When you plan the realization of a film project, what are your objectives?
My objective is never just to “make a film.” My objective is to build an experience that stays with the audience long after the screen goes black.
I approach every project through three layers:
1. Truth If the story is not grounded in emotional truth, nothing else matters. You can have the best camera, the best lighting, the best visual effects—but if the audience does not feel, you’ve failed.
2. Character over spectacle Cinema is not about shots. It’s about people in conflict. If I cannot direct a simple scene between two characters and make it compelling, I have no business hiding behind production value.
3. Legacy over content We live in a time where people chase “content.” I’m not interested in content. I’m interested in work that lasts—stories that can be studied, revisited, and felt years later.
With Artificial Intelligence transforming cinema, what is your opinion?
Artificial Intelligence is a tool. And like every tool in cinema history—from the invention of sound to digital cameras—it will expose the truth about filmmakers.
It will not replace great storytellers. It will replace average ones faster.
The danger is not AI. The danger is dependency without understanding.
We already see it:
Filmmakers who can generate images but cannot stage a scene
Writers who can prompt ideas but cannot build character arcs
Creators who mistake output for authorship
AI can accelerate execution—but it cannot replace:
Human contradiction
Emotional complexity
Moral conflict
It cannot replace meaning.
So my stance is simple: Use AI—but earn the right to use it.
Learn structure. Learn character. Learn conflict. Learn subtext. Then use AI to enhance your voice—not replace it.
To which production or distribution company would you like to propose your new project?
I’m interested in partners who understand that cinema is both art and strategy.
Companies like:Neon – for their ability to position daring films globallyBlumhouse Productions – for mastering contained storytelling with strong concepts and disciplined budgets
But more important than the company is the alignment of vision.
I’m drawn to collaborators who:
Respect the screenplay as the foundation
Protect the director’s voice
Understand that great films are built—not assembled
Because at the end of the day, distribution gets you seen… But storytelling is what makes you remembered.
WILD FILMMAKER as a cultural movement—are they doing a good job?
Not only are they doing a good job— they are doing something necessary.
We are in a time where:
Algorithms decide visibility
Marketing often overshadows meaning
Speed is valued over depth
A platform that chooses to put the Work of Art at the center is not just relevant—it’s essential.
Cinema was never meant to be just industry. It was meant to be expression, reflection, and confrontation.
By creating space for filmmakers outside the traditional power structures, you are:
Expanding voices
Challenging the system
Preserving the soul of cinema
That is not easy. And it is not always profitable.
But it is important.
Because if we lose that…
We don’t lose cinema overnight. We lose it slowly— one empty film at a time.
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!
-When you plan the realization of a film project, what are your objectives?
My main objective is to ensure that the story will hold your attention and the characters will resonate with the audience, in other words, the creative vision. In my opinion, filmmaking is a product and the audience are your customers. You want to establish that you can deliver a film branding that they can recognize, and with any film you always want that repeat audience. This includes making sure that I take my time as a Director in casting the correct actors and actresses for each role. I believe that the person you see on screen has to embody that character so well, that you feel every emotion from them while you are watching the performance. Another objective is assembling the team that will bring the project to life. I know a lot of emphasis is put on the cast, but I am a firm believer that a great crew is key to your project’s success.
-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?
I understand that Artificial Intelligence is becoming more common place in our society and this is also true when it comes to cinema. Personally, as a filmmaker I believe in “shared space” when it involves practical effects versus A.I. and CGI. My main concern is with the overtaking of human likeness and their motions. Actors bring the story to life and I can’t really comprehend anything else coming close to replicating this.
-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.
I actually have 2 projects in development and there are 2 particular production companies that would be a great fit for these. The first project is a suspense thriller that takes place at a holiday party. It involves the party guest participating in a “friendly game” that has different types of unexpected outcomes. I would purpose this project particularly to A24 Films. I believe that A24 films’ catalog matches that of this project, and with this type of familiarity, they would have the expertise and knowledge for the appropriate marketing, distribution and finding the right audience. The next project is a drama period piece set in the roaring 1920’s of the prohibition era. The story is set around a large and charming, but uniquely stylish mansion. It was once inhabited by a prominent, wealthy family but now serves as a boarding house under the control of the family’s daughter. Although initially described as a drama, there are comedic undertones that adhere to the plot, subplots, and overall story arch. This project I feel would be best purposed for Focus Features due to their vast experience with period pieces of this nature.
-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?
I feel that Wild Filmmaker is doing an excellent job! Independent filmmakers take a lot of pride and ownership in their work, but rarely have a voice of their own when it comes to their projects. Having an outlet like Wild Filmmaker now allows that voice to be heard. Having the opportunity to be featured and then seen by industry leaders is an advantage unlike any other. The independent film community owes Wild Filmmaker a gratitude of thanks, and I can attest that it is well deserved.
I’m still finding myself in this life. From a troubled childhood, through my teenage years and adulthood life has challenged me through abuse, taking wrong paths and becoming a mother and carer of an amazing son who has autism.
I found happiness as a child through the dark times by competing in world dance championships. Holding titles in the contemporary jazz and disco style.
Creativity and expressive feelings through the medium of dance, gave me freedom to feeling the music, have goosebumps on my skin and enabling facial expressions instead of sadness and fear.
Burlesque dancing came into my life in later years when I entered a television show called “Britain’s Got Talent” 2009. My audition was a burlesque act and I reached the semi-finals with my homage to a Flashdance routine which to me back to my initial roots of dance.
When I used to perform burlesque in London cabaret, an audience member asked me after if I was an actor? I explained I wasn’t. He said in my performance he could see an actress struggling to get out. That evening whilst on the train home, his words struck a cord with me. That’s when I decided I’m going to take acting classes. So I did.
I also work as an extra on films, music videos and commercials. Gaining any experience by watching the director and listening to the producer on set.
A person told me once “you remind me of Merle Oberon”. Once I’d researched this name, I’d discovered the actress is actually a descendant on my late mother’s side of the family. I have roots from Mumbai. My late grandmother Freda was somehow related to her. Joyce was Freda’s friend when Freda once lived in Edgebaston, Birmingham. They were friends serving in the Royal Airforce.
I also have Italian roots. My father’s side of the family originated from Catanzaro, Reggio Calabria. Whenever I visited there it felt like home.
My mental took a decline after my Nonno Umberto passed away. I was later admitted to having with the first of many nervous disorders and breakdowns. My late mother was very ill and I helped nurse her at home as her wish was not to go into a hospice. My mother passed away in 2001 and I was later diagnosed with bipolar and in 2003.
I’m please to say that I am now in remission from bipolar disorder.
Being creative through the medium of acting has enabled me yet again to escape certain feelings. It doesn’t mean to say I’m running away from my demons, they will always be around, just not controlling me anymore. I call use emotional recall in my acting and it works for me as I can turn it off and on.
It’s another form of therapy for me.
My psychiatrist recommended I write a book. To get her everything done, see it all in black and white. So I took a writing course at home online, put pen to paper and wrote.
One day, I’d love to create a script for my book ” In 2 Minds” and send it to an Italian director. I need to learn how to write scripts from my memoir.
That’s why I called my short-film “My heads f*cked” because the truth of matter is that it’s a fact. Doesn’t mean I’m some sort of psychopath who goes around destroying other people’s lives.
Instead, I use my personal life experiences to try to help other people express their painful memories and feelings into another art form. Every human is creative.
Remember school? Our lessons were drama, music, dance, singing, writing, painting and drawing. As we get older, we somehow can lose all these mediums because of life commitments.
For me, having so many nervous breakdowns took me back to my past and I had to start my life over again somehow. Life is an art form at the end of the day. If you study close enough, everything is being created all the time.
Do you remember the exact moment you in love with cinema?
I do remember the first time I fell in love with cinema. It was when my school friends invited me to watch the movie “Rain Man”.
I felt so much empathy for the character played by Dustin Hoffman. The character is diagnosed as
autistic – savant.
Which is in our family in Italy. My nephew and my son also have this condition.
Nowadays more adults are being diagnosed with autism as shows up later in life.
Which Director inspires me most?
Well that’s an easy question. With no doubt in my mind it’s Francis Ford Coppola. The God Father I, II and III is the trilogy of films that make me feel many overwhelming emotions. home, love and heartbreak.
Such powerful storylines and capturing the true authenticity of Italy takes me back.
My father always says to me “You left your heart in Italy Fabia”. He was right, until someone passed away,
then my heart began to heal.
If a film doesn’t make you feel somehow, then personally it’s not a MOViE!
Tell us about your project “my heads f*ucked”
My project is called “My heads f*ucked” A £0.00 budget short-film I shot on my iPhone in the comfort of my own home.
When sending in self tapes for auditions for my agents, I used the same set up.
I talk about my mental state and how bipolar disorder affects my daily life and also functioning on medication which is also shown.
I break down the fourth wall in short-film by speaking directly into camera. The audience can see me clearly as I honestly open up about my mental health.
This is only one aspect of my life.
I’m honoured to say that my short-film won an award at the Milan Indie Film Festival for “Best Low Budget Film” First 2026 Season.
I couldn’t believe it when Mona Louis sent me a congratulations email along with my certificate.
Again, thank you so much to Mona. Milan has such beautiful creative history and culture. To even be recognised for my work is a privilege.
What do you dislike about the world and what would you change?
I detest war, violence, racism, abuse and hatred.
The world was certainly very different when I was young. No body was be killed in street with guns and knives. Women and girls weren’t afraid to go out to discos and certainly not have their drinks spiked with date rape drugs. Couples in domestic abuse relationships.
If I could change it, honestly, I would get a law in where any person who kills another human, rapes, spiked them or uses any form of domestic abuse or violence they would be incarcerated.
I don’t know what happened in the world but it’s evil now.
This is global pandemic. They say hurt people hurt people. I’ve been hurt, I don’t go around hurting others. Instead, I use my pain in a creative way it helps other people.
How do I imagine cinema in 100 years?
Firstly, in 100 years, I imagine cars flying. More space being used up.
Everyday, we are being filmed by CCTV, ring doorbell cameras, dash cameras and mobile phones.
Human life is no longer private. Therefore, without realising it, we are making cinema. Now, this may sound a bit like big brother is watching you. Let’s face it, it’s the truth.
Hours and hours of footage, not forgetting social media where some people find entertainment out of filming others pain.
I would love to imagine cinema being interactive and immersive. A bit like theatre but the audience can have control to how they want the movie to play out. They get choices before hand and the most popular parts of the movie are in. They are then signed up to be a part of the movie too.
Depending on the genre, we can all relate to something someone else has been through. Instead of using violence, hatred, crime and war why not play it out instead if certain people feel that much anger and hatred towards the world.
Cinema is the place for expressing use emotions into art form. It’s therapeutic.
What is your impression of WILD FILMMAKER?
My impression of WILD FILMMAKER is that the filmmaker had been let loose in the wild. Freed up from any restraints of the typical everyday studio filming routine.
I always believed that I’d have to a degree in filmmaking. How wrong am I.
The poetry of free cinema. How beautiful is that!
I never thought my short-film would get reconsidered. To be honest, as it’s a zero budget film, no production, crew, cast, technicians, MUAH. I thought it be rejected!
I’m thrilled to say I am part of the WILD FILMMAKER community. I’m very grateful to Michele Diomà the Editor – In – Chief of WILD FILMMAKER for this opportunity of an exclusive interview.
I never thought in my wildest dreams at fifty two years old, I’m finally finding my direction in life.
When you plan the realization of a film project, what are your objectives?
My first objective is always to write a script with a distinct voice and a compelling narrative. I’m drawn to stories that carry emotional weight, social relevance, and a meaningful character arc. I also believe screenwriters benefit from being conscious of marketing — not as a constraint, but as an extension of storytelling. I enjoy the process of building connections, understanding the industry, and sharing responsibility for bringing a project to life. Filmmaking is inherently collaborative: the script is the blueprint, but imagining the right director, cinematographer, and sound designer early on helps shape the film’s visual and sonic identity. High-quality storytelling deserves high-quality execution.
With Artificial Intelligence, cinema is undergoing a transformation even more radical than the shift from silent films to sound. What is your opinion on this?
I’m genuinely enjoying the creative and experimental possibilities that AI brings. It’s a progressive evolution, and approaching it with fear or judgment only limits artistic growth. I celebrate the diversity of expression it enables — new tools often lead to new forms of storytelling. Even Marlon Brando anticipated this future when he created digital images of himself so his performances could continue through emerging technologies. To me, AI is not a threat but an expansion of the cinematic palette.
To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.
I would love to collaborate with Matthew Toffolo and his company WILDSOUND. Matthew has produced several short script films for me as proof-of-concept pieces, and I trust his interpretation of my work completely. His ability to translate a script into a vivid, emotionally resonant short film is exceptional, and I’ve always been more than satisfied with the results.
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 remain a Global Cultural Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center rather than Marketing. Do you think we are doing a good job?
WILD FILMMAKER is a gift to innovative screenwriters. The platform continues to amplify the importance of independent film and original ideas, and I’m sincerely grateful for the support they’ve given my work. Recently, my script The Secrets of the Forbidden City received a WILD FILMMAKER Gold Award for “creating a short film capable of portraying a contemporary world with a universal style.” That recognition aligns perfectly with my creative goals. It also strengthens my brand and supports my marketing and promotional efforts — an essential part of building a screenwriting career. WILD FILMMAKER’s commitment to artistic integrity makes that visibility even more meaningful.
-When you plan the realization of a film project, what are your objectives?
When I plan the realization of a film project, my first objective is always to create something that carries soul, emotion, and meaning. For me, cinema is not only visual storytelling—it is a spiritual language where music, image, silence, and symbolism come together to awaken something deeper in the audience.
I begin with the essence of the message: what transformation do I want the viewer to feel? Whether it is love, healing, transcendence, hope, or the journey between light and darkness, I want each project to elevate the human spirit and leave a lasting emotional resonance.
As a composer and filmmaker, music is the heart of my creative process. I often hear the soundtrack before I see the images. The orchestral atmosphere, the rhythm of emotion, and the energetic vibration of the film guide the visual direction. My objective is to create harmony between sound and image so that the audience does not only watch the film—they feel it.
Another important objective is authenticity. I want each project to reflect my artistic identity: mystical, cinematic, poetic, and universal. I believe art must be honest and timeless, not only technically beautiful but spiritually true.
I also value excellence in production—strong cinematography, meaningful editing, symbolic aesthetics, and a visual language that can communicate across cultures. Since my work reaches international festivals and audiences worldwide, I always think globally while keeping the emotional core deeply personal.
Ultimately, my objective is simple: to create films that inspire, heal, and connect people with something greater than themselves. If a viewer finishes one of my films feeling more light, more peace, or more hope, then I know the project has fulfilled its purpose.
-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?
I believe Artificial Intelligence is one of the most significant transformations cinema has experienced since the transition from silent films to sound. Just as sound expanded the emotional and narrative possibilities of film in the 1920s, AI is now opening new dimensions of creativity, production, and artistic expression.
For me, AI is not a replacement for human sensitivity—it is a powerful creative instrument. Art is born from consciousness, emotion, intuition, and spiritual vision. Technology can assist, amplify, and accelerate processes, but it cannot replace the soul of creation. The heart of cinema will always remain human.
As both a filmmaker and composer, I see AI as an extraordinary tool that allows independent artists to dream bigger. It helps us create visual worlds, orchestral textures, cinematic atmospheres, and complex productions that once required enormous budgets and large studios. It democratizes possibilities and gives voice to creators who might otherwise never have access to such resources.
At the same time, I believe responsibility is essential. We must use AI with ethics, originality, and artistic integrity. It should support authenticity, not imitation. True cinema is not made only with technology—it is made with vision, courage, and purpose.
In my own work, I use innovation as an extension of imagination. Whether through music, visual storytelling, or symbolic narratives, I see AI as a bridge between the invisible world of inspiration and the visible world of film.
Cinema is evolving, but its mission remains the same: to move hearts, awaken consciousness, and tell stories that transcend time. AI can help us reach new horizons, but the soul behind the art must always lead the way.
-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.
I would like to propose my new project to production and distribution companies that value artistic cinema, visionary storytelling, and projects with strong emotional and international resonance. My work lives between music, film, and spiritual symbolism, so I seek partners who understand cinema not only as entertainment, but as an immersive artistic and transformative experience.
One ideal profile would be companies connected to independent auteur cinema and international festival circuits, such as A24, known for supporting distinctive artistic voices and films with strong identity and emotional depth. Their approach to cinematic storytelling and visual originality aligns with the poetic and symbolic nature of my projects.
I also admire companies like Pathé and StudioCanal, which have a strong presence in Europe and a tradition of supporting elegant, cinematic productions that travel internationally through festivals and global distribution platforms.
For projects that merge music, visuals, and elevated emotional storytelling, I would also look toward platforms such as Netflix or Amazon Prime Video, especially for worldwide reach and access to audiences across continents. Today, streaming platforms have become powerful bridges between independent creators and global viewers.
My ideal collaboration would be with a company that believes in originality, beauty, and spiritual depth—where a film can be both cinematic art and a universal emotional experience. Projects like “Heaven,” for example, are not simply music videos; they are visual journeys of transcendence, healing, and light. I look for partners who can understand and amplify that vision.
Ultimately, I seek not only distribution, but resonance: a company that can help transform a personal artistic vision into a global emotional experience for audiences around the world.
-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?
-When you plan the realization of a film project, what are your objectives?
My original objective with the feature screenplay Thankful was to share a semi‑autobiographical story set just before the 2004 Indian Ocean tsunami. Several images from my award‑winning table book Thankful—the Thankful series—were exhibited internationally, including at the Carrousel du Louvre during the high‑profile jewelry heist in October 2025. That exposure broadened the project’s scope and opportunities.
What began as a personal story evolved into a project that addresses contemporary issues—LGBT and heterosexual relationships, building a career in fashion, love and heartbreak, suicide, the loss of a child and friends and family, and the emergence of an unexpected love. In short, sometimes the objective grows organically from the story itself.
-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?
I welcome the change. As a multidisciplinary artist, I see AI as a powerful creative tool that accelerates work I used to outsource to freelancers. AI helps me refine scripts quickly and shortens processes that once took days or months down to hours or minutes. As a composer, AI can be useful for generating ideas and textures, but I still begin with lyrics, rhythm and a clear sonic vision—then shape notes by hand; for the Thankful soundtrack I blended original direction with AI-assisted tracks to good effect.
That said, I won’t rely on AI to fully build a project. It still has limitations, and some creative domains—like my fashion design practice—remain sacredly manual: I sketch on paper first because keeping ideas human is, to me, essential for emotional resonance. Overall, AI is an exciting expansion of creative possibility, not a replacement for human authorship.
-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.
This is a critical decision, as the vision for Thankful is to be filmed primarily in Houston with additional production in Galveston, while prioritizing a cast rooted in Houston-born talent. Because of that, I am targeting companies that not only understand elevated storytelling, but also have the flexibility to support regionally grounded productions with global reach.
Distribution:
Amazon MGM Studios This is a top choice due to its hybrid model of theatrical and streaming distribution through Prime Video. Their focus on IP-driven storytelling—especially adaptations—aligns directly with Thankful’s evolution from book to screenplay to visual art property. Additionally, the legacy of MGM (including The Wizard of Oz) creates a meaningful creative alignment with my own artistic influences and connections to the Oz Museum in Wamego, Ks.
Netflix Netflix’s global reach and willingness to acquire high-profile, buzz-driven projects makes it an ideal distribution partner. Their model supports culturally specific stories while scaling them to international audiences, which is key for a Houston-rooted narrative like Thankful.
Production Companies
Artists Equity Known for its creator-first approach, Artists Equity emphasizes ownership, backend participation, and performance-based upside. This aligns with my goal of maintaining creative integrity while building long-term value around Thankful as a property.
Candle Media Candle Media is particularly compelling due to its focus on building franchises from IP across multiple platforms. Their understanding of cross-medium storytelling makes them a strong fit for Thankful, which already exists across publishing, screenplay, and visual art.
Positioning Strategy
Rather than viewing Thankful as a single film, I am positioning it as a multi-platform intellectual property—a story that can live across film, streaming, publishing, and visual art. The goal is to partner with companies that recognize both the cultural specificity of Houston and the scalability of the story globally.
-When you plan the realization of a film project, what are your objectives?
I see it first, an immediate, immersive vision where image, sound, and idea surge into being all at once before language, as something both sensed and known. It appears in its totality, not as a sequence but as something that I hold in my mind. From there, the process becomes one of translation: bringing that vision into form while humanizing what lives within each frame. The work unfolds as a conceptual passage rather than a fixed destination, a space where discovery moves, responds, and breathes into being. At the same time, I focus on building a collaborative environment grounded in trust and sensitivity. I want the people I work with to feel engaged in the process not just execution. Their contributions often reshape the work in ways I couldn’t have anticipated. Ultimately, my goal is to make films that invite contemplation rather than provide answers, works that exist somewhere between clarity and ambiguity, where viewers can project their own meanings and experiences. I think ahead about editing, sound design, festivals, or platforms. The film’s life doesn’t end at shooting, it needs a path to reach an audience. Things change. So I try maintaining the film’s essence while adjusting to real-world limitations or unexpected opportunities. From there, the process becomes one of translation: bringing that vision into form while humanizing what lives within each frame.
-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?
I am scared and apprehensive of AI but I am sure we will be able to utilize technically.
-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.
A2: Everything Everywhere All At Once, Moonlight, Uncut Gems, Marty Supreme, The Smashing Machine, Eternity. Element Pictures: Room,The Favourite,Normal People. Black Bear Pictures: The Imitation Game, I Care a Lot Oscilloscope Laboratories: We Need to Talk About Kevin, Kedi Sony Pictures Classics: Call Me by Your Name, Whiplash Roadside, Attractions: Manchester by the Sea, Judy
Troma Entertainment: The Toxic Avenger
Miramax: Pulp Fiction, The Gentlemen
Focus Features: Brokeback Mountain, Lost in Translation
NEON: Parasite, Titane
-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?
-When you plan the realization of a film project, what are your objectives?
When I plan a film project, my objectives are clear: to build a narrative that holds on screen, to structure a viable production model, and to ensure the film reaches the audience in its full form.
The starting point is always conflict. It is what organizes character, action, and language. From there, I approach the film both as an artistic work and as a product. I aim for a narrative with a strong identity, but also with the capacity to circulate in festivals, theaters, and streaming platforms. Planning must balance dramatic strength with real production feasibility.
I seek to develop projects with solid dramatic consistency, a defined language, and a clear market positioning. This guides every decision, from script to direction, from budget to distribution strategy.
I work with my feet on the ground, within the possibilities of independent cinema, without giving up aesthetic ambition. Creativity is the axis that sustains this equation, allowing the project to achieve quality and compete in the international circuit.
– With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?
Artificial Intelligence is just another tool. The creative process remains human. Creation requires decision, and decision is human.
Cinema comes from experience, conflict, and intuition, elements that cannot be automated. Artificial Intelligence can support technical stages and research processes, but it does not replace the eye, the decision, and the responsibility of the creator.
The transition from silent to sound cinema transformed language. AI impacts the process. These are different natures.
The risk is not in the technology, but in how it is used. The tool cannot dictate content. If that happens, cinema loses its identity. AI expands possibilities, but it must function as support. Authorship and creativity remain human.
– To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.
I am looking for partners with international reach, capable of connecting my films to different territories and platforms, without losing the project’s identity. My interest is in production and distribution companies working in independent cinema, with presence in festivals and experience in international sales, both for theaters release and streaming licensing, with a real capacity to bring the film to the audience. Partners who follow the project, understand its positioning in the market, and sustain its trajectory after completion.
Projects like Doctor Hypotheses 2 call for this kind of partnership, with an international vision and practical experience in film circulation, capable of articulating co-productions, accessing funds, and building a consistent trajectory across festivals, theaters, and platforms.
– 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.
The proposal is relevant. Placing the work at the center is essential. But this needs to have the magic word of cinema: action. It cannot be just discourse. It has to be practice and sustain this position within a market driven by marketing. If you can maintain this commitment over time, you are on the right path, and we will be applauding.
– Do you think we are doing a good job?
The path is interesting. The fact that you open space for the film and for the independent filmmaker is a major differentiator, especially for those working outside the center of the major industrial market. But the result is measured in practice, in the way projects are presented, followed, and positioned in the market. If this commitment is maintained, then yes, it is an exceptional work.
