Author: Dreamate Demo

-When you plan the realization of a film project, what are your objectives?

First of all, getting a film made and sold to distribution is the business objective.  Creatively the objective is to make the best film possible.  While sometimes those two objectives can be difficult to accomplish and can even be at odds with each other, I try my best to accomplish both with creative sources of financing to support the creative process and the business needs.  (I’d reveal my sources of financing but then they may not be as available to me.  So that’s my proprietary info.)

-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 very concerned how AI would be used to interfere with the creative process and the studios’ attempt to replace creative people.  I cannot believe that any machine will have a soul and it is the artists’ creativity that is the soul of the artist on display.  Also it creates a whole new conversation around IP and copyright law.  Do we have a right to our own images, voices and unique talents?  I would say that legislation needs to be written worldwide to protect all artists.  This ultimately protects independent producers because if studios can reproduce talent, then they won’t need many producers or any at all to make their AI generated films.
While AI could be very useful for workflow, mundane post issues such as QC, translations, closed captions and subtitles, it is not perfect and it still requires a human to check the work because AI cannot understand nuance.  Again, it is soulless.  Creativity comes from the soul.

-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

The old mode of making films by bringing them to the studios is over.  Unless you’re a star with a script they want, or IP they want to remake, you have to package a deal. Doing that without outside financing is almost impossible.  So I have dedicated my time to finding that financing so I can put together an attractive package to attract actors and eventually distributors.  I will propose my package to all the distributors because the right one is the one that makes the best deal.  Everything else is just a wish list.  I am not going to muse on how studios should be more artist friendly because as long as they have shareholders and stock prices, that’s just as useful as wishing to win the lottery without even buying a ticket. Vulture Capitalism, particularly in the US, precludes that kind of thinking.  While I remind people it is called “the movie business”. and not “the movie art”, it is both an artform and a business.  The studios only respond to star power, IP brands with a track record or the new hot trend because they need to justify their investment to a board who is often hostile to artists and doesn’t understand what their value is.  
I am also not opposed to making the film without a distributor if I can mitigate the risk to the investors to less than 20% of the budget.  Then the festival circuit and/or showing the finished film can be the most useful tool in today’s climate, but that requires an appetite for risk that most filmmakers and investors don’t have.  There is nothing more satisfying than making a film no studio wanted to buy and then having a bidding war for it when it is finished.  It is the dream of every indie filmmaker.  
The challenge is after the big sale to figure out how to keep the artistic integrity in a system that doesn’t value it until it succeeds and is proven on each and every project.  But, if it were easy, everyone would succeed.  I didn’t get into this business because it was easy.  I got into precisely because the journey of working at, overcoming and succeeding at this monumental artistic and business challenge is one of the greatest sources of accomplishment and joy I have had and I continue to have each day.

-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?

Why do you have to choose between the two? They are not mutually exclusive.  Access to the top level by Wild Filmmaker does not have to mean lack of access to the Global Cultural Movement.  In fact, you may have more impact by finding a way to include the big players at the table while you pursue your. mission.  I have never understood anyone who eschews the top levels of Hollywood as some sort of badge of honor.  I grew up with a father who managed to do both, and he was one guy.  Surely a Global Cultural Movement could do the same. You picked my film, MY FATHER MOVES MOUNTAINS,  as one of the best, the winner of the Gabriel Garcia Marquez prize for a reason, and it is making inroads at the highest levels and with the Global audience, so I refuse to believe it is one or the other.  My film also won the 2024 Silver Anthem Award for Human and Civil Rights.  Jon Stewart and The Daily Show on Comedy Central won for TV.  That is proof that you can be both independent, compete with the establishment, sit at the table with the big power brokers and still advocate for the Global film community.  Perhaps you need me on your board.

When you plan the realization of a film project, what are your objectives?

My main objective is always to tell a story that can speak to the spirit of as many people as possible.Of course, every film begins with something personal: a wound, a memory, a question, a face that refuses to disappear. But my goal is to transform that intimate starting point into something that can be shared. I am interested in stories that may be small in scale, but wide in emotional resonance.

With my new project, I would like to make a film that is intimate, human, and deeply accessible: a film about memory, family, lost dreams, friendship, and the possibility of reconnecting with the most fragile and luminous part of ourselves. I believe cinema can still move people without shouting. It can whisper, and sometimes that whisper stays with the audience longer than a scream.

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 already transforming cinema, and pretending otherwise would be useless. The real question is not whether we should accept it or reject it, but how we can integrate it ethically, legally, and creatively.

For me, the first essential step is to solve the issue of copyright and authors’ rights. I believe that companies offering AI services should pay fair compensation, possibly through a forfait system managed by collecting societies or other rights-management organizations. Creative work cannot become invisible raw material.

Once these problems are properly regulated, I am open to the use of AI as a tool of accompaniment in the creative process. Not as a replacement for the author, not as an artificial soul injected into a film, but as an assistant: a way to explore, test, visualize, compare, and accelerate certain stages of development.

Cinema has always been transformed by technology: sound, color, lightweight cameras, digital editing, visual effects. But technology becomes meaningful only when it serves a human gaze. AI can be useful, even powerful, but the heartbeat of cinema must remain human.

To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

For my new project, I would like to find a production company capable of embracing a small, intimate film that still wants to move a wide audience. I am not looking for a huge machine, but for the right human and artistic environment: a place where a personal story can be protected, shaped, and brought to the audience without losing its fragility.

This project also has a very personal meaning for me, because I have decided to return to directing after almost thirty years. So, in a way, I am not only looking for a producer for a film. I am looking for a partner who can understand the emotional weight of that return.

The film I have in mind lives somewhere between the emotional precision of Hirokazu Kore-eda, the nostalgic and cinematic power of Giuseppe Tornatore, and the independent humanism of Richard Linklater. It is a story about memory, friendship, family, unfinished dreams, childhood, cinema itself, and the strange beauty of looking back in order to move forward.

In terms of production, I would imagine a company with the sensitivity of producers such as Fandango, Indigo Film or Tempesta: companies that know how to support auteur-driven projects while still keeping a real relationship with the audience. I am thinking of producers able to defend personal cinema, but also to give it a shape that can travel beyond a purely niche circuit.

For distribution, I could imagine a profile close to companies such as Lucky Red, BiM Distribuzione, Tucker Film, I Wonder Pictures or Movies Inspired: distributors that have often worked with international, independent or auteur cinema, and that know how to accompany films whose strength is not noise, but emotional persistence.

What I am looking for is not simply a company with resources. I am looking for a production and distribution partner that believes a small film can still create a large emotional echo. A film does not always need to be loud to reach people. Sometimes it only needs to be honest enough to stay with them.

WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing. Do you think we are doing a good job?

Yes, I do. And I think this mission is especially important today.

Cinema is often dominated by visibility, algorithms, market positioning, and promotional noise. Of course, marketing is part of the life of a film, and nobody can pretend it does not matter. But when marketing becomes more important than the work itself, something essential is lost.

What I appreciate about WILD FILMMAKER is the idea of putting the Work of Art back at the center. This means giving space to films that may not have huge budgets, famous names, or powerful campaigns behind them, but still carry a genuine artistic necessity. In that sense, bringing more democracy into cinema is not just a beautiful slogan. It is a concrete cultural act.

If WILD FILMMAKER can sit at the table with major industry players and still remain faithful to an ethical and artistic mission, then yes: I believe you are doing a meaningful job. Because cinema needs markets, but it also needs places where fragile, personal, imperfect, passionate works can be seen, discussed, and protected.

That is where real discovery can still happen.

-When you plan the realization of a film project, what are your objectives?

When I start planning a new film project, it almost always begins spontaneously.There isn’t usually one clear, predefined objective at the very beginning. It can be triggered by a deeply personal experience I’ve lived through, or by an unexpected spark of inspiration  –  after reading a book or stumbling upon some surprising news that instantly creates a poem and a vivid visual image in my mind.The creative process unfolds in a very organic way: first a poem appears, then a certain sound or melody emerges. When I listen to that music, it helps me clearly understand the exact emotion or message I want to convey through the sequence of visual frames that follow.Ultimately, my main objective is to share my personal vision with the audience and to transmit as authentically as possible the feelings I experience myself. Of course, I hope the viewer will understand what I’m trying to say  –  even if my work doesn’t resonate with everyone, especially when I touch on sensitive or sharp topics.

-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 we are indeed witnessing a transformation in cinema that is even more profound than the shift from silent films to sound in the 1920s.The reactions to artificial intelligence are deeply divided. Many people  –  particularly those working in the industry  –  feel genuine fear for their careers, convinced that AI will simply replace them. At the same time, others see it as something extraordinarily beautiful and liberating: a door into a completely new world that allows us to express what we previously couldn’t even imagine.In my view, those who fear AI are not really afraid of the technology itself. They are afraid of not being able to fully express themselves anymore, perceiving AI as a stronger competitor. But I see competition differently. It is precisely this kind of challenge that pushes us to discover our best version and unlock abilities we never knew we had. It’s like suddenly having a “second life”  –  an enormous surge of energy and potential we didn’t even suspect existed.This reminds me of a story I once read about twins in their mother’s womb. They lived in perfect warmth and comfort, hearing the gentle rhythm of their mother’s heartbeat, and wanted to stay there forever. When the moment of birth came, they were overcome with terror. They didn’t understand what was happening. To them, being pushed into the unknown felt like death. In reality, it was the beginning of life  –  the start of something vast and beautiful they could never have imagined.I think we are experiencing something very similar right now. People are afraid of the unknown, and we tend to assume that the unknown is dangerous. Yet I see AI not as a threat, but as a mirror. It reflects our own creativity and allows us to reach places in our souls we could never touch with traditional tools of filmmaking. Thanks to AI, we can discover emotions, images, and stories hidden even from ourselves. For me, this is not the end of cinema  –  it is the beginning of a much deeper, more authentic chapter.

-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

To be completely honest, I am only now seriously beginning to explore production and distribution companies for my film projects.Until recently, my focus was mainly on creating, and I have very limited experience with film distribution.Previously, I handled the distribution of my music through DistroKid, which also allows video clips. However, I understand that this platform is primarily music-oriented and not the most suitable for full cinematic works.A few months ago I started receiving emails suggesting I submit my films to FilmHub. I didn’t have time to research the platform properly before, but recently I decided it was the right moment to take action. I have already uploaded several of my works there, including my short film Ballad of the Millennial Dream, which is currently under review. It has been almost a month, and I’m still waiting to hear back  –  I don’t have a premium subscription, so I’m not sure how the selection process works exactly.I’m not yet familiar with FilmHub in depth, nor with other major production or distribution companies in the film industry. That’s why I now see this as one of my priority tasks: to properly research and understand which partners would be the best fit for my artistic vision  –  companies that value poetic, personal, and emotionally deep cinema.I’m genuinely excited about this next step and open to discovering the right opportunities that will help bring my new projects to a wider audience.

-WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural
Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing.
Do you think we are doing a good job?

Yes, I believe you are doing an outstanding job  –  and I say this with genuine admiration.For me, true art has no limits. It is a living bird that cannot be put in a cage  –  even if that cage is made of gold. A golden statue of a bird might look impressive and attract many eyes, but after a while it becomes boring. You stop looking at it. It no longer brings joy. The real bird, even if it is not in a golden cage, sings with full voice, radiates life and energy. Once trapped, it slowly becomes disabled and loses its song.The big players  –  The Hollywood Reporter, Variety and the entire mainstream machine  –  can beautifully promote a film and bring it to a huge audience. But there is always a price. That price is freedom. Freedom to create without frames, without templates, without someone telling you what your film “should” be like.I would always choose freedom. Even if fewer people see my work, it will remain truly mine  –  alive and authentic. That is why I deeply support the path that WILD FILMMAKER has chosen. By putting the Work of Art at the center instead of marketing, by fighting for democracy in cinema, you are protecting exactly what makes cinema magical. You are keeping the bird free. And that, for me, is the most important thing.

When you plan the realization of a film project, what are your objectives?

When planning the realization of a film project, my main objective is to clearly present the message behind the film. I also want to introduce new elements, such as creative storytelling techniques and strong character development, to help the audience connect emotionally with the story. In addition, I aim to explore new approaches and filmmaking techniques that make the project more unique and engaging. Another important objective is to help the audience understand the real-life experiences and deeper meaning behind the story. Finally, I want to capture behind-the-scenes moments to show the reality of how the film was created and give others insight into the filmmaking process.

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 that artificial intelligence will introduce a new way of creating films, offering fresh techniques and approaches to the film industry. However, I do not think it will replace other types of cinema, such as black-and-white or silent films. Each style has its own unique value, aesthetic, and appeal.

Rather than replacing existing technologies, AI should be seen as a new creative tool for this generation of filmmaking. Frankly, there are still many issues and limitations to consider when using AI in film production. Another important factor is the target audience, as different viewers may respond differently to new storytelling methods and visual styles.

Overall, AI represents an expansion of possibilities in cinema rather than a replacement of traditional forms.

To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

I would choose Netflix Documentary Films as the production and distribution company to propose my new project to. Based on my findings, Netflix is a major global buyer and producer of documentaries, with strong worldwide distribution power. It is particularly suitable for documentaries with broad international appeal and character-driven global stories.

For example, Netflix has produced documentaries such as Found, All in My Family, The Joys and Sorrows of Young Yuguo, and Sky Ladder: The Art of Cai Guo-Qiang. These works demonstrate the platform’s interest in emotional, personal, and culturally diverse storytelling, including Chinese documentary content.

Netflix is a strong choice because it is ideal for stories that have cross-border audience appeal and high cinematic production value.

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 think this is a brave and refreshing move. I appreciate and support this new, challenging approach. I believe that the artistic value and the movement behind a film are more important than marketing itself.

It is important to understand your goals and what you are fighting for. I believe a new era is emerging, where creativity and determination will play a central role, and the meaning behind a project’s existence will ultimately define its success when viewed later.

Willingness to change and accept new ideas requires effort, time, and manpower. Believe is also one of the hardest things to hold onto. Acceptance may be the final step in the process of growth and transformation.

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.

Who is Fabia – Maria Cerra ?

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.

This is my acting portfolio:

www.spotlight.com/7611-8974-1784

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.

STAR CROSSED

https://www.wildsound.ca/videos/script-movie-star-crossed

CUSTER
https://youtu.be/bshiSNpybmM
https://www.wildsound.ca/videos/script-movie-custer-s
last-plan

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?

Yes and wonderfully!