Author: Dreamate Demo

Among the main events taking place alongside the Venice Film Festival, there will be the presentation of the book PREDATOR – A Myth Between Sci-Fi and Anthropology at the Italian Pavilion, Hotel Excelsior, Sala Tropicana 2, on Wednesday, September 3rd at 10:00 AM.

Exclusively for WILD FILMMAKER, we are publishing an interview with one of the authors, Andrea Guglielmino.

-) Who is Andrea Guglielmino?

Well, that’s an easy one. I’ll answer with my semi-official bio:

Andrea Guglielmino defines himself more as a “writing person” than a writer. He moves across fiction, non-fiction, film criticism, and finally landed in his greatest passion—comics—in 2015, publishing his first story for Mostri by Bugs Comics. Since then, he’s continued working with Bugs (Samuel Stern), as well as Emmetre Edizioni (Garibaldi vs. Zombies, Garibaldi vs. Mickey, Garibaldi: Risorgimento, Garibaldi vs. Frankenstein) and Weird Book, with whom he published I Primi Cento—a tribute to Dylan Dog that earned him the Bartoli Prize for Best Writer at Cassino Fantastica in 2024.

He works for CinecittàNews, the official news portal of Cinecittà, and collaborates with several magazines, including Nocturno.

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-) Tell us about your project “Predator – A Myth Between Sci-Fi and Anthropology.”

With pleasure! First of all, I’m happy to say it’s a finished and published project. It’s an essay co-written with my colleagues Gianmarco Bonelli and Guglielmo Favilla—yes, the actor! He’s also a very talented writer.

The book reinterprets the famous science fiction saga that started with the Arnold Schwarzenegger film, exploring it through a fresh socio-anthropological lens.

It’s a franchise that, beneath its genre surface and pure entertainment value, hides significant sociological and anthropological themes. These include ancestral myths rooted in the clash between nomadic and sedentary cultures, the tension between Nature and Culture, Magic and Technology, and even the caste-based structure of the alien Yautja society. Like any true Myth, Predator must evolve to reflect the society and historical context in which it appears.

It’s not your typical critical approach—we’re not interested in whether the films are “good” or “bad”—and it’s certainly not just a collection of facts, which, in the age of the internet, has little value.

The word “anthropology” shouldn’t scare anyone off. The book is very accessible even to readers unfamiliar with the subject—we provide all the necessary tools. It’s a playful book, not an academic one.

We don’t limit ourselves to the films, either. The Myth is analyzed across all forms: comics, novels, video games… everything we could get our hands on!

Plus, there’s a stunning cover by Giorgio Finamore and illustrations by top-tier artists throughout the book.

And three exclusive interviews: with John McTiernan and Stephen Hopkins (directors of the first two films), and with Chris Warner, creator of some of the comics.

It was published by Weird Book.

We’ll be presenting it at the Venice Film Festival, in the Italian Pavilion at Hotel Excelsior, Sala Tropicana 2, on September 3rd at 10:00 AM.

Everyone is, of course, invited!

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-) Are you working on other projects?

As I mentioned, I’m also a comic writer and very active in that field. I’ve co-written a graphic novel with Omar Pedrini based on Viaggio senza Vento, the iconic album by Timoria. It’s set to be released this fall.

With Emmetre Edizioni, I’m working on the Garibaldiverso saga, which places characters from the Italian Risorgimento in confrontation with key figures from pop culture. It all started with Garibaldi vs. Zombies—we’re actually seeking collaborators and production partners to turn it into a film. It became a small but notable success in publishing. Then came Garibaldi vs. Mickey (taking advantage of Disney’s loss of rights to the first version of Mickey Mouse), Garibaldi vs. Frankenstein, and Garibaldi: Risorgimento (a tribute to The Crow). There’s a big surprise in store for Christmas… and I’m currently writing the spin-off Nino Bixio: Vampire Hunter.

Dioverso, co-written with Emiliano Pagani and illustrated by Nicola Perugini, had a “miraculous” crowdfunding campaign. And given its divine theme… and multiverse variants… it fits perfectly.

I’m also waiting for the green light from Bugs Comics (publishers of the Samuel Stern horror series) for a major project that I care deeply about.

Meanwhile, I’m continuing to promote I Primi Cento, a very unique comic essay about Dylan Dog—without Dylan Dog. It’s mostly about the obsession many fans have with the first 100 issues of the series. There are some exciting things in the works for that as well.

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-) What do you think cinema will look like 100 years from now?

I honestly can’t imagine it… but I’m tempted to say the first hundred were probably better!

Jokes aside, you can’t ignore the impact of Artificial Intelligence and emerging technologies. Whether we like them or not, whether we choose to use them or not, you can’t stop the wind with your hands. I think it’s wiser to learn how to use them thoughtfully, rather than fight a pointless battle against the inevitable evolution of the world.

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-) What would you change about today’s film industry?

It’s not really my job—I just write about movies and report news. And occasionally, I make up stories in comic form, which is an incredibly powerful medium, perhaps even more so than cinema. Mainly because the production effort is much smaller. Paper, pen, pencil… maybe a tablet—and with the same cost and manpower, you can create either a close-up of a character or an entire army charging across an alien world.

What I can share is a personal experience: I was stuck at home for a couple of years due to health reasons.

During that time, I reevaluated all the rhetoric around “you must see movies in theaters.”

The truth is: cinema must be watched—period. If it’s in a theater, great. But since we now have easy access to legal, quality streaming and digital platforms, rapid distribution of films should be a priority.

Back then, even if I wanted to, I couldn’t go to the cinema—and I can only imagine how many others deal with similar or even permanent limitations. I would have done anything for a legal link to see the films I was missing.

So yes, I’m in favor of shortening the release windows as much as possible. I think it could even help in the fight against piracy.

That’s just a user’s opinion—surely, people more knowledgeable than me will have stronger arguments. But since you asked: if I could change something, it would be the accessibility of content.

Where does your desire to express yourself through art come from?

My desire to create comes from a fascination with transformation and mystery. Artists like David Bowie taught me that reinvention is survival, while David Lynch revealed that cinema can be a dream and a riddle at the same time.

Beyond that, I’ve always been drawn to the intersection of worlds—music, painting, philosophy, literature. Art is the only place where these forces can truly collide. For me, it’s not simply about expressing myself; it’s about conjuring images and experiences that live on in the minds of others, like echoes that refuse to fade.

“Art is the only way I know to express what words alone cannot.”

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What are your goals as an artist?

My ambition is to create works that are original, fearless, and surprising. I want to carve out spaces that feel unfamiliar yet deeply human—stories that don’t just entertain but unsettle, awaken, and inspire.

The world already knows how to produce what is expected. My goal is to show that we are capable of creating the unexpected, of reaching for something immense without being blinded by expectation.

“My goal is to create the unexpected—and make it unforgettable.”

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What is your opinion on the cultural industry?

The cultural industry is a paradox. Sometimes it is underestimated, as if art were a luxury rather than the pulse of civilization. Other times it is overestimated, inflated into spectacle and reduced to numbers, markets, and algorithms.

But the essence of art escapes such measurements. The question “What is art?” will never have a single answer—and that is its power. True culture is not a product; it is an atmosphere, a force.

“True art always escapes measurement.”

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Do you think independent artists today have enough opportunities to share their creativity?

Independent artists live in a time of contradictions. On one hand, it has never been easier to share one’s work. Digital platforms, festivals, and new networks have opened doors once tightly locked. On the other hand, visibility remains elusive. To be seen is not the same as to be found.

Sometimes I wonder if I should push a project like mine toward a more commercial path, or keep it firmly in the indie world. Both routes have advantages, but also challenges. Take a film like ANORA: yes, it was made for six million, but it carried eighteen million in promotional costs. That is the reality—visibility often requires resources that independents rarely have.

“It’s never been easier to share work, but never harder to be truly seen.”

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What new project are you currently working on?

There are projects moving quietly in the background—too fragile to speak of yet. Silence is sometimes the best way to protect a vision in its early form.

What I can share is the expansion of Cassandra Venice. Through trailers and a short film, I am shaping the foundation for something larger—whether that becomes a feature or a series remains open, like a horizon just out of reach.

At the moment, I’m especially exploring opportunities in Spain and the U.K., while staying receptive to unexpected collaborations. Cassandra Venice began as a haunting dream, but it may yet transform into a world others can fully enter.

“Cassandra Venice began as a dream—but it may grow into a world others can fully enter.”

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Closing statement

For me, cinema is not just storytelling—it is prophecy, memory, and dream combined. Each project is an attempt to capture the fleeting light of something that feels both personal and universal.

“Art must remain a question, not an answer.”

As long as I keep asking that question, my journey as an artist remains alive.

Where does your desire to express yourself through art come from?

I honestly have no clue. My whole life, from a young age, I played competitive sports. It wasn’t until I graduated college and was entering the real world that I realized I did not want to enter corporate America work force. I saw the next forty years of my life and it was not what I wanted to be doing. I wanted to chase happiness and find something I could enjoy doing until the day I die. I always had a fascination with films at a young age and so I decided to just go for it. 

What are your goals as an artist?

My biggest goal would be to have everyone from around the world love my movies. I hope that my films can reach large audiences and can be seen on the big screen, as I have intended them to be. I hope that my films not only entertain everybody but make them feel something as well. I hope that I can be lucky enough to keep doing what I’m doing for as long as I can. I pray that I’m not a one and done. 

What is your opinion on the cultural industry?

Don’t have much of an opinion on it. If it wasn’t for it I would have never seen the great films that I have or listened and fallen in love with the music I enjoy. I hope someday that my work can be a part of it and hopefully inspire the next great filmmaker to come along and entertain people as much as I’ve been entertained.  

Do you think independent artists today have enough opportunities to share their creativity?

You can easily upload any content you want on the web to be shared with everyone around the world. I think there are many outlets or opportunities for all artists, no matter what the media, to share their creativity. It’s much easier for an artist now than ever before to share everything they make whether it be a social media platform, a website and the numerous other web based forms. Now whether they make money off it, that’s another question. To share their creativity, there should be no excuse why they can’t. 

What new project are you currently working on?

I am currently not working on any new projects at the moment. I have a couple that are in pre production but are not anywhere near close to going into production. One of the projects is a short film called “Where is Lady” and it delves into the sad and dark world of human trafficking. My other project that I am working to try and get funds for is the feature length from my last short called “True Friend” which is about the unbreakable bond between two kids that come from different sides of the track. With hopes that I can get a distribution deal for my current feature Wacko, I believe I can get the funds for this next project. Fingers crossed 🤞

Where does your desire to express yourself through art come from?

I developed a passion for art early on—drawing, painting, dancing, writing, and reading. After winning an art contest, I received a Kodak box camera and began taking photos, managing the film and choosing scenes myself.
The wait for developed prints was soon overlooked once people could relive memories captured on film. Each image enabled one to repeatedly recall the circumstances of its creation—the location, sensory details, ambient temperature, and emotional state both before and after the photograph was taken. Although the image remains unchanged, our evolving experiences and perceptions continually reshape how we remember it. Decades on, I still have the camera.

What are your goals as an artist?

To share an uplifting message by showing past outcomes and future options in an engaging way.
Currently, my screenplays “Fractures In Time” and “Visitors Book” have earned multiple accolades on the film festival circuit. My foremost goal is to facilitate the adaptation of at least one of these works into a feature film and to actively participate in its production.
I plan to write and direct a short film, but my scripts always turn into feature-length projects.

What are your views regarding the cultural industry?

The subject frequently evolves in response to technological and topical developments. Occasionally, one aspect develops at a different rate than another, which can lead to discrepancies that persist over long periods of time.
Technology now makes it easy for the public to buy Van Gogh’s art on items like tote bags and cushions, especially after experiencing his work through immersive digital displays. It is uncertain how Van Gogh, who lived in poverty, would have responded to the widespread commercialization and public appreciation of his art today.
Does this also apply to film—will an outstanding low- budget indie short be respected equally in the future? I like to think so.

Do you think independent artists today have enough opportunities to share their creativity?

FilmFreeway and the World Film Communities Network provide independent filmmakers and writers with international platforms to gain recognition and showcase their work globally, as well as similar platforms.
With advancements in modern technology, individuals equipped with a smartphone are now able to write, film, edit, produce, and publish their own films online, making the aspirations of emerging filmmakers more achievable than ever before.
Wild Filmmaker aims to spotlight emerging filmmakers through modern technology, whilst drawing on the history of cinema. This innovative effort deserves recognition.

What project are you currently working on?

I am currently developing two screenplays simultaneously. One is a sequel to “Fractures In Time,” which explores the potential consequences if certain predictions from the original script materialise.
My latest screenplay, inspired by The Blair Witch Project, is my first horror script and examines how far people will go to seek approval on social media. It’s my debut in the genre, and I’m already spooked.

Where does your desire to express yourself through art come from?

My father taught me how to print photos before I could even write, and how to be a working child actor even earlier than that. My love for music came through competitive piano lessons, while my passion for storytelling grew from bedtime stories at home and later at boarding school. Senior kids would tell wild tales to comfort the younger ones battling homesickness and fear—an incredibly potent medicine against very real inner demons.

So, for me, stories have always had a concrete, practical, and healing purpose. Storytelling—whether through acting or images—holds a very special place in my heart and soul.

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What are your goals as an artist?

“Artist”? Who’s an artist? (laughs) I simply see myself as continuing in the footsteps of those great storytellers who came before us—from the cave paintings of prehistory, to the flickering magic of cinema today.

I think of a filmmaker as part craftsperson, part creative. The word “artist” brings to mind names like Michelangelo or Rodin. A painter, a poet, a sculptor—these are typically solitary creators. But filmmaking requires at least a team, if not an army. In that sense, it’s almost the opposite of fine art.

Personally, I believe filmmakers should master the craft first, and then explore the art—if at all. As a writer, yes, I’d consider myself an artist. But as a filmmaker? I’m more of a craftsperson dedicated to building stories for the screen.

That said, with the rise of today’s “baby screens,” user-generated content, and the democratization of media, we may be seeing a shift back toward solitary creators. As technology disrupts the industry and makes filmmaking more accessible, perhaps the medium will evolve—(or devolve?)—into something more like fine art.

Which raises the question: where does AI fit in? Is it the future artist? Or simply a tool for ideas, subject to human curation? If AI draws from collective knowledge, does that mean the fine art of the future belongs to everyone—and to no one? What happens to the very concept of copyright?

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What is your opinion on the cultural industry?

Do you mean government-supported culture? In the U.S. today, industry is largely profit-driven, with little room for the true dissemination of cultural values. Unlike many countries, there’s not much in the way of nationally supported culture here. Even private art foundations must prioritize solvency over artistic exchange.

Historically, culture has belonged to those who could afford it—supported by governments, politicians, or wealthy patrons. Independent filmmakers rarely fall under the “industry” label. Mass media producers do.

And so, culture today is being shaped by fast, cheap, and accessible media—just as mass-produced T-shirts have overtaken high fashion. But which is more culturally valid? Is a pop song that sells millions inherently more valuable than a classical piece with a smaller audience? That’s the dilemma.

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Do independent artists today have enough opportunities to share their creativity?

Independent artists have always had to create their own opportunities. Success has always depended on their ability to reach and move audiences in a unique way.

Those who wait for opportunities to be handed to them are far less likely to share their voices than those who make their own luck. Within the film industry, most professionals are advancing someone else’s creativity, depending more on negotiation skills than on their own artistry. True independence requires building your own path.

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What new project are you currently working on?

After the passing of our co-founder and dear friend Jo Anna “Ziggy” Heckman, my Ep!c Film Foundry partner—veteran actor and producer Paul Gunn—and I were recently joined by the talented young actress and producer Faith Barrett.

At the top of our slate is NeverWere: A Lycan Love Story, an original and deeply moving tale that has already received a record 168 laurels for the book, concept, and screenplay alone.

Also in the pipeline are:

• Last Ride — a streetcar racing story
• Deadeye — a film about girls and guns (but not what you’d expect)
• LoveBeats — a supernatural love story
• StarSword Samurai — a fantastical action adventure

On the business front, I’m thrilled to announce a new partnership with Hollywood icon Gloria Tait and her company Athena Talent International. Together with her teammate Allen Balfour Geiner, we’re building the foundation of what promises to be a powerful force in the next “New Hollywood.”

And in true cliffhanger fashion, Athena and Ep!c are also collaborating with a legendary Hollywood figure to bring his untold story to life—a memoir of being young, hungry, and almost-famous during the Golden Era of the 1950s. Who is this mysterious “unknown icon”? You’ll just have to stay tuned.

Where does your desire to express yourself through art come from?

Our desire to express ourselves through our art has always been there for us. Christine and I have been playing music together for most of our lives. For me it began in high school and for Chris it began a little later, once we got together. We were playing in cover bands up until about 2015 when we started to write songs and began our career as independent artists in our band, Studeo. Over the past 10 years or so, we have been focussing not just writing and recording, but have made many music videos which we have entered in Film Festivals around the world.  To this end we have developed a great team  who all contribute to our music and successes. We have been very fortunate as we have had a great deal of success in these festivals winning many awards.

What are your goals as an artist?

Broadly our goals centre around our music, recording our albums and music videos and have them played around the world. Of course our aim is to build on our fanbase and continue our success is the various awards . Both of us have become members of the Recording Academy (Grammy®  members)

What is your opinion on the cultural industry?

We live in very unusual times as there are so many opportunities to develop our craft utilising the ever broadening range of technology. Musicians are now able to deliver quality outputs from home using affordable and available tools. We can write , record, distribute our music as well as produce graphics and other support materials from home. The downside of a more productive environment is that it is much more competitive especially with the issue of the technology itself becoming a threat via AI. Nevertheless  Studeo is able to produce our music and be very efficient with the tools and team we have in place.

Do you think independent artists today have enough opportunities to share their creativity?

Yes, there are many opportunities to share our creativity with the world. The key is to understand how to access these opportunities such as Spotify playlists, film festivals, radio playlists etc……
The live music industry has changed a lot over time requiring those who are pursuing gigs to seek out opportunities to play live where as in the past agents domineered the live music scene, especially here in Australia.

What new project are you currently working on?

• Studeo has released our latest album “Pounding Pavements” earlier this year (our 8th studio album). We are also continuing to write new material for our next album due in 2026.
• Vinyl LP – 2025
• Pounding Pavement CDs – September 2025
• Red Carpet Music Awards, Holland (playing live) September 2025
• Attending the World Class Film Awards, Milan Italy Dec 2025

Where does your desire to express yourself through art come from?

My passion for film has led me to screenwriting, where I can channel my imagination and craft unique stories. I draw inspiration from a diverse range of sources, including the works of authors and directors, real-life experiences, my cultural heritage, fleeting emotions, and music.

What are your goals as an artist?

As an artist, my foremost goal is to create captivating stories that entertain and resonate with people on a profound level. My experiences, particularly the cultural transition I faced moving from Vietnam to France, shape my narrative style and themes. I deliberately explore concepts of belonging and identity, allowing my journey to enrich the stories I tell—especially in the realms of Sci-Fi, Action, and Supernatural Thrillers.

What is your opinion on the cultural industry?

The rise of streaming services has undeniably transformed the cultural landscape, challenging traditional theaters to adapt. Major media companies are scrambling to keep pace with platforms like Netflix, but this evolution presents immense opportunities for independent filmmakers. With their creativity and resourcefulness, these filmmakers are making powerful strides and redefining storytelling. As the industry continues to evolve, the need for collaboration and innovation among artists is paramount, particularly in response to emerging technologies such as AI.

Do independent artists today have enough opportunities to share their creativity? 

Absolutely! Indie festivals like Sundance and Wild Filmmaker are thriving platforms that empower independent artists to showcase their work and receive the recognition they deserve. The remarkable success of Sean Baker’s “Anora” highlights what can be achieved through dedication and creativity, serving as both an inspiration and a model for aspiring artists.

What new project are you currently working on?

I am excited to share that I have completed a sci-fi thriller titled “The Star Seeker.” This project follows the journey of a homeless teenage math prodigy in a climate-ravaged future as she competes for a coveted spot on a space exploration mission while searching for her father’s missing spaceship. It blends the concepts of “Interstellar” with elements of an “Escape Room,” where every challenge is met with resilience and the unwavering hope for a brighter future.

Summer 2025 marked the greatest milestone ever achieved by the WILD FILMMAKER Movement, five years after the founding of the Magazine.
A success that has made WILD FILMMAKER the only independent community in the world with over 70,000 artists participating in various initiatives, and a brand presence in the international press that is truly unparalleled.
This triumph crowns a global movement dedicated to independent cinema—an idea inspired by the French Nouvelle Vague and Roger Corman’s New Hollywood, but for the first time, including artists from every corner of the planet.

Moreover, the WILD FILMMAKER Community now includes members of the Academy of Motion Picture Arts and Sciences as well as artists selected by the world’s leading festivals—from the Cannes Film Festival to Sundance and Tribeca.

A recognition that fills us with pride and motivates us to continue our mission: to create cinema rooted in free creative expression.

Below is the exclusive list of artists who joined the initiative: THE BEST FILMMAKERS OF SUMMER 2025:

Frank Mancuso – The Sicilians

Kimber Leigh – Taking Your Crack at Filmmaking / Pick It Up America

Christian Candido – Boombox (The God of the Dance) – TV Series Opening

Dylan Brody – You Are Here

Alexander Senicki – Emergency Musical Response: Part 1 – Journey to Netherworld

John Johnson – The G-FILES

Cherie Carson – Sequoia Spirits

Linda Harkey – The Case of the Missing Pink Piggy

Zachary Simpson (music and lyrics), Siona Talekar (author of the book), Erin Rementer (performer), Linda F. Radke (director) – “Hey Mommy” Theme Song

Victoria Bugbee – Out of State-A Gothic Romance

Paolo Pier Luigi Guglielmetti – Colombano e la 21esima Fetta

Tom Gallagher – Amen-Amen-Amen: A Story of Our Times

Andrea Natale – Fascino d’altri tempi

Royce Freeman – Indie Jax Grind

Robert Tobin – The Good Americans

Edi Mils – Museum, or The Marble Statue

Andronica Marquis – Medea

Jaymz Bee – Artists and Aliens

Francis Billingsley – Dancing with Spies @Goddess

Michael Mayhan – The Ballad of Wonderhussy and Other Desert Tales

Keith Szarabajka – In Search of A P-I-G

Keith Szarabajka – The Second Coming

Uniqueness Heiress & Azia – Omnipotent Resolution

Lesley Ann Albiston – Fractures In Time

Russell Emanuel – Staycation

Russell Emanuel – Routine

Russell Emanuel – The Assassin’s Apprentice 2: Silbadores of the Canary Islands

Colleen Fuglaar – Michelangelo and Me + Da Vinci and Me

Florence Cazebon-Taveau – The Priory of Sion and the treasure of abbey Sauniere of Rennes the Castle France

Cassandra Hodges – Wild Blooms

Gary St. Martin – Dirty Revenge

Pamela PerryGoulardt – Calamity Jane: Queen of Spades

R. Scott MacLeay – Noise

Gary Beeber – Water

Valto Baltzar – Le Cafe De Mes Souvenirs

Shaun Guzman – Hope!

Shaun Guzman – Alone

Graciela Cassel – We are Rivers

Mattia Paone – Flashes of Light (Bagliori)

Michelle Lynn – Secrets of Montmartre

Michelle Lynn – An Ever After Drama

Michelle Lynn – The Green Mill

Silvano Perozic – Q1

AnayaMusic Kunst – Sanctuary

Anaya Music Kunst – Effata

Dr Dawn Menge – Legends of the Land of Quails

Dr Dawn Menge – Precious the baby dragon

Stephen Kelly – No Mas

Stephen Kelly – Mikey Blue Eyes

Vivian Tsang – The New Immigrant- Hong Kongers

Anton Svantesson-Helkiö – See me

ΕΛΠΙΔΑ ΑΜΙΤΣΗ – Voyage in the desert

Ken Kimmelman – Hot Afternoons Have Been in Montana

Gianni Salamone – Sinestesìa

Dean Morgan – Sheldon Mashugana gets Stooged

Daniel W Smith – Calamity & Mercy

Valérie Verseau – Love Is My Gun

Suzanne Lutas – The Dead Ringer

Michał Kucharski – Am I a painter?/Czy jestem malarzem?

Jacob Comforty – Monument to Love

Vicentini Gomez – Doctor Hyphoteses

Phoebe von Satis – Gold Glory & Nobility

Phoebe von Satis – The Hallmark Couple

Phoebe von Satis – Only in Malibu

Don Pasquale Ferone – Credo

John Martinez – The Days of Knight: Chapter 1

John Martinez – The Green Machine – Part 1

Kai Fischer – Lambada The Dance Of Fate

Brooke Wolff – Eye of the Storm

Sean Gregory Tansey – The Stones of Rome

Sean Gregory Tansey – The Pathos of Hamlet

Michaela Kuti – Fear not, my child

Larry Gene Fortin – Sonnets (words in despair)

Larry Gene Fortin – Fire Flies

Larry Gene Fortin – Sundown In Beaver Creek

Lynn Elliott – The Quisling

Lynn Elliott – Alta California

Lynn Elliott – Uncle Franco’s Birthday Suit

Lynn Elliott – Ghost Town, N.M.

Tommy Anderson & Sherry Severs – Hollywood Elite Podcast Episode 1 Salute to the 2025 Oscars

Chris Ross Leong – NeverWere: a Lycan Love Story

Monte Albers de Leon – Mecca

Gabriel Womack – Brothers of Babylon

Danilo Del Tufo – Forevermore

Christopher Pennington – Virulence

Lena Mattsson – The Rorschach Test

Lena Mattsson – Not Without Gloves

Uwe Schwarzwalder – The Spiritualization of Jeff Boyd

C. Arnold Curry – The Duchess

Samantha Casella – Katabasis

Hugo Teugels – Cassandra Venice

Susan Downs – Something ain’t right

Roger Paradiso – Searching for Camelot

Vincenzo Amoruso – The Arcangel Of Death

Matthew Roch – Wacko

Carla Di Bonito – Nossos Caminhos (Our Paths)

Earnest Diaz – Thankful

Jeremy and Christine Stork – Running Out Of Time

Joseph Starzyk – The Golden Years

Denise Mack – Mourning Coffee

Where does your desire to express yourself through art come from?

It came from seeing the joy on children’s faces when they receive one of my books. Seeing them mastering their reading skills, going on adventures, sharing time with their families due to a Queen Vernita adventure and being able to help children around the world open up their worlds and become excited about reading.
I really loved creating my Queen Vernita’s adventures. The authenticity of each adventure comes from my rule that each new page comes from a real trip. If it’s white-water rafting in Acapulco, swimming with sharks in the North Shore of Hawaii, having a baby sea horse wrap their tails around your finger or swimming with a sea turtle it’s all authentic. My illustrator is able to convert the pictures from our trips and turn them into vividly colorful illustrated pictures of the real event. The children love knowing that the people and places are real. Authenticity is the core of independent art.

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What are your goals as an artist?

As an author my main goal is to touch others’ lives in a positive way. Writing about our experiences and sharing with others helps them to be open about their own experiences. The Land of Quails House has an initiative to spread literacy around the world. I was able to travel to Ghana, Africa and work with children who attended a nonprofit called Cheerful Hearts. We distributed children’s literature to 100 children who were increasing their literacy skills to ensure their safety from sex trafficking and child labor. We are currently having a book drive to send educational materials to Nigeria.
The Land of Quails House has won over 200+ film festivals. In August 2024 Precious the Baby Dragon was the featured screenplay at the San Diego Kids Film Festival in Carlsbad, California. It was an author’s dream come true to see your children’s book come to life. The local playhouse children’s actors had only one week to practice, and they were wonderful. They included dancing, jokes and singing.
I would love to have my children’s literature turned into an animated series or feature film with live action characters. Queen Vernita’s Visitors education books are based on our real-life adventures, real people and named after my grandmother.

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Do you think independent artists today have enough opportunities to share their creativity?

Yes, I think that there is room for everyone. Through social media, film festivals, events and various outlets independent artists have ample opportunities to shine in the world. I have never felt that I was missing any opportunities. In fact, I must turn many wonderful events down because I just don’t have enough time for everything. Major outlets are seeking independent ideas for their projects. It’s out there, you just have to say yes to it.

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What new project are you currently working on?

The Land of Quails House has ten new books that will be coming out in the future. Queen Vernita will be visiting in Africa, Ireland, Italy, Zion, Grand Canyon, Calico, Joshua Tree, Wrightwood, Oceanside, Big Sur and Alaska to name a few. Queen Giggles, King Teddy Bear and Precious the Baby Dragon will be exploring future kingdoms to find Thunder for Precious.
The Land of Quails House has several amazing projects that are being worked on behind the scenes that will be announced before the new year. Stay tuned.