-Which writer inspires you the most?

Shakespeare , Rimbaud and Baudelaire . With them visit all spheres of life and the celestial in writing that is the Verb. So when the immensity unfolds , open yours eyes wide to marvel. To write poetry in my screenplays is to love life and embrace it all its dimensions . Creativity demands the salt of life , caravel of words , I feel like a woman !

– What is the main challenge you encountered while writing your work?

No challenge ! No support except God . Dolls that float in time . Contemplative , I smell the sky touch the stars and my writings rest in the palm of God . From then on the word emerges from the living in this writing which gives birth to beauty , inkjet plays with the marvelous .

-Every screenwriter needs feedback after completing their project. Is there someone you always turn to for their opinion as soon as you finish writing?

Not feedback ! I only my soul to give son many graces in the word life ! This power that is given to me ! The grace of living the infinite and to live it fully in this intoxication of the dream that becomes reality !

-Are you currently working on a new screenplay? If so, can you tell us more about it?

Yes after the one on Rennes the Castle , the Priory of Sion and the treasure of Abbey Sauniere published by Edilivre Editions who got 230 Awards Winner and the last on Camille Claudel and Rodin , now I write a new screenplay about the marvelous ! Because the cement sky of my creativity plays with density in various tones. Walk near stars , it’s opening the window of my creativity for a hundred years . My thoughts fly away like an angel kneeling before God ! Echo of his cross , melodious caress
of the sky , give the best of yourself . With God, I see everything in greatness and majesty . Thus when reading the living the Grail ignites.
“ Rimbaud , Eternity has not passed !” I find it in the smallest pores of life and in my creativity . Vines of grapes , red white wine desire, the blood of Christ !”’

-If you had to describe your writing style using three adjectives, which ones would you choose?

Poetic , mediumistic , philosophical, historical .

An impossible secret

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by Michele Diomà

Sleeper, Annie Hall—for which he won an Oscar—but above all, Manhattan are just some of the screenplays Marshall Brickman co-wrote with Woody Allen.

Just a few hours ago, Marshall transitioned to another dimension. I imagine him already in deep conversation with Federico Fellini about Juliet of the Spirits, much like the iconic scene in Annie Hall, where Diane Keaton and Woody Allen’s characters discuss art while waiting in line for the cinema.

Screenwriters are often an underappreciated category, despite Alfred Hitchcock’s famous statement: “To make a great film, you need three things: the script, the script, and the script.”

Today, we at the WILD FILMMAKER Community wish to honor a remarkable screenwriter, fully aware that we live in a world where the most important things are often misunderstood, and truth turn into lies—like in a George Orwell novel. For me, the screenplay of Manhattan, written by Marshall Brickman, inspired a pivotal decision: in 2018, I chose to produce a film in New York.

For some, it was a self-destructive folly to leave Rome and attempt to create a film in Manhattan, titled Dance Again with Me Heywood!, a tribute to the most Chaplinesque contemporary artist.

I arrived in the U.S. for the American premiere of my first film, Sweet Democracy, which featured the late Nobel laureate actor and playwright Dario Fo. I also came to Manhattan to deliver a masterclass on independent filmmaking at New York University.

What was meant to be a two-week stay turned into two months. I vividly recall the first time I saw 6th Avenue. Walking silently among the towering skyscrapers, I kept repeating to myself: “I love this place; I never want to leave.” It was a cold November evening. Back in my hotel room, I rewatched Manhattan on my computer, and in that moment, I decided my next film would be made in New York. I brought that vision to life the following year, even securing James Ivory as a special guest—who, incidentally, won an Oscar that year for Best Screenplay. It was a dream come true for a small Italian producer deeply in love with New York.

This love, ignited by Marshall Brickman’s creativity, has only grown over time. My most recent film shot in New York, O – the fiSRt mOvie by aN alien, brought me the immense honor and joy of working with Academy Award-nominated actress Mariel Hemingway, the co-star of Manhattan.

Marshall Brickman will forever remain a source of inspiration for anyone creating projects with WILD FILMMAKER. True cinema, after all, never dies.

Ciao, Marshall. Grazie !!

-Which writer inspires you the most?

I was lucky enough to be the son of teachers, and I remember as a child many books and collections in the library at home. I remember the book series ” World’s Best Reading” by the Reader’s Digest and the 1980’s collection “Tesori della Narrativa Universale” by De Agostini. From this collection I chose the first book I read entirely: “Tales” by Edgar Allan Poe, a piece who continues to influence my fantasy until today. During my adolescence I was also inspired by H.P.Lovecraft, with the cycle of Cthulhu’s Myths, especially with “At The Mountains of Madness” story, by “The Old Man and the Sea” by Ernest Hemingway, with his dry prose and the use of understatement and by Virginia Woolf’s “To the Lighthouse”, for its wonderful pages fully of characters introspection. More recently, my scripts are influenced by Murakami Haruki, especially the one of “IQ84” for the personal magical realism you can breathe in its pages (and that reminds me the Kurosawa’s and Fellini’s visual style), and by George R.R. Martin for his great ability to show and manage multiple characters. Indeed reading “A Song of Ice and Fire” you can literally learn to present and develop characters in a TV series! I also follow the works of Taika Waititi, Dai Sato, Hideaki Hanno, Phoebe Waller-Bridge and the creations of showrunners like Vince Gilligan (“Breaking Bad”), Tony Gilroy (“Andor”), Craig Mazin (“Chernobyl” and “The Last of Us”) and of course, Damon Lindelof (“Lost”).

–What is the main challenge you encountered while writing you work?

When you have an idea in your mind, whether you want to write a novel, a poem, a song or you want to make a painting, a film or a theatre show, you will always have to deal with writing, I would say almost with the purity of calligraphy, according to master Zang Yimou in the movie “Hero” (2002), that makes Nameless warrior say: “Calligraphy and sword art are alike. They are born from the harmony between the strength of the wrist and the feeling of the heart.” To write you must have wrist (the technique) and you must have heart (the feeling). In other words, you need to encapsulate the main idea and develop it into a form that you will communicate to the public. Writing is already seeing. That’s the great challenge. But it is also an opportunity we can take today as new boost, thanks to the social network’s power, a circuit of independent festivals and online reviews that can exponentially multiply the distribution channels. When you write and when you shoot, try to think in artistic terms but also in cross-media and multiple platform terms, you must prepare an expanded narrative, that helps the audience to “peek” at the work with curiosity from more points of view and perspectives. From this point of view, my crew and I are proud to be part of Wildfilmmaker, the first global network of independent artists, actors and directors. This is a constantly evolving project, which takes the historical and artistic roots of cinema and likewise aims to radically renew both selection processes and production, thanks to the active collaboration of an international community. So Wildfilmmaker enhances cinema. According to Michele Diomà, the WILD FILMMAKER project creator, this happens because our entire community loves cinema. More concretely, the challenge I had to face as a writer was the script of the Tv Series Boombox (The God of The Dance). I started from the 2022 short film, winner of several international awards, which had an open ending, a cliffhanger. The audience that always asked me the same question: “Why the boombox radio disappear?”. To answer this question I had to build an entire world. A fantasy world well revelead by the pitch-deck of Boombox Tv Series, also created with the help of generative AI software and awarded from Wildfilmmaker network. Boombox TV-Series world building involves the introduction of new powerful characters into the script, the construction (and destruction) of bonds between them, the creation of a credible villain, but above all an episode structure that consistently manages the inciting incident, main protagonists reactions, conflict and story resolution. It was very complex to manage the interactions between the characters, their introspection and characterization, the cliffhanghers on episodes ending, always focusing on the creativity of the anthology plot and the coherence of the running plot. I tried to do all this while maintaining my narrative style, which combines comedy, drama and a touch of hard sci-fi veins, here accentuated by the fascinating scientific context of quantum physics. We also caught two great challenges: the translation into words of a universe made up only of music, noise and sound (the Universe of Sound) and the use of direct cross-media interludes in the plot, such as the intervention of influencers and youtubers.

-Every screenwriter needs feedback after completing their project . Is there someone you always turn to for their opinion as soon as you finish writing?

My writing process frequently begins with a dream that merges and mix with a film or video I have seen in the past. This is what happened for my last short film, Dreaming Vincent. Kurosawa’s Dreams Episode 5 was grinding in my brain, until I made my version of the movie! Usually I fix the ideas that come from my dreams on the paper, connecting them with arrows, as in a brainstorming process. Later I save everything on my smartphone, to have a logical place where ideas can “flow” and “grow” at any time. So I take note of them wherever I am: at an exhibition, at the cinema, in a theatre, stadium or even at the supermarket… At this stage, I’m having conversations about writing process and narrative ideas with three people: my brother Igor, who has a great literary culture, Simona, my producer with whom we develop both narrative and marketing ideas, and not last, my nephew Francesco, who is 15 years old, when we discuss about the future of cinema and TV series, but also about the evolution of expanded narratives of masterpiece videogames like “The Last of Us”, “Red Dead Redemption” and especially “Detroit Become Human”. Francesco gave me some very useful suggestions on the readability of the pitch-deck of Boombox Tv-Series. Naturally, once the script is complete, I check it with all of them, with most of my crew, including in particular Luca Bottello and Alberto Cerri, and also with the WILD FILMMAKER community!

-Are you currently working on a new screenplay? If so, can you tell us more about it?

The exergue of this interview with the quote from Michelangelo’s Rhymes is not a random incipit. Michelangelo replied in 1545-46 with some verses, entitled “Buonarroto’s answer” to a famous quatrain of praise by Giovanni Carlo Strozzi, in which the statue was invited to wake up to be seen animated. “Caro m’è ‘l sonno, e più l’esser di sasso, mentre che ‘l danno e la vergogna dura; non veder, non sentir m’è gran ventura; però non mi destar, deh, parla basso.” Michelangelo made the statue itself pronounce these verses, highlighting what was the reason for the serenity of the night compared to the restlessness of the other statues. The statue prays not to be awakened by its serene, creative and “prolific” sleep. We find this in the opening theme of the anime “Ergo Proxy” (2006) by Manglobe Studio, universally recognized as a cult for deep introspection of characters and mixing traditional animation and CGI. At this link you can see the opening of Ergo Proxy anime, “Kiri” of Monoral: https://www.youtube.com/watch?v=0AiiT6IO_LA The ending theme of the anime is even “Paranoid Android” by Radiohead. The anime was written by the visionary master Dai Sato, who described the subject in a 2005 interview: “A group of robots become infected with something called Cogito virus and become aware of their own existence. So these robots, wich had been tools of humans, decode to go on an adventure to search for themselves”.

–If you had to describe your writing style using three adjectives, wich ones would you choose?

It’s not easy to explain my writing style in three words, but I would say my scripts are always pictorial, musical, and sensually misterious.

-Which writer inspires you the most?

I cannot say my writing follows a particular writer’s style but there are a few worldwide known authors like Gabriel Garcia Marquez, Jose de Alencar and Graciliano Ramos to mention but a few whose works like Hundred Years of Solitude, Iracema and Vidas Secas have left a significant mark on me.

-What is the main challenge you encountered while writing your work?

There is always so much to say and keeping the focus on what has to be said and what can be sacrificed.

-Every screenwriter needs feedback after completing their project. Is there someone you always turn to for their opinion as soon as you finish writing?

In the past I have put a huge amount of trust on a few people to read my script, a script that is so intimate and close to me only to have this trust misplaced. If you give your work for someone you trust to give you a feedback you expect that person to read it. This is a matter of respect! I am much more careful now on whom I bestow my trust. Thankfully I have e a few friends that haven’t disappointed me. As a screenwriter is crucial to have the people you know will give the importance and attention your hard work deserves!!

-Are you currently working on a new screenplay? If so, can you tell us more about it?

I have just finished my feature script Nossos Caminhos (Our Paths) which is a story based on true events of two sisters separated at birth but reunited sporadically throughout theirs lives. Despite having similar beginnings their paths take different directions with one dying of cocaine overdose while the other through resilience and determination manages to conquer her dreams.

-If you had to describe your writing style using three adjectives, which ones would you choose?

Bold, Evocative, Poetic

-Which writer inspires you the most?

I couldn’t talk about inspirations, I can say my great passions. I grew up with Russian literature. Mainly Fyodor Dostoevsky. When I grew up, my passion for American literature began, of which I only mention William Faulkner, John Steinbeck, Francis Scott Key Fitzgerald and Philip Roth. I also love Virginia Woolf and the Harry Potter saga. I consider them phenomenal and unrivaled writers for me.

-What is the main challenge you encountered while writing your work?

The genre of my movie is quite surreal. The biggest challenge is to be able to propose the atmospheres that I see while I write.

-Every screenwriter needs feedback after completing their project. Is there someone you always turn to for their opinion as soon as you finish writing?

I try to have feedback with people I trust. My path is not really narrative, so looking for a comparison with those who love classic cinema would be complicated. I try to involve people who are close to me but who know how to be sharp in their judgments.

-Are you currently working on a new screenplay? If so, can you tell us more about it?

I am writing the third film of the “trilogy of the subconscious” that began with “Santa Guerra” and continued with “Katabasis”. It is probably the craziest movie of the three. It mixes so many dimensions. Reality. Dream. And something else that could be everything. Another dimension, or another world.

-If you had to describe your writing style using three adjectives, which ones would you choose?

Enigmatic. Instinctive. Sincere.

-Which writer inspires you the most?

The writer who inspires me the most is St. John Paul II, also because he was the Pope during my time of formation in the seminary.

-What is the main challenge you encountered while writing your work?

The main challenge has been to effectively communicate the central message I intend to convey through music. In truth, writing the text wasn’t particularly difficult, as I always strive to listen to inspiration as soon as it comes and immediately start working on it.

-Every screenwriter needs feedback after completing their project. Is there someone you always turn to for their opinion as soon as you finish writing?

I prefer to receive feedback after publishing the project, directly from my listeners. It’s a bold challenge, but for me, that’s fine, even if it might seem risky.

-Are you currently working on a new screenplay? If so, can you tell us more about it?

Currently, no, but as I mentioned earlier, I’m always ready and open to any inspiration that might strike me and truly help me communicate through music for the cause of evangelization.

-If you had to describe your writing style using three adjectives, which ones would you choose?

Free, intuitive, spiritual.

The Sicilians

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-Which writer inspires you the most?

Honestly I don’t remember a writer or a screenwriter inspiring me the most. When I started to study screenwriting by myself I was 15 and I’ve read books by famous Italian screenwriters like Ugo Pirro or Agenore Incrocci. At the end I realized they were not so useful to me. After some years I decided to study classic USA screenwriters as Linda Seger, Syd Field and Robert McKee, and they seemed to me more honest in explaining some secrets of the screenplay. By the way I like to read some philosophers, as Saeneca or Schopenhauer, and I appreciate some books by authors like Charles Bukowski, Michel Houellebecq, Anthony Burgess, Thomas Mann, Antonio Moresco and Michail Bulgakov. Perhaps some of them might have had an influence on me.

-What is the main challenge you encountered while writing your work?

I don’t see writing as a challenge. I see it as a normal process. Sometimes it could be difficult, or boring, sometimes it could be more satisfying. But I never perceived it as a particular challenge. The real challenge to me is to find money to make the movie, and then get success with this ready-made movie.

 -Every screenwriter needs feedback after completing their project. Is there someone you always turn to for their opinion as soon as you finish writing?

Not really, or better: random. Sometimes there are some people, that are not always very close friends of mine, and they read what I’ve written and come out with very different suggestions and points of view on my work. So it is tough for me to decide who I have to listen. Until now I never had the opportunity to show my work to a great professional screenplayer, unfortunately.

 -Are you currently working on a new screenplay? If so, can you tell us more about it?

No, because I’ve written this screenplay called STIGMATLER which won the Modigliani Literary Prize 2023 in Rome as a Finalist in their concourse, and then the book was published on Amazon and Google Books. So I have finished my writing work and I am now currently committed in fund raising for this project.

 -If you had to describe your writing style using three adjectives, which ones would you choose?

I really do not know. Maybe I try to be concise, grotesque and brutal at the same time.  I like dark comedies and noir and erotic or weird films, but on the opposite side I admire also some Hollywood classics and the Nouvelle Vague. So perhaps my work might be a concentrate of disparate influences and tastes.

– Do you remember the exact moment you fell in love with cinema?

I discovered my love of movies and cinema very early on as a child. I watched Steven Spielberg’s “ET” with my parents and friends and 2 years later Michael Ende’s “The Neverending Story”. I was 11 years old at the time.

– When did you realize that the story living in your heart had to be turned into a screenplay and then into a film project?

In January this year, I flew to Los Angeles and had the bold idea of conquering Hollywood.
Apart from acting, I think the thing I do best is writing. So I started looking for an idea for a suitable screenplay.

In 1993, after finishing school, I spent 6 months in Brazil, including in Porto Seguro north of Rio, the place where 2 French producers heard the original version of the song “Lambada” in Portuguese on the radio for the first time in 1987. The rest is history.

Over the last two decades, I have maintained very good contact with many Brazilian friends. And it was exactly December 30, 2023 when I was talking to a Brazilian friend in Palma de Mallorca in my favorite bar, the “Shamrock”, about the controversies surrounding “Lambada” and the tragic end of Loalwa Braz, the terrific voice behind the global phenomenon. At that moment, the music video was played by Kaoma, just like on MTV in the 90s back then. It was like a flash of inspiration! There was my screenplay, the screenplay of an untapped and untold story of great importance.

The Feedback I received from Los Angeles so far is massive: “Following the recent success of BOHEMIAN RHAPSODY as well as this year’s BOB MARLEY: ONE LOVE, music biopics are in -, and Loalwa is a global superstar in a similar space.” They also suggested casting a pop star such as Dua Lipa in the lead role to guarantee success.

– Is there a person you would like to thank for helping you bring your project to life?

Yes, I would certainly like to thank all my Brazilian friends, of course Brazil itself and also Spain. Since 1994, after my stay in Brazil, I have been living in this beautiful country with a few interruptions. Without my undeniable love for Spain and the beauty of the Latin American world, the screenplay would never have been written.

– Which writer inspires you the most?

I’m actually more inspired by great filmmakers like Spielberg, Coppola and Ridley Scott than by writers. Let’s see if I can get close to them with my screenplay and movie during lifetime. 😀😉

– Do you think the Wild Filmmaker Community is helping to turn your dream into a reality?

I definitely think that the Wild Filmmaker community with its creative minds and influential projects will help me to fulfill my unbridled dream. Watching my screenplay on the big screen!

There have been 2 emotional moments in my life so far. The births of my two daughters. Those were the most emotional moments of my life. When I see my movie on the big screen for the first time, I’ll have those tears in my eyes again. 100 percent. Want to bet?