021.
“My Dear Friend Science with Zoric Pantic- Wentworth University” – (5 x 25 mins.) Radio Television of Serbia – Optimistic Film. 2021.
“Tesla Nation” / season 1/ (10 x 25 mins.) Radio Television of Serbia – Optimistic Film. 2018-2019.
“YouTubers in Serbia.” (5 x45 min.) Radio Television of Vojvodina – Optimistic Film. 2015 – 2016.
“Meet the Ambassadors in Serbia.” (22 x 45 mins.) Radio Television of Vojvodina – Optimistic Film. 2014 – 2015.
“My Dreams.” (5 x 45 mins.) Radio Television of Vojvodina – Optimistic Film. 2013. Video Storytelling campaigns
“Welcome to UConn” (social media campaign, 43 x 1 min. short films presented by CT Governor, Senator, UConn President, Provost, Vice Presidents, Professors, Students, Successful UConn Entrepreneurs and Alumni) University of Connecticut, CT, USA, 2024.
“Swiss Rockets” (social media campaign, 30 x 2 min. short films about CEO, Founders, Scientists, Investors, Researchers, Staff, Swiss and International Partners, Academics, Biotech Leaders and Professionals), Swiss Rockets- Optimistic film, Switzerland, 2024.
-Do you remember the exact moment you fell in love with cinema?
“Long before his international film career, Željko Mirković was already deeply creatively engaged. From his high-school years, he was involved in a wide range of artistic and cultural activities that shaped the way he tells stories today. During that formative period, he developed a strong appreciation for both European auteur cinema and classic American filmmaking, a dual influence that can still be seen in his work — blending European emotional depth and reflection with American narrative clarity and pacing. That early, continuous engagement with culture, storytelling, and film created the foundation for the filmmaker and scholar he would later become.”
-Tell us about your project “Innovation in Connecticut”.
Innovation in Connecticut is a documentary initiative launched under the leadership of UConn President Dr. Radenka Maric and directed by Dr. Željko Mirković to present the University of Connecticut as a central engine of scientific, technological, and economic innovation. At its core, the film is about how research universities drive real-world progress. It presents UConn not simply as a campus, but as a living innovation ecosystem — where scientists, engineers, physicians, entrepreneurs, and students collaborate to solve problems that affect:
public health
advanced manufacturing
energy and sustainability
digital and biomedical technologies
workforce development The documentary situates UConn’s research inside a larger story: Connecticut’s transformation from a traditional industrial state into a modern, knowledge-driven economy. It shows how university-based innovation connects directly to startups, established industries, hospitals, and state and federal agencies. Rather than treating science as something abstract, the film frames it as a tool for improving lives, strengthening communities, and ensuring economic resilience.
Why this story matters for UConn
For UConn, the documentary is about identity and mission. It presents UConn as:
a nationally competitive research institution
a magnet for top scientists and students
a hub where ideas move from lab to marketplace Under Dr. Maric’s presidency, UConn has emphasized innovation, interdisciplinarity, and public impact. The film reflects that vision by showing that UConn’s research is not isolated inside laboratories — it is actively shaping medicine, engineering, business, and public policy. In other words, the documentary answers the question: Why does UConn matter beyond its classrooms? And the answer it gives is: Because UConn is a generator of the ideas, technologies, and talent that Connecticut and the nation depend on.
Why it matters for Connecticut
Connecticut has long been known for aerospace, defense, medicine, insurance, and manufacturing. But to stay competitive, those industries must continually innovate. The documentary shows UConn as the backbone of that innovation pipeline:
educating the future workforce
conducting breakthrough research
supporting startups and tech transfer
attracting federal and private investment By highlighting UConn’s research impact, the film makes a broader argument: Investing in science is not just an academic decision — it is an economic strategy for the entire state. The film therefore becomes not just a university documentary, but a portrait of Connecticut’s future.
Why it matters for the United States At a national level, the film aligns with a major U.S. priority: keeping America globally competitive in science, technology, and innovation.
Universities like UConn play a critical role in:
medical discoveries
advanced materials
cybersecurity
clean energy
artificial intelligence By focusing on one state and one university, the documentary makes a bigger point: America’s strength is built locally — through regional innovation hubs that feed into the national research and technology system. UConn becomes a case study for how public universities support national security, economic leadership, and scientific advancement. How the documentary reflects Dr. Željko Mirković’s filmmaking style Dr. Željko Mirković is internationally recognized for a documentary style that blends:
visual storytelling
human-centered narratives
a cinematic sense of place
intellectual depth Rather than relying on dry explanations, his films typically:
follow people
reveal environments
and allow images, motion, and sound to carry meaning In Innovation in Connecticut, that approach is especially powerful. Science is often hard to communicate — it can feel abstract or intimidating. Mirković’s style counters that by showing:
scientists at work
students in labs
machines, instruments, and experiments in motion
the physical spaces where discovery happens This makes innovation visible and tangible, not just theoretical. How Mirković’s style helps tell the story of science Mirković does not treat science as just data or results. He treats it as a human and creative process. Through his lens:
researchers become storytellers
laboratories become stages
experiments become visual narratives This aligns perfectly with the film’s mission: to show that innovation is not a slogan — it is something people do every day. His cinematic approach gives science:
emotion
rhythm
visual beauty That makes the message more persuasive: science is not only useful — it is inspiring. The deeper message of the documentary Ultimately, Innovation in Connecticut is saying something very simple and very powerful:
Science is the foundation of the future. For UConn, it means leadership in research. For Connecticut, it means economic renewal. For the United States, it means global competitiveness. By combining Dr. Maric’s strategic vision with Dr. Mirković’s cinematic storytelling, the documentary becomes more than an institutional film. It becomes a statement about why investing in knowledge, discovery, and innovation is essential for society.
-Which Director inspires you the most?
“Željko Mirković’s artistic roots are shaped by a rich dialogue between European and American cinema. He has long admired the poetic humanism of Italian masters such as Federico Fellini, Pier Paolo Pasolini, Vittorio De Sica, and Giuseppe Tornatore, as well as the radical storytelling of the French New Wave. At the same time, he has been deeply influenced by Russian filmmakers including Andrei Tarkovsky and Sergei Eisenstein, whose work expanded cinema into philosophy, memory, and spiritual inquiry. From the United States, he draws inspiration from directors and documentarians such as Martin Scorsese, Oliver Stone, Jim Jarmusch, and Ken Burns, whose films shaped his understanding of history, character, and the power of long-form storytelling. Together, these traditions became the foundation of his distinctive documentary style — often described as ‘documentary fairy tales’ — films that respect real human stories while carrying strong messages of peace, empathy, and cultural connection, grounded in the belief that we are all one.
Today, Dr. Mirković continues this work as an Associate Research Professor at the University of Connecticut, where he explores how storytelling, innovation, and visual communication can shape society. His recent focus on science documentaries reflects his belief that science offers some of the most powerful and hopeful narratives of our time — stories that expand knowledge, improve lives, and point toward a more positive future. This same philosophy inspired the founding of his production company, Optimistic Film — a name that reflects his worldview: that through culture, understanding, and shared stories, people across the world can live together with deeper respect and optimism.”
-How do you imagine cinema in 100 years?
Today, Dr. Mirković works as an Associate Research Professor at the University of Connecticut, where he also teaches a forward-looking course on how to make films using smartphones. He believes that the future of cinema will be shaped by new tools, devices, and formats, but that true filmmaking will always rest on the timeless principles of classical cinema — storytelling, composition, rhythm, and emotional truth. New technologies may change how films are made, but how we tell stories is what ultimately creates meaning and lasting value. This philosophy also drives his recent focus on science documentaries, where innovation and discovery provide endless new stories that shape human life in positive ways. It is the same spirit that inspired him to found Optimistic Film, a company built on the belief that through storytelling, understanding, and shared culture, people across the world can live together with deeper respect and optimism.”
-What is your impression of WILD FILMMAKER?
The Wild Filmmaker Platform represents an important and timely space for independent documentary voices, and I express my sincere respect for its commitment to supporting bold, original, and socially engaged storytelling. With more than 25 years of experience in documentary filmmaking, Dr. Mirkovic brings a deep understanding of the creative, ethical, and practical dimensions of nonfiction cinema. This long-standing professional practice, combined with active membership in the International Documentary Association (IDA), the European Film Academy, and the European Documentary Network (EDN), reflects a strong engagement with the global documentary community and its highest professional standards. I warmly encourage the Wild Filmmaker Platform to continue expanding its connections with other filmmakers’ platforms, networks, and international organizations. By building bridges across communities, Wild Filmmaker can further strengthen opportunities for collaboration, visibility, and creative exchange, helping independent filmmakers reach wider audiences and develop more impactful work. Such openness and cooperation are essential for the future of documentary cinema, and I look forward to seeing the Wild Filmmaker Platform grow as a dynamic hub for filmmakers around the world.
The treasure of Templars of Rennes the Castle in France discovered by Abbe Sauniere member of Priory of Sion then by Florence and Patrick against Brouillard Society .
The characters are multi -dimensional. The frantic search for the Holy Grail is the incandescent fulcrum of this intricate. Thriller/mystery where espionage and daring escapes follow one another between present and past . Everything wonderfully turns around the Grail, its fascinating mystery , the figure of Jésus -Christ , Mary Magdalene and iconic characters such as Abbe Boudet , Jules Verne , Victor Hugo , George Sand , Chopin , Wagner, the empress Sissi , Manon medium – pranotherapist and the king Ludwig of Bavaria who in addition to being part of the Priory of Sion , share the same need to protect their precious documents from the dirty hands of Brouillard esoteric society.
Biography
Florence Cazebon-Taveau born in 1962 is a multi –artist (painter, medium , writer, poet, screenwriter, actress ) who has obtained 285 Award Winner on many film festivals for this screenplay published by Edilivre Edition.
All cinematographic rights are one hundred per cent with the author and not with the editor.
I am an artist, designer with 15+ years of experience building digital experiences, visual brands, and cinematic storytelling. I have worked with small boutique shops, to entertainment companies, to large global corporations.
From enterprise UX and motion design, logo design, to my award-winning feature-length documentary film (A Father’s Day on Amazon Prime), I blend creativity with strategy to deliver what engages and inspires.
-Do you remember the exact moment you fell in love with cinema?
I would have to say, I first fell in love with cinema when I watched a movie titled, “Sharky’s Machine” starring Burt Reynolds. It wasn’t a huge blockbuster movie at that time. (I was a kid in middle school when it came out.) But, there is a scene in the movie where the bad guy falls from the window of a high rise building. The camera stayed on the stuntman almost all the way down to the ground. As a kid I thought, “Wow, I would like to be involved in making something like that!”
-Tell us about your project “Why We Create. The Art of Being Human”.
“Why We Create. The Art of Being Human” is a visually rich, emotionally resonant video that explores why art, music, and creativity are not luxuries—but necessities in any functioning society.
The goal: to remind people that art is not “extra,” it’s essential to our identity, empathy, memory, history and evolution.
-Which Director inspires you the most?
There are a few, but I would say Spike Lee. The subject matter of the films that he produces and directs, plus his signature ‘character on a dolly’ move while the camera follows is world class art!
-What do you dislike about the world and what would you change?
I dislike the lack of truth and authenticity right now. I’m encouraged however, by the belief that truth and authenticity still matter, even in a time when it can be easy to hide behind screens and present a false version of oneself. No matter the disguise, honesty has a quiet strength—it always finds a way to surface and be seen.
-How do you imagine cinema in 100 years?
I imagine that 100 years from now, cinema will still be thriving sustained by the foundations we, as creatives, are building today, and by those who came before us. Knowledge will be shared through mentorship and teaching, empowering those eager to learn. From there, new generations will discover their own voices through hands-on experience, passing their insights forward in an ever-evolving cycle. In this way, cinema can continue to grow while preserving its artistic integrity.
-What is your impression of WILD FILMMAKER?
My impression of WILD FILMMAKER is that it is, or will be, a hub of all things film. A database of filmmakers and their films, up and coming projects by filmmakers. And a whos-who of award recipients and their projects.
I am a South American director, screenwriter, and producer. I have been working in audiovisual production for twenty years, specifically in central Brazil. My filmography includes short films, feature films, and series, covering both fiction and documentaries. My most recent works are the feature film ‘Do Sul a Vingança’ (From The South, The Revenge) and the documentary series ‘Mitos Vivos’ (Living Miths).
I seek inspiration in the popular culture of central South America, a convergence of cultures from Brazil, Paraguay, Argentina, and Bolivia. I believe this macro-region is rich in stories yet to be told in cinema: from the conflicts arising from the encounter between Europeans and indigenous peoples, through the War of the Triple Alliance, to the present day with the disputes between drug trafficking factions in Latin America. I value our mixed heritage and the wisdom of the popular imagination to address social themes.
-Do you remember the exact moment you fell in love with cinema?
I remember two defining moments. The first was at age 5, when I watched ‘Star Wars’ with my father. It was a dubbed version, and at the time I understood very little of the plot, but the love for going to the cinema never left me.
The second, and decisive moment, happened when I was already 37. I produced a short documentary about Fort Coimbra, located in the Brazilian Pantanal. When screening the film for the local community, I realized how meaningful it was for them. People saw their own stories on the screen and showed an emotion I had never witnessed before. From that moment on, I decided I would never stop seeking out these stories to share them with the world through cinema.
-Tell us about your project “Mitos Vivos (Living Miths)”.
Mitos Vivos’ was inspired by the oral tradition of my childhood, when I witnessed the hypnotic power of legends told by my grandparents. As I deepened my research years later, I sought to understand the social function of these narratives.
I discovered that these fantastic tales are tools of popular wisdom used to process reality. They serve as mirrors of real conflicts, addressing themes such as racism, religious intolerance, and machismo. I also observed an interesting fact among indigenous peoples: the use of myth as an agent of environmental preservation. The project explores how a society synthesizes its sorrows and joys through folklore and demonstrates how external factors — such as the economy, migratory flows, and the environment — play a decisive role in shaping the unique cultural identity of each people in our region.
-Which Director inspires you the most?
I greatly admire the work of my compatriot Fernando Meirelles. What inspires me most in his work is the social realism, a visceral approach that, at times, adopts an almost documentary aesthetic. This ability to bring the truth of the streets into fiction is something I always strive to observe.
-What do you dislike about the world and what would you change?
What troubles me most is the resistance to accepting the facts. Despite all the scientific evidence regarding how certain human activities destroy our planet, these practices persist, almost always generating profit for the few at the expense of the many.
What I would change is our relationship with energy. I believe the transition to sustainable energy sources is urgent, but it must be carried out with a focus on collective benefits and the preservation of life, not merely for economic interest.
-How do you imagine cinema in 100 years?
From a technological standpoint, it is difficult to imagine what the cinematic experience will look like a century from now. However, from the perspective of art, I believe cinema will always hold a prominent place. It will remain essential, both as a powerful social mirror and because it fulfills the intrinsic human habit of being moved by good stories on screen.
-What is your impression of WILD FILMMAKER?
I have a great impression. Wild Filmmaker plays a crucial role in creating a global network for independent cinema, far from the constraints of the commercial circuit. I greatly value the focus on authenticity and experimentation. These qualities are vital for the survival of cinema as an art form, in a time when the mass industry tends to stifle authorial creativity.
Mysti Cozart Smith is a storyteller at heart—writer, director, producer, and composer—who believes cinema should leave a mark on the soul, not just the screen. I create character-driven stories rooted in emotion, faith, longing, and human connection. My work lives in the space between intimacy and scale—small towns, quiet moments, unresolved tensions, and the unseen spiritual undercurrents that guide our lives.
I come from a background in music and storytelling, and that rhythm deeply influences how I approach film. For me, cinema isn’t about spectacle—it’s about resonance. I’m drawn to stories that stay with you long after the credits roll, stories that ask the viewer to feel, reflect, and remember.
Do you remember the exact moment you fell in love with cinema?
Yes—very clearly.
It wasn’t a single film, but a realization: that cinema could say what people often don’t know how to articulate. I remember watching a quiet, emotionally driven scene where nothing “big” happened on screen—yet everything changed internally. I remember thinking, this is language without words.
That moment taught me that cinema could hold grief, hope, faith, and love all at once. From then on, I didn’t just watch films—I studied how they made me feel. That’s when cinema became more than entertainment; it became vocation.
Tell us about your project “Love Comes Home To Holly”.
Love Comes Home To Holly is a faith-forward romantic drama set in a small town during the Christmas season—but at its core, it’s about reconciliation, healing, and the courage to come home to who you really are.
The story follows a woman who returns to her hometown carrying both success and regret, only to confront unresolved relationships, buried faith, and a love she never knew she needed. What makes the film unique is its emotional honesty—it doesn’t rush redemption or romance. It allows space for silence, struggle, and grace.
The film is deeply personal to me. It explores the idea that love doesn’t always arrive loudly—sometimes it waits patiently for us to be ready. It also quietly challenges the industry by blending faith and cinema in a way that is accessible, human, and emotionally grounded rather than didactic.
A teaser and full trailer are currently in post-production, alongside a cinematic music video featuring an original song written for the film—designed to extend the emotional world of the story beyond the screen and into music.
Which director inspires you the most?
I’m inspired by directors who trust restraint and subtext—those who understand that what’s not said can be more powerful than dialogue.
Terrence Malick has deeply influenced me in terms of visual poetry and spiritual inquiry. I’m also inspired by filmmakers who honor character above trend, and who aren’t afraid of stillness, silence, or moral questions. I admire directors who create space for contemplation rather than spectacle—who let the audience meet the film halfway.
What do you dislike about the world and what would you change?
I dislike how rushed everything has become—how quickly we consume stories without sitting with them. We scroll past pain, faith, and beauty as if they’re disposable. I believe we’ve lost patience with depth.
If I could change anything, it would be our willingness to listen—to each other and to ourselves. Cinema has the power to slow us down, to re-humanize us. I want my work to invite reflection rather than distraction, empathy rather than outrage.
How do you imagine cinema in 100 years?
Technologically, cinema will evolve beyond anything we can currently imagine—but emotionally, I believe it will circle back to its roots.
In 100 years, the films that endure won’t be the ones with the most advanced tools, but the ones that tell timeless truths. Story will always matter. Human longing will always matter. Faith, doubt, love, loss—these themes will never expire.
I believe cinema’s future lies in authenticity. Audiences will crave meaning again. And filmmakers who tell honest, courageous stories will always find their place.
What is your impression of WILD FILMMAKER?
WILD FILMMAKER feels like a necessary voice in today’s cinematic landscape.
It champions independent creators who aren’t afraid to be bold, thoughtful, and unconventional. It celebrates arthouse cinema not as a trend, but as a philosophy—one rooted in artistic integrity and creative freedom. I admire its commitment to giving space to filmmakers who challenge norms and tell stories from the margins.
To be included in this community is an honor. It reminds me that cinema is still wild, still brave, and still capable of truth.
