He is a man who came to Sweden as a boy all alone without his parents from the Kurdish part of Turkey. I lived for 5 years as a hidden refugee and struggled to get a fresh start in the new country. During my time as a hidden refugee, my best friends had the loneliness, the fear, the panic of doubts and uncertainty that taught me to dream that one day I will be a moviemaker.
-Do you remember the exact moment you fell in love with cinema?
I was 9 years old started playing on the streets together with a friend. I fell more in love being an actor, then after I start writing and shared roles to my childhood friends who were as old as me . I started directing them , it’s was a feeling that I overcame to make all the children do what is I want to say and all this did in front of my parents and adults who were curious what we do. The sad thing is neither of my parents didn’t see I had talent while they were having fun watching us. Dem never thought to send me to a movie line school.
-Tell us about your project “Nice To Meet You”.
“Nice To Meet you” is a short film project about Emilio and Mikas, two men in their 30s who have never known true love or embrace from their parents as children. One night in a park, when Mikas is on the verge of taking his life, Emilio sees him and intervenes in an impulsive act. This becomes the starting point of their first meeting. During that night, as they share their wounded memories, an unlikely and deep connection develops between them. They explore their feelings and desires, leading to an unexpected intimate experience. When they wake up the next day, they face questions about their feelings and how this night will affect their lives going forward. The film aims to raise awareness around topics such as mental health, the complexity of love and the importance of overcoming childhood trauma. By portraying an authentic and vulnerable story, we hope to inspire conversations about these important issues and show that love can be found in the most unexpected places.
-Which Director inspires you the most?
Stanley Kubrick , Ingmar Bergman , Christopher Nolan and Fatih Akin.
-What do you dislike about the world and what would you change?
Politics and Religion I do not like . I would purge both of them from our planet. Without them two we would have lived much happier.
-How do you imagine cinema in 100 years?
Since everything is becoming digitized , cinema in 100 years will become a nostalgia for us all.
-What is your impression of WILD FILMMAKER?
I’m so grateful that I got to be there first, I want to say. Helping filmmakers to be heard around the world is incredibly important for those of us who want to tell our story. And you are part of that for us.
Where does your desire to express yourself through art come from?
My desire to express myself through art comes from both my own life and the experiences of others. I’m often inspired by documentary films and non-fiction books, which encourage me to explore different perspectives in order to create and present meaningful messages to the audience.
What are your goals as an artist?
My goals are to become a filmmaker who can direct films filled with infectious energy and impact, working with lovely people.
What is your opinion on the cultural industry?
I think mainstream films dominate the entire film market. For example, Hollywood films often lack creativity, and the standardization of storytelling can make them feel boring and predictable. They mainly focus on whether a film will be profitable and appeal to the largest possible audience, putting commercial success above artistic originality.
There are pros and cons to mass production in the cultural industry. On one hand, it can reach a wide audience and produce profit; on the other hand, it may not be the most interesting way to promote artistic work and can feel like an old-fashioned approach to engaging viewers.
In conclusion, I think that a healthy cultural industry will combine popular appeal with fresh ideas while also supporting smaller, creative works in the future, much like what film streaming platforms such as Netflix are beginning to do.
Do you think independent artists today have enough opportunities to share their creativity?
Yes, I believe independent artists today have more opportunities to share their creativity than before. There are many online platforms and portfolios such as artist webpages, Behance, YouTube, and Vimeo that allow them to showcase their work. In addition, sharing and promoting trailers on social media platforms like Facebook and Instagram provides further ways to reach wider audiences. Independent artists can also use film festival platforms such as FilmFreeway or Click For Festivals to submit their projects to festivals worldwide. Moreover, they have the possibility to collaborate with media platforms such as Vice, where they can pitch ideas by sending proposals via email. This gives independent filmmakers the chance and freedom to explore different approaches in developing their ideas and stories, and to present them to audiences in more creative and original ways.
What new project are you currently working on?
I’m still working on what to do with my next project. I’m thinking of documenting local communities in UK. I am considering creating a documentary about pole dancing, fitness, and well-being in the UK, inspired by the Netflix film Strip Down, Rise Up. Another idea I have is to document the deaf community in Manchester. I am thinking of inviting a deaf friend named Helen to share her experiences and thoughts, telling her story as part of the documentary.
I try to learn a little more about who she is every day, haha.
I asked the internet and apparently: Alix Bénézech is a French actress, seen in theater, in cinema (Mission: Impossible – Fallout directed by Richard Linklater with Tom Cruise, The 15:17 to Paris directed by Clint Eastwood, BIS directed by Dominique Farrugia) and in series (Nina, Emily in Paris, Whiskey Cavalier). Winner of several acting awards, she pursues an international career between Paris and Hollywood. Soon to appear in Nouvelle Vague, directed by Richard Linklater, releasing in theaters in France on October 8 and later on Netflix, in the role of Juliette Gréco.
I can also add that I am passionate about 19th-century literature, especially Marcel Proust, an author I studied for my Master’s in Modern Literature. I can also say that after spending time with me every day, my character is absolutely similar to that of a cat.
How did you approach the role of Juliette Gréco in Richard Linklater’s Nouvelle Vague?
I knew Juliette Gréco by name, but I knew little about her life. So I investigated, as I like to do for each role entrusted to me. I discovered an exceptional woman who had an extraordinary life, marked by war, silent for a long period until meeting Boris Vian—a visionary woman, a woman who created an artistic movement, who was the muse of Saint-Germain-des-Prés, who worked with Sartre and all the existentialists (such a beautiful word, existentialist), ahead of her time, a feminist before the Me Too era, an inspiring and free artist with a key word: LOVE, whether it was love for the men she loved, notably Miles Davis, but also love in every gesture of her art and life—a woman of faith, without referring to any particular religion, even though she liked to say “may God hear you” and associated with priests. By reading her books, listening to all her interviews, listening to all her songs, and her singular voice, again and again, I found many points of resonance, soul connections.
Without going into details of my personal life, as I am quite private about it, Juliette became like a big sister, a best friend, and very quickly, already at the first casting, beyond the physical resemblance I had already been told about, I had become Juliette Gréco—not as an imitation, but simply by letting her live through me as if I were a new Juliette Gréco.
Juliette did me a lot of good at that moment in my life; I really needed to have this imaginary yet so real encounter for me.
Then I met Richard Linklater at the callback with Guillaume Marbeck, and it was magical. I saw Jean-Luc Godard in person, I just had to improvise, live, be Juliette—everything was fluid. I remember a moment when Guillaume Marbeck, who was very generous, said something that resonated both for Juliette Gréco and for me: he said, “I think French cinema underestimates you.” I remember containing my emotion because if I cried, it would no longer have been Juliette Gréco. And it truly resonated, because at that moment I felt a little like an outsider in France. Since then, I have returned to film sets and feel the wind at my back—I believe that’s cinema: waves. I’m happy to have learned to surf and to ride this new wave joyfully.
At the end of the improv, Richard Linklater, who had remained very discreet, observing and listening, with great gentleness said to me, “Bravo.” At that moment I thought he said it just to please me, out of politeness for the work accomplished. I left the casting and cried in the street, taking off Juliette’s retro heels and putting my sneakers back on—I cried because I felt like I was saying goodbye to an entire world of cinema and creativity that I wanted to continue exploring. Then I got the call from Stéphane Batut, the casting director, in January 2024, and I felt immense gratitude, exactly the same as when my agent had told me I was cast in MISSION: IMPOSSIBLE – FALLOUT. I thought, “You did a good job, you are on the right track.” And I immediately went back to work to prepare for filming.
Then there was a moment I remember before shooting, during costume fittings. I met costume designer Pascaline Chavanne, her entire team, Elsa Heizmann, and all the CHANEL teams to try on Juliette Gréco’s costumes. I went to the legendary Gabrielle Chanel apartment on Rue Cambon in Paris, and I remember the awe I felt climbing the stairs of this iconic place. And the emotion I felt trying on the authentic CHANEL suit that Juliette Gréco had worn. I thought everything was aligned, and that I was about to be part of a cinematic adventure that would likely go very far. I had a vision at that moment, and everything has been confirmed since.
Nouvelle Vague is a film much loved by cinephiles. Which cinema from this historical period do you love the most?
Yes, it’s wonderful—all the magic around this film, it’s a love letter to cinema, and it’s amazing that so many cinephiles love it. It’s a film that unites. And I think that’s important today. I wholeheartedly love François Truffaut’s LES 400 COUPS; this is the work I mentioned in my self-tape for the casting. It’s a kaleidoscopic work, which I actually discovered at Cannes. As a child, I had won a contest to attend the Cannes Festival for a week to discover films; Les 400 Coups was screened on the beach, and I took a photo. I found this photo in my diaries—it felt like a beautiful sign, and I gave it to Richard Linklater at the end of shooting.
I also watched BONJOUR TRISTESSE a lot, and I was amazed discovering Richard Linklater’s film, and witnessing Zoey Deutch’s nuanced and sensitive performance—she recreated so accurately the truth of Jean Seberg, an actress who has always deeply moved me.
You also had other prestigious professional experiences, like your role in The 15:17 to Paris. What was it like being directed by Clint Eastwood?
Thank you. I loved meeting Clint Eastwood—he is so funny and works with great gentleness. I only had one day of filming, but I remember every moment. He thought I was German because I played a small barmaid in a Berlin pub, and it’s true that I lived in Germany for 10 years—I barely have an accent. He gives a lot of freedom and space, which is why I think his films feel so human. He had lunch with us, all the actors, and we talked about many subjects—it was fabulous. Seeing a living legend, one of my favorite directors and greatest inspirations, simply talking about our favorite dishes, jazz, sports, and cinema—it was fantastic.
What projects are you currently working on?
I just finished filming BERLIN BERLIN directed by Olivier Van Hoofstadt with Didier Bourdon—I had a lot of fun; it’s going to be funny. I also filmed L’INFILTRÉE directed by Ahmed Sylla, where I act alongside him, and the TV movie PAPA MALGRÉ LUI for TF1, where I act with Arnaud Ducret. I’ve also done a lot of work for France Télévisions, in the series TOM ET LOLA season 2, ASTRID ET RAPHAËLLE season 6, and the TV movie MEURTRE EN PÉRIGORD VERT. I have also appeared in several short films by Swann Dupont, Gil Gharbi, and was a finalist for the 2025 INTERPRETATION LABELS for my role in the short film DE CELLES QUI GUÉRISSENT, aired this summer on TF1. I have other upcoming projects that I can’t wait to talk about.
For my work as a film producer, I have been attending the Cannes Film Festival for more than 20 years. When I was young, I used to watch many films, but in recent years what was once a passion has become a job, and I rarely have the time to watch films during the Festival. However, the moment I saw the poster for Nouvelle Vague by Richard Linklater, I was immediately transported back to my teenage self — in love with the cinema of François Truffaut, Jean-Luc Godard, and all the directors of that wonderful historical period, defined by courage, recklessness, and passion, that filmmakers poured into their work and which we call the Nouvelle Vague.
I stepped away from my production meetings at the Cannes Market for a few hours and went to see Nouvelle Vague. My review can be summed up in one word: HAPPINESS!
This film was a powerful aspirin for my cinephile soul! Nouvelle Vague deserves to win the Oscar, so that above all the younger generations can discover what cinema once was — and what it could once again become.
WILD FILMMAKER was born five years ago, inspired precisely by the idea of creating a global contemporary Nouvelle Vague. That is why I am so happy to welcome Adrien Rouyard — who portrayed François Truffaut in the poetic Nouvelle Vague — into the WILD FILMMAKER Community!
– Who is Adrien Rouyard?
I was born in 1992 and grew up in a small town called Marignier in Haute-Savoie, very close to Mont-Blanc. At the age of 20, I moved to Paris to try to become an actor. I first joined a drama school, Cours Florent, where I studied for three years. Then, in 2015, I entered the École du Nord, a higher school of dramatic arts located in Lille, in northern France, where I studied for another three years. Since then, I’ve been living again in Paris. My main activity remains the theater, which I consider “my home,” but I also work in cinema and television. Being an actor is very important to me, but I also have other passions. I am a big tennis fan, I enjoy gastronomy, and I am also very interested in oenology. And whenever possible, I love to return to my childhood homeland to go into the mountains.
– You played François Truffaut in the film Nouvelle Vague, which I consider the best presented at the last Cannes Film Festival. How did you build this character?
Since the end of my teenage years, I have felt a special affection for the Nouvelle Vague and for François Truffaut. Even before knowing that I would portray him, I was familiar with his interviews and his writings. So I imagine something must have already seeped into me. Then, before shooting, I immersed myself again in all the archives I could find on the internet. My work consisted of finding the right balance — getting closer to his gestures, rediscovering his smile and his gaze, while still allowing my own personality to come through.
– Which Nouvelle Vague films do you love the most?
The 400 Blows remains the most important for me. It was the first one I discovered and the one I cherish the most. I watch it at least once a year. James Gray once said it has one of the most beautiful endings in cinema, and I agree with him. Otherwise, I would also mention The Soft Skin, another Truffaut film, Pierrot le Fou by Godard, Cléo from 5 to 7 by Agnès Varda, and Elevator to the Gallows by Louis Malle.
– What projects are you currently working on?
I am preparing to shoot in the next film by Robert Guédiguian, titled Une Femme Aujourd’hui, and I will soon resume rehearsals for a play directed by Tiphaine Raffier, which will premiere in 2026 and whose theme is illness, inspired by Thomas Mann’s The Magic Mountain.
– What kind of role would you like to play in a film?
Where does your desire to express yourself through art come from?
All of my life I was wondering about what is going on in this world. How can people be interested in things that are so obviously superficial? For example, why do people watch television every evening? Or why do they believe in figures who have nothing to say, if you really listen to them? Of course it’s of no use to fall into desperation. So I had to find my way through. That’s why I made a decision for art. Maybe I would get in touch with people who have similar ideas… And I am glad to say that it led me to the discovery that the world isn’t so bad – and that people are much more likable than I’d thought before.
What are your goals as an artist?
My one goal is to achieve a better life – or to say it correctly a life worth living. And I guess that actually is a quite demanding task. Because we are so used to know everything. We assume to know the purpose of life and how to achieve happiness and such things… But that isn’t correct if you really think about it.
What is your opinion on the cultural industry?
I would say that time is running faster than ever. The contents change before you can get a clear thought on them. Maybe like in the mind of a person who can’t focus on one thing. Or you may compare it to a newsfeed. I think that is a most difficult position for us today.
Do you think independent artists today have enough opportunities to share their creativity?
It’s never easy for an artist to get recognition. But artistic ideas have a chance if the artist truly believe in them. It is an advantage of our time that i.e. the means to make a film are available for more persons than in former times.
What new project are you currently working on?
Since I started making short films I did all parts by myself. For example, if I wanted to use some guitar sounds, I played the guitar myself even though I didn’t know the notes… That’s why I want to change one or two things in my next projects, including working with other professionals.
(Instead of a self-written statement, this is a reprint of a media article introducing Director Mira Kim)
“AI is My Creative Partner” — The AI Film Director Who Captivated the World
“AI is not simply a tool, but a creative partner and companion with infinite possibilities.”
We met with Director Mira Kim, who recently swept the top awards in the AI category at prestigious international film festivals, including the New York International Film Festival. Her representative work The Long Journey showcases a new aesthetic born from AI–human collaboration and has received critical acclaim in the global AI film industry.
Director Kim, who always loved writing, drawing, and watching films, decided later in life to study AI at university. Immersing herself in this rapidly changing field, she encountered a turning point in 2023 with the release of generative AI—where her creative spirit could soar through AI art.
“When generative AI was released to the public, it felt like being struck by lightning. I was so excited by the infinite possibilities unfolding before my eyes that my whole body trembled.”
Despite lacking technical expertise in design tools and facing early difficulties with AI platforms, she overcame challenges with pure passion. Eventually, she launched an AI-focused YouTube channel and built a considerable following.
Her experimental pursuits were widely recognized: she won awards at the Korea Expressway Corporation Contest with 2040 Future Highway: South Korea’s Green Innovation, and distinguished herself in the Ministry of Unification’s AI Art Challenge. Today, her works are exhibited in the United States and Germany.
“The competitions were both challenges and learning opportunities. Through countless setbacks, I was able to refine my creative process and develop my own unique approach.”
Achievements at Global Film Festivals
Her latest work, The Long Journey, won Best AI Film at numerous international film festivals, including:
New York International Film Festival (NYIFA)
Oneiros Film Festival
Symbiotic Film Festival
Amsterdam New Cinema Film Festival
Berlin Independent Film Festival
CineParis Film Festival
Rome Prisma Film Festival
The film is a deeply personal story inspired by her late father-in-law. It depicts life during the Japanese colonial period, war, and poverty—illuminating the resilience of a generation that transformed Korea into a prosperous nation.
“I wanted to express respect and awe for my parents’ generation who endured hardships and created today’s South Korea.”
Initially rejected by Korean AI film festivals, she submitted instead to international ones, motivated to share Korea’s history, language, and emotions with the world. Her persistence was rewarded with multiple awards.
“This experience reaffirmed the universal truth that ‘what is most Korean is most global.’”
Knowledge Sharing Through YouTube
Today, Mira Kim shares her expertise on her channel Fly Candy TV.
“We are at the starting point of exploring the infinite possibilities created by the combination of AI and art. My focus is on telling stories about us, about the human world, and finding ways to present them impactfully with AI.”
Her journey is far from over. The horizon of AI–human collaborative cinema continues to expand with each of her works.
Bronze Prize, Unification Art Challenge (Ministry of Unification)
Awarded for impactful imagery and exploration of hope in the context of unification
Interview with Mira Kim
Do you remember the exact moment you fell in love with cinema?
I was thirteen when I watched Gone with the Wind, starring Clark Gable and Vivien Leigh. That experience changed me. From then on, going to the cinema alone became one of my greatest joys.
At the time, my family was struggling financially. My father was an unknown film director and screenwriter who never gave up on his artistic dreams. We didn’t even have a television, so the cinema became my only window into stories. In old neighborhood theaters, I could watch three movies in a row for just a few coins. Looking back, I believe those experiences shaped who I am today.
Tell us about your project A Long Journey.
A Long Journey is both a family story and a meditation on Korean modern history. It portrays an 89-year-old man’s extraordinary life through the nation’s most turbulent times—from colonial occupation to post-war reconstruction.
The film’s most powerful scenes include:
a young father writing letters while working abroad in the desert,
an elderly husband refusing to send his wife with dementia to a care facility,
his spirit comforting her with the promise of preparing their eternal home.
Created with innovative AI, the film demonstrates how technology can serve as a partner in telling deeply human stories.
Which Director inspires you the most?
As a Korean filmmaker, I have been deeply inspired by Bong Joon-ho and Park Chan-wook. Their storytelling and bold aesthetics shaped modern Korean cinema.
Beyond Korea, I found resonance in the work of Hirokazu Kore-eda, especially in Nobody Knows.
Both Bong and Kore-eda compel us to confront uncomfortable truths:
Parasite visualizes the scent of class.
Nobody Knows voices the silence of abandonment.
These films ask us difficult but necessary questions about who we are in society.
Having grown up in a modest household, many of my stories are rooted in memory—often seen through a child’s eyes. Family, to me, is the universe from which all narratives emerge. I am drawn to quiet, human-centered stories that revisit unspoken moments and create spaces for reflection.
What do you dislike about the world, and what would you change?
What I dislike most is “a world that erases memories.”
Today’s world feels too clean, too neatly organized—stripping away the scents, sounds, wounds, and imperfections that make life real. What I long for instead is a world where traces remain:
where neighbors laugh together even at shameful moments,
where children’s laughter, church bells, and the scent of candles flow across generations,
where memories, even painful ones, are preserved and respected.
How do you imagine cinema in 100 years?
Cinema will evolve beyond entertainment into a tool that expands human experience. AI will democratize filmmaking, making everyone a potential creator. Real-time translation may allow all cultures to be shared freely.
Yet, no matter how much technology advances, the essence of storytelling and human emotion will remain unchanged.
What is your impression of WILD FILMMAKER?
I see WILD FILMMAKER as a space that embraces the post-cinema era—where anyone with a smartphone can create and share films. Unlike commercial magazines, it values experimental voices, emerging directors, and fields like AI filmmaking.
I sincerely hope it continues to grow as a platform that supports new talent worldwide.
Among the main events taking place alongside the Venice Film Festival, there will be the presentation of the book PREDATOR – A Myth Between Sci-Fi and Anthropology at the Italian Pavilion, Hotel Excelsior, Sala Tropicana 2, on Wednesday, September 3rd at 10:00 AM.
Exclusively for WILD FILMMAKER, we are publishing an interview with one of the authors, Andrea Guglielmino.
-) Who is Andrea Guglielmino?
Well, that’s an easy one. I’ll answer with my semi-official bio:
Andrea Guglielmino defines himself more as a “writing person” than a writer. He moves across fiction, non-fiction, film criticism, and finally landed in his greatest passion—comics—in 2015, publishing his first story for Mostri by Bugs Comics. Since then, he’s continued working with Bugs (Samuel Stern), as well as Emmetre Edizioni (Garibaldi vs. Zombies, Garibaldi vs. Mickey, Garibaldi: Risorgimento, Garibaldi vs. Frankenstein) and Weird Book, with whom he published I Primi Cento—a tribute to Dylan Dog that earned him the Bartoli Prize for Best Writer at Cassino Fantastica in 2024.
He works for CinecittàNews, the official news portal of Cinecittà, and collaborates with several magazines, including Nocturno.
-) Tell us about your project “Predator – A Myth Between Sci-Fi and Anthropology.”
With pleasure! First of all, I’m happy to say it’s a finished and published project. It’s an essay co-written with my colleagues Gianmarco Bonelli and Guglielmo Favilla—yes, the actor! He’s also a very talented writer.
The book reinterprets the famous science fiction saga that started with the Arnold Schwarzenegger film, exploring it through a fresh socio-anthropological lens.
It’s a franchise that, beneath its genre surface and pure entertainment value, hides significant sociological and anthropological themes. These include ancestral myths rooted in the clash between nomadic and sedentary cultures, the tension between Nature and Culture, Magic and Technology, and even the caste-based structure of the alien Yautja society. Like any true Myth, Predator must evolve to reflect the society and historical context in which it appears.
It’s not your typical critical approach—we’re not interested in whether the films are “good” or “bad”—and it’s certainly not just a collection of facts, which, in the age of the internet, has little value.
The word “anthropology” shouldn’t scare anyone off. The book is very accessible even to readers unfamiliar with the subject—we provide all the necessary tools. It’s a playful book, not an academic one.
We don’t limit ourselves to the films, either. The Myth is analyzed across all forms: comics, novels, video games… everything we could get our hands on!
Plus, there’s a stunning cover by Giorgio Finamore and illustrations by top-tier artists throughout the book.
And three exclusive interviews: with John McTiernan and Stephen Hopkins (directors of the first two films), and with Chris Warner, creator of some of the comics.
It was published by Weird Book.
We’ll be presenting it at the Venice Film Festival, in the Italian Pavilion at Hotel Excelsior, Sala Tropicana 2, on September 3rd at 10:00 AM.
Everyone is, of course, invited!
-) Are you working on other projects?
As I mentioned, I’m also a comic writer and very active in that field. I’ve co-written a graphic novel with Omar Pedrini based on Viaggio senza Vento, the iconic album by Timoria. It’s set to be released this fall.
With Emmetre Edizioni, I’m working on the Garibaldiverso saga, which places characters from the Italian Risorgimento in confrontation with key figures from pop culture. It all started with Garibaldi vs. Zombies—we’re actually seeking collaborators and production partners to turn it into a film. It became a small but notable success in publishing. Then came Garibaldi vs. Mickey (taking advantage of Disney’s loss of rights to the first version of Mickey Mouse), Garibaldi vs. Frankenstein, and Garibaldi: Risorgimento (a tribute to The Crow). There’s a big surprise in store for Christmas… and I’m currently writing the spin-off Nino Bixio: Vampire Hunter.
Dioverso, co-written with Emiliano Pagani and illustrated by Nicola Perugini, had a “miraculous” crowdfunding campaign. And given its divine theme… and multiverse variants… it fits perfectly.
I’m also waiting for the green light from Bugs Comics (publishers of the Samuel Stern horror series) for a major project that I care deeply about.
Meanwhile, I’m continuing to promote I Primi Cento, a very unique comic essay about Dylan Dog—without Dylan Dog. It’s mostly about the obsession many fans have with the first 100 issues of the series. There are some exciting things in the works for that as well.
-) What do you think cinema will look like 100 years from now?
I honestly can’t imagine it… but I’m tempted to say the first hundred were probably better!
Jokes aside, you can’t ignore the impact of Artificial Intelligence and emerging technologies. Whether we like them or not, whether we choose to use them or not, you can’t stop the wind with your hands. I think it’s wiser to learn how to use them thoughtfully, rather than fight a pointless battle against the inevitable evolution of the world.
-) What would you change about today’s film industry?
It’s not really my job—I just write about movies and report news. And occasionally, I make up stories in comic form, which is an incredibly powerful medium, perhaps even more so than cinema. Mainly because the production effort is much smaller. Paper, pen, pencil… maybe a tablet—and with the same cost and manpower, you can create either a close-up of a character or an entire army charging across an alien world.
What I can share is a personal experience: I was stuck at home for a couple of years due to health reasons.
During that time, I reevaluated all the rhetoric around “you must see movies in theaters.”
The truth is: cinema must be watched—period. If it’s in a theater, great. But since we now have easy access to legal, quality streaming and digital platforms, rapid distribution of films should be a priority.
Back then, even if I wanted to, I couldn’t go to the cinema—and I can only imagine how many others deal with similar or even permanent limitations. I would have done anything for a legal link to see the films I was missing.
So yes, I’m in favor of shortening the release windows as much as possible. I think it could even help in the fight against piracy.
That’s just a user’s opinion—surely, people more knowledgeable than me will have stronger arguments. But since you asked: if I could change something, it would be the accessibility of content.
You can make art with any tool. There are no tools for making art and tools with which it’s impossible to make art. If you are an artist, truly an artist, the simpler your tools for expression, the freer you will be to share your perspective on the Universe. This is a concept David Lynch left us with! The greatest artist in American cinema, created a YouTube channel. A channel where he even shared the weather forecast. And what’s artistic about weather forecasts? Nothing! But in the hands of an artist, even videos dedicated to the weather become Art! It was a great artistic statement by David Lynch! And today is a historic day for the WILD FILMMAKER Community, because we welcome into our beautiful global community of free artists, Sabrina Sutherland! Sabrina was David Lynch’s producer for many years. She worked on Twin Peaks, Inland Empire, and also collaborated on David Lynch’s YouTube channel. Starting today, Sabrina Sutherland is on WILD FILMMAKER with an exclusive interview.
-Who is Sabrina S. Sutherland?
I am someone who always wanted to work on films and have been lucky enough to meet and collaborate with David Lynch along the way. I went to film school and couldn’t have dreamed of a better director with whom to work.
-Your collaboration with David Lynch makes you a direct witness to the development of one of the most important chapters in the History of Cinema. Could you share an anecdote about your professional and personal relationship with the Maestro?
My job as a producer with David was making sure all of his ideas were able to make their way onto the screen. It was my job to provide a safe and experimental set so that he had the ability to explore any and all ideas he wanted to pursue. I suppose one of the best ways I did this at the start of the production was to sit down with him and go through each scene, listening to him explain everything he wanted to see and do. We would also time it by me acting out the parts while he pictured the scene in his “mind’s eye.”
-In my opinion, there is only one director who can be compared to Federico Fellini in terms of originality and personal cinematic vision, and that is David Lynch. What do you think are the points in common between these two great artists?
It’s true that they both had their own unique visions, and they had their own personal experiences that seemed to form their ideas. They both used surreal imagery to illustrate – especially ordinary life. They also had interesting characters that have their own personalties. I don’t think quirky is the right word, but maybe unique? Also, the sound design for both creates that surreal mood somehow or at least compliments and is a main part of their films. David always reminded me that the visuals are only half of the movie and the sound is equally as important. I am sure if someone did a dissertation comparing these two there would be much more than my simple observations above of course.
-What does “intuition” mean to you in a director?
I equate “intuition” with “ideas” a director has. With David, he would get an idea and stay true to that idea. He never would deviate from that idea. If production somehow limited the visual/auditory image he had, he would be able to imagine other ways he could achieve the idea he wanted to capture. He innately knew what would work or not work for that idea.
-One of David Lynch’s latest ventures that I admired was his YouTube weather reports. An idea that, while seemingly non-artistic, becomes Art in the hands of an artist. Do you know how that idea came about?
David originally had this idea back during his davidlynch.com days. However, during the latest Covid shutdown we two talked and decided to have a YouTube site where we could post videos and keep working on our own while our Netflix project was put on hold. David suggested he do the Weather Report while I suggested he be filmed doing his ordinary daily work or something else fun. We ended up doing all of it. He loved the weather and loved doing the reports. We both loved the audience responses.
-What projects are you currently working on?
I am currently working with the Twin Peaks group and traveling around with the”Twin Peaks: Conversation with the Stars” tour. It’s been great so far to meet so many Twin Peaks and David Lynch fans.
-Would you be interested in acting in a film? If so, what kind of role or project would appeal to you?
I have enjoyed working as an actor in several small projects as well as Twin Peaks: The Return. I am not much an actor, but I do enjoy it immensely! I like working with friends and people who are nice to be around. That’s appealing to me – no screamers or unpleasant folks.
Where does your desire to express yourself through art come from?
My desire to create comes from a fascination with transformation and mystery. Artists like David Bowie taught me that reinvention is survival, while David Lynch revealed that cinema can be a dream and a riddle at the same time.
Beyond that, I’ve always been drawn to the intersection of worlds—music, painting, philosophy, literature. Art is the only place where these forces can truly collide. For me, it’s not simply about expressing myself; it’s about conjuring images and experiences that live on in the minds of others, like echoes that refuse to fade.
“Art is the only way I know to express what words alone cannot.”
What are your goals as an artist?
My ambition is to create works that are original, fearless, and surprising. I want to carve out spaces that feel unfamiliar yet deeply human—stories that don’t just entertain but unsettle, awaken, and inspire.
The world already knows how to produce what is expected. My goal is to show that we are capable of creating the unexpected, of reaching for something immense without being blinded by expectation.
“My goal is to create the unexpected—and make it unforgettable.”
What is your opinion on the cultural industry?
The cultural industry is a paradox. Sometimes it is underestimated, as if art were a luxury rather than the pulse of civilization. Other times it is overestimated, inflated into spectacle and reduced to numbers, markets, and algorithms.
But the essence of art escapes such measurements. The question “What is art?” will never have a single answer—and that is its power. True culture is not a product; it is an atmosphere, a force.
“True art always escapes measurement.”
Do you think independent artists today have enough opportunities to share their creativity?
Independent artists live in a time of contradictions. On one hand, it has never been easier to share one’s work. Digital platforms, festivals, and new networks have opened doors once tightly locked. On the other hand, visibility remains elusive. To be seen is not the same as to be found.
Sometimes I wonder if I should push a project like mine toward a more commercial path, or keep it firmly in the indie world. Both routes have advantages, but also challenges. Take a film like ANORA: yes, it was made for six million, but it carried eighteen million in promotional costs. That is the reality—visibility often requires resources that independents rarely have.
“It’s never been easier to share work, but never harder to be truly seen.”
What new project are you currently working on?
There are projects moving quietly in the background—too fragile to speak of yet. Silence is sometimes the best way to protect a vision in its early form.
What I can share is the expansion of Cassandra Venice. Through trailers and a short film, I am shaping the foundation for something larger—whether that becomes a feature or a series remains open, like a horizon just out of reach.
At the moment, I’m especially exploring opportunities in Spain and the U.K., while staying receptive to unexpected collaborations. Cassandra Venice began as a haunting dream, but it may yet transform into a world others can fully enter.
“Cassandra Venice began as a dream—but it may grow into a world others can fully enter.”
Closing statement
For me, cinema is not just storytelling—it is prophecy, memory, and dream combined. Each project is an attempt to capture the fleeting light of something that feels both personal and universal.
“Art must remain a question, not an answer.”
As long as I keep asking that question, my journey as an artist remains alive.
Where does your desire to express yourself through art come from?
I honestly have no clue. My whole life, from a young age, I played competitive sports. It wasn’t until I graduated college and was entering the real world that I realized I did not want to enter corporate America work force. I saw the next forty years of my life and it was not what I wanted to be doing. I wanted to chase happiness and find something I could enjoy doing until the day I die. I always had a fascination with films at a young age and so I decided to just go for it.
What are your goals as an artist?
My biggest goal would be to have everyone from around the world love my movies. I hope that my films can reach large audiences and can be seen on the big screen, as I have intended them to be. I hope that my films not only entertain everybody but make them feel something as well. I hope that I can be lucky enough to keep doing what I’m doing for as long as I can. I pray that I’m not a one and done.
What is your opinion on the cultural industry?
Don’t have much of an opinion on it. If it wasn’t for it I would have never seen the great films that I have or listened and fallen in love with the music I enjoy. I hope someday that my work can be a part of it and hopefully inspire the next great filmmaker to come along and entertain people as much as I’ve been entertained.
Do you think independent artists today have enough opportunities to share their creativity?
You can easily upload any content you want on the web to be shared with everyone around the world. I think there are many outlets or opportunities for all artists, no matter what the media, to share their creativity. It’s much easier for an artist now than ever before to share everything they make whether it be a social media platform, a website and the numerous other web based forms. Now whether they make money off it, that’s another question. To share their creativity, there should be no excuse why they can’t.
What new project are you currently working on?
I am currently not working on any new projects at the moment. I have a couple that are in pre production but are not anywhere near close to going into production. One of the projects is a short film called “Where is Lady” and it delves into the sad and dark world of human trafficking. My other project that I am working to try and get funds for is the feature length from my last short called “True Friend” which is about the unbreakable bond between two kids that come from different sides of the track. With hopes that I can get a distribution deal for my current feature Wacko, I believe I can get the funds for this next project. Fingers crossed 🤞
