I am a trained psychologist specializing in autism. I have always written in my free time, and a few years ago I began publishing short stories in literary journals. When I had the opportunity to devote more time to writing, I completed my first novel, Return to Carbery, whose plot and characters had been haunting me for about ten years.
Tell us about your book: Return to Carbery.
It is a psychological thriller with a strong nostalgic dimension. The story follows three childhood friends—Stan, Alice, and Finch—who reunite as adults. They are confronted with a gruesome murder that takes them back to the summer of 1997, when they were tracking a mysterious “Thing” behind disturbing events in the seaside town where they spent their holidays. They begin to realize that this “Thing” may have grown along with them… and they resume their investigation where they left off.
The novel alternates between two timelines: 1997 and 2017. The chapters set in the past fully immerse the reader in the atmosphere of the 1990s, a period that coincides with my own childhood and that I am particularly fond of with its music, cultural references, games, advertisements, and more. It’s a kind of Proustian madeleine for my generation, but with a bitter aftertaste.
What particularly interested me was exploring the idea of the uncanny: something familiar that suddenly becomes disturbing, where discomfort arises from the shift between the known and the unsettling, between the lost paradise of childhood and what truly lies beneath it.
This may be linked to my background in psychology, but I feel that the past, with its share of trauma, buried or repressed memories, is always potentially dangerous, while at the same time exerting a powerful attraction on us.
Which writer inspires you the most?
Without hesitation: Stephen King. I discovered him at the beginning of my adolescence, at a time when I was shaping my personality and artistic universe, and it was a real shock. I feel as though I continue to live in some of his stories, or that they continue to live within me.
What I admire most about him is his ability to anchor completely wild plots in absolute psychological realism, and to create worlds so familiar that they feel like parallel versions of our own. We fully identify with his characters’ thoughts and emotions. We believe in them because they are sincere and deeply human.
His vision of childhood confronted with threat, and of summer as a threshold, a liminal space, an initiatory rite of passage, has greatly influenced me. In fact, the name Carbery is a tribute to Derry, the Maine town where the characters of his novel It return after twenty-seven years of absence and forgetting.
What do you dislike about the world, and what would you change?
I’m going to give a completely naïve but obvious answer: I would remove the existence of evil and all forms of suffering from this world. Of course, I would also be shooting myself in the foot creatively and probably signing the end of my career, since it is precisely the question of the evil lurking within each of us that obsesses me and that I explore in my thrillers.
How do you imagine cinema in 100 years?
I believe technological developments will allow for extremely advanced visual performances and immersive experiences, but also increasingly standardized ones. At the same time, I hope we will remain capable of returning to the essence of cinema: telling stories through images.
Because what truly matters and I think audiences recognize this is that these stories are good, sincere, and driven by a unique vision.
What is your impression of WILD FILMMAKER?
I believe that initiatives like WILD FILMMAKER are essential to keeping independent cinema alive outside the rules imposed by the industry, and to making it more accessible to everyone.
I also find it very valuable to bring together a strong community around a shared vision of artistic creation, and to give visibility to emerging authors like myself, who might not otherwise have access to these spaces. So, thank you.
First, thank you very much for the opportunity to share my experiences in such a special and meaningful interview. I am a Puerto Rican filmmaker, writer, actor, composer, and psychologist who creates from the harmonious combination of cinema, creative writing, music, psychology, and technology. My work blends magical realism, Caribbean memory, and emotional depth, exploring the invisible presence of ancestry and the psychological landscapes that shape who we become. I am also passionate about themes of social consciousness and global impact: we make cinema with purpose, filled with poetry, visual richness, and musicality.
As a pioneer in traditional animation direction and AI-driven hybrid filmmaking in Puerto Rico, as well as in my earlier experiences in live action and hybrid live-action/animation formats, I have walked a wonderful path shaped by curiosity, discipline, and cultural responsibility. This journey has led to several historic milestones: becoming the first Puerto Rican finalist at the American Pavilion in Cannes; the first Puerto Rican animation director to present work at the Palais des Festivals during Animaze/Animation in Cannes; and the creator of Puerto Rico’s first extended multi-award-winning animated film to represent the island across international festivals.
As a great blessing, I am also the first Puerto Rican filmmaker to surpass more than 200 international laurels and more than 50 awards, integrating animated, hybrid, and live-action projects—recognitions evidenced across multiple festival platforms worldwide, with a presence spanning North America, South America, Europe, Asia, Africa, and Oceania. These achievements remind me daily of the importance of perseverance and the responsibility of representing my island with humility and integrity.
Thanks God, my work has also been recognized at the governmental level. I received the first Distinguished Filmmaker Medal awarded by the House of Representatives of Puerto Rico, alongside filmmakers such as Jacobo Morales, an Academy Award nominee. I have also been welcomed twice into the Office of the President of the Senate of Puerto Rico for my achievements in cinema, and I have received nominations and recognitions for my projects on social consciousness and global impact in Peru, Mexico, and the United Kingdom.
Every project I direct is fully authored by me, from concept to screenplay, as part of my dedication to elevating Puerto Rican storytelling while expressing my creative spirit from a universal perspective. My studies in psychology, natural sciences, communications, creative writing, cultural studies, and politics have enriched my vision: I have always sought to learn from every discipline I explore to make art a manifesto, a continuous ideal, and to remain an eternal learner.
Do you remember the exact moment you fell in love with cinema?
Yes, and in truth, it began long before I understood what cinema truly was. As a child, I felt the sensation of embodying different stories as a protagonist through imagination, sensing that stories could breathe and come alive. I saw myself immersed in film one way or another. I didn’t yet have the language for it, but I felt the call.
I began as an actor, entering the fascinating world of characters, the continuous search for verisimilitude, and the emotional architecture of performance. Over time, I discovered other roles—writing, composing, producing—until I finally reached the place where all those paths converged: directing. That early intuition, that childhood vision, became an internal compass. Without any doubt, this was my place.
Tell us about your projects: “OSKÄR” and “FOREVER PRINCËNEY.”
OSKÄR is a hybrid animated project that merges AI-assisted imagery with traditional cinematic sensibility. It explores the emotional journey of a character who moves through memory, identity, and the echoes of Mother Earth in labor pains whispering to the wind. The project has received international recognition, including a turning point in my trajectory: Best Animation Director at a screening at the Chinese Theatre in Hollywood, marking the first time an animated film produced in Puerto Rico was presented in this iconic venue.
The animator of OSKÄR is Jorge Dardo Cáceres, who is also the editor and sound designer of the project; he knows how to listen to my intuition when making decisions, works intensely to grow in his precious craft, and connects deeply with my vision of cinema.
We promised to make history, and we are doing it. From Bulgaria, Japan, South Korea, Ukraine, Uruguay, Türkiye, Hungary, Bali, London (twice), New York, Los Angeles, the Chinese Theatre in Hollywood, France, and Poland, OSKÄR continues to illuminate special screens around the world. One of the most meaningful recognitions came from Japan and South Korea, countries whose animation cultures are deeply respected. Likewise, the filmmaker who won the Goya Award for Best Animated Film 2025 and was selected for the Oscars 2026 praised our narrative for its social and human themes and our way of illuminating through experimental art, after we received several awards in Bulgaria.
Throughout this very special journey, OSKÄR has received Best Animated Story Toward the Future, Best Direction – Animation, Best Innovation (Technique) in Animation, Best Film of the Season, an Honorary Mention, and finalist distinctions in both London and Los Angeles, across four international AI festivals and numerous traditional international festivals. The journey of OSKÄR—especially its screening at the Chinese Theatre during the Golden State Film Festival, with the breeze of the Oscars less than a week away—has been one of firm and consistent steps, after years of hard work and dedication. And we return to the city of Cannes this May, after being accepted into a new venue parallel to the festival.
Meanwhile, FOREVER PRINCËNEY, an animated feature screenplay, contributed to achieving my 200th laurel in the period 2009–2026. Winning Best Animated Feature Screenplay in the city of Cannes reflects the immense value of this achievement, earned through hard work and dedication. Through our creative projects, Puerto Rico is now presenting itself as a cinematic production force in both AI-driven and traditional animation, with firm and consistent steps in independent festival circuits.
Together, OSKÄR and FOREVER PRINCËNEY form two parallel creative universes that converse with one another: one rooted in memory and tenderness; the other, in diversity and resistance.
Which director inspires you the most?
Hayao Miyazaki inspires me with his spiritual tenderness, his way of letting innocence breathe, and his respect for nature as a character. Guillermo del Toro captivates me through his devotion to monsters as metaphors for our wounds; his cinema is an ode to compassion from the rejected or marginalized. Pedro Almodóvar teaches me about masculinity and fragility, about the emotional architecture of men, desire, vulnerability, and the colors of the human heart. These three directors form an interesting triangle that I aspire to emulate.
What do you dislike about the world and what would you change?
I am deeply concerned by the speed with which the world forgets its own humanity. We live in a time where noise replaces meaning and where vulnerability is mistaken for weakness. There is also our deliberate act, at both personal and collective levels, of often forgetting what is essential or choosing not to listen. On the other hand, I would promote, through the art-science binomial, imagination directed toward social transformation and the indescribable value of cultural memory, because within it lies our ability to recognize ourselves, to heal, and to build more sensitive and more human futures.
How do you imagine cinema in 100 years?
I imagine cinema becoming profoundly immersive, a fusion of sensory, emotional, and technological dimensions where stories are not only watched but inhabited. Audiences would enter narratives, feeling them from within rather than observing them from afar. And even so, the essence would remain: the innate need to connect, to feel intensely, to witness the human condition with eyes tied to unconditional love.
What is your impression of WILD FILMMAKER?
WILD FILMMAKER feels like a manifesto that honors the seventh art, something difficult to find in the digital universe, expanding with the wings of a magazine of immense and yet selective reach. A space that celebrates creators who dare to break paradigms and embrace the disruptive spirit of purposeful, conceptual, soulful cinema. I am grateful, as an eternal learner, for the welcome into this distinguished editorial space of art-makers that does not bind itself to traditional color patterns. Because only in such unexplored corners are immortal realities created.
Who is Eleonora… Good question. I often ask myself the same. The automatic answer that would come to me is a woman who is trying to find her own place in a world deeply wounded and violated by a dysfunctional system, in which human beings have lost their own consciousness. If I were to be specific, I would define myself as a young artist who uses her art to leave something beautiful in the world. What I would like is to be able to leave a mark, a memory, and give rise to a change in a historical era in which intelligence has become a fault and sensitivity a flaw. We find ourselves at a moment when political correctness taken to the extreme has led to a real castration of art. What I would try to do through acting and directing is to tear off the so-called Veil of Maya… Today you can’t have an autonomous thought; if you’re outside the norm you become a problem and not an added value… Deep down, I would say I am a dreamer with an accountant’s mind.
When you hear the word “soul,” what immediately comes to mind?
When I think of the word ‘soul’, my mind travels between purely technical, philosophical notions that were part of my academic-university training, and what I feel intuitively. I believe that human beings are the product of a duality, from a nihilistic perspective, between their animist side—which falls within the realm of empathy—and the pragmatism that increasingly leads toward darkness, a darkness that, as a sentient being, hides; a darkness so deep that if nourished it completely annihilates the soul. Today, more than ever, the media and the puppeteers who hide behind governing powers are trying to distance us from our consciousness, in order to render us obedient marionettes and deeply apathetic. Therefore, today more than ever, we artists have the responsibility to bring humanity toward its transcendent part that lifts us toward ‘God’, understood as all that concerns love, beauty, culture, and eternity.
Tell us about your projects.
This has been a very important year for me because it was the year in which I was able to bring my debut work Blue to life, with a strong theme like that of online erotic platforms, and as an actress I finally ventured into comedy, having been among the protagonists of the film Prendiamoci una Pausa, directed by Christian Marazziti, in which I acted alongside big names such as Marco Giallini and Claudia Gerini. To date, I am working on my second project as a director, which will address the MeToo movement from another perspective.
What don’t you like about the world, and what would you change?
Actually, the world created by Mother Nature is the emblem of beauty and perfection; what I dislike is the system that created human beings, in which they have gradually moved further away from their origins… A system that has given rise to elites who rule through unacceptable and corrupt financial systems and with extreme violence. People seem almost numb; they do not often realize the historical-cultural decay we are living through. They seem to have lost their critical spirit, and when confronted with someone who, instead, holds an ideal, they become aggressive because they are struck at their core and lack the tools to express a meaningful concept. All of this is the result of years in which the media have carried out a meticulous job to distance us from our intimacies and drag us toward a materialism with very negative implications. Only a few today truly see and feel that something isn’t working, and they are considered anarchists, conspiracy theorists who are then systematically right.
When did you realize that Art would be at the center of your life?
From a very young age… At ten years old I began writing poems, and at eleven I started my artistic journey as a classical dancer, which from ages 15 to 18 became a real profession. Even in adolescence my interests were studying, culture, and art. I wasn’t interested in the more superficial aspects that a teenager usually pursues. I have always loved going to the theatre and reading books, rather than going to nightclubs. When I was eighteen, I discovered acting and directing, and understood that this would be my path.
What is your impression of WILD FILMMAKER?
In my view, it’s a smart move that keeps pace with the times. It manages to give voice to both the legends and emerging artists, and this is an extremely important aspect. Today more than ever it is crucial to give momentum to new voices without forgetting the past. Another important aspect is the clarity with which the content is presented, conveyed with great expertise and lucidity, so that it is accessible to everyone. The use of black and white automatically evokes a retro look that recalls the great post-neorealist cinema, placing you immediately in an elegant and refined world.
Monica Bartolucci is a film producer who has made her passion for storytelling and artistic vision the core of her career. She is a determined professional, with a careful and sensitive eye for stories and people, capable of turning ideas into concrete projects.
Her work stands out for a strong commitment to authenticity and for her desire to give space to new voices in the film industry. She deeply believes in the value of young talent and in the need to create real opportunities for those who want to enter this world, even when it is more difficult and risky.
For her, producing does not only mean making films, but building paths, enhancing people, and contributing to a freer, more inclusive cinema open to change.
2) Do you remember when you realized you wanted to dedicate your life to cinema?
It was an awareness that developed over time. I have always felt a strong connection with storytelling and the language of images.
At a certain point, I realized that I wanted to actively contribute to that world, transforming ideas into concrete projects. Production became my way of shaping stories and guiding them to the audience.
3) Tell us about your projects
Throughout my career, I have tried to develop projects that are different from one another, but always connected by a strong narrative identity.
Among the works I have produced are Nonna ci produce un film (directed by Walter Garibaldi), Un posto sicuro (directed by Luca Tartaglia), L’abito e l’anima, and Love Game – il gioco dell’amore, broadcast on Rai 2 and now available on RaiPlay.
Currently, the film Storia di una mistress, directed by Ciro Tomaiuoli and starring Alice Carollo, Reyson Grumelli, and Francesco Leone, is about to be released. It will be distributed both in cinemas and on Prime Video.
I am also working on new projects, including the docufilm Bubuset and Luxury Frames.
My goal is to continue creating opportunities for young actors and professionals, focusing on talent and fresh energy.
4) What don’t you like about the world, and what would you change?
I don’t like how difficult it is for young people to emerge, especially in a competitive field like cinema.
I would change this system by giving more space and trust to those who have talent but not yet visibility. I strongly believe that investing in young people means investing in the future of cinema.
5) How do you imagine cinema in 100 years?
I imagine a cinema that is increasingly advanced from a technological perspective, probably more immersive and interactive.
But I believe the true essence will not change: the need to tell stories and to evoke emotions will remain central. Cinema will continue to be a mirror of society, even in new forms.
6) What is your impression of WILD FILMMAKER?
WILD FILMMAKER is an extremely valuable reality in today’s landscape because it represents a concrete space for creative freedom and authentic expression.
At a time when cinema often risks becoming standardized, initiatives like this have the courage to give a voice to independent projects, new visions, and emerging talents. This is exactly the kind of platform that can make a difference, creating connections, opportunities, and new paths for those who want to tell stories outside the box.
I really appreciate that WILD FILMMAKER does not simply promote content, but actively contributes to the growth of the sector by supporting those who have something genuine to say. It is an important point of reference for the future of independent cinema.
Let me introduce myself. I am a photographer/filmmaker from the Sunshine Coast in Queensland, Australia.
Do you remember the exact moment you fell in love with cinema?
Of course, I fell in love with cinema instantly when I was nine years old and Mum was taking photos. I just had to have that camera. Mum eventually bought me my own camera. It was hard waiting to get the photos developed, as I didn’t know if the photos were good or not until I had them developed. Finally, the digital age arrived, and I could instantly see if the photo was good or if I needed to take a few more photos to get the right one.
-Tell us about your projects.
Bye Bye Baby
My Music Video “Bye Bye Baby” was created because of my love for dance. My friend Lisa had written and performed a great country song which fitted perfectly. The Sunny Coasters Line Dancers agreed to dance for me. Sue Ravenscroft, their teacher, agreed to choregraph a line dance and then “Bye Bye Baby” was born. My brother, Bill Clarke, cracks the whip. Gayle and George Ward who live near a small Queensland town of Maryborough, filmed their cattle, and bad boy Ron Annis played the guitar.
This song is a typical country song – about Love and Relationships, exploring the intricacies of romantic love, heartbreak and finding a soulmate. In this case the character has had enough and is saying goodbye to her current lying, money-grabbing, back-stabbing, cheating, two-timing boyfriend. She is now searching for her real teddy bear, one who is a big, strong, sexy, caring and a cuddly kind of guy.
I am the Producer and Director of my film “Bye Bye Baby”. The exciting part is that I have entered this music video into both the “Original Song Section” and the “Music Video Section”, and it seems to be going well in many International Film Festivals.
Kev Franzi – Works 80 Years in the Film Industry HD
I viewed one of Kev Franzi’s cinematography shows at his movie museum theatre near Kenilworth. Immediately, I knew he was an excellent subject for a documentary. My documentary “Kev Franzi – Works 80 years in the Film Industry HD” was produced when Kev reached his 80 years in the film industry at 94 years of age. He is so passionate about his work and is a fascinating character with a great depth of knowledge, so I had to show him to the world.
This is a brief story of Kev Franzi’s life through my lens, working in the film industry for 80 years. It was Kev’s father who gave him a camera that started Kev on this career path at 13 years of age. Ian Mackay, who undertakes the interview, talks to Kev about the highlights of his career.
Years in the Film Industry.
I am now seventy three years of age, but I was nine years of age when I had to use my Mother’s camera, which makes it sixty-four years of love and dedication for the film industry. This is nothing when you see Kev has worked for eighty years in the film industry and he is still so passionate about his work. He likes to exhibit items in his movie museum and loves to explain how they work. Kev’s movie museum is a collection of cinemagraphic equipment and memorabilia that he has used.
-Which Director inspires you the most?
Steven Spielberg inspires me the most as he does different types of films and has won many awards. Some of his films that inspired me are:
Jaws 1975
E.T. the Extra-Terrestrial 1982
Jurassic Park 1993
Saving Private Ryan 1998
Spielberg is known for his diverse filmography.
Steven Spielberg is widely regarded as one of the most influential and popular directors of all time. His films have received more than 150 Academy Award nominations, and he has won three Oscars for Best Director. Spielberg’s movies connect internationally with audiences, earning him a reputation for not only entertaining films but also for creating emotionally powerful stories that connect with viewers.
-What do you dislike about the world and what would you change?
I’m concerned about how younger generations are showing less respect for society and often neglect basic manners. The increasing toxicity and negativity are troubling, with people frequently backstabbing one another out of self-interest. If we address these issues, perhaps we could reduce crime and violence in society. I’m also bothered by how people are constantly on their phones, choosing screens over real conversations. If this continues, we risk losing the art of meaningful dialogue.
-How do you imagine cinema in 100 years?
There’s no doubt that cinema will transform in ways I can hardly imagine over the next century. I expect artificial intelligence to play a major role, with many films created by advanced AI software—so sophisticated that audiences might not distinguish them from those made by humans. As production costs drop, we’ll likely see a surge in the number of films produced. This evolution could signal the end of traditional movie-going, as people watch films at home. Perhaps one day, viewers will even be able to step inside and become part of the movie themselves.
-What is your impression of WILD FILMMAKER?
I have been very impressed by how many people have been interviewed by WILD FILMMAKER and the standard of the interviews e.g., the interview of Virginia Spano about her novel “Perfumes and Scratches”. I am intrigued by the investigation led by Andrea Greco who during the investigation of the murder, is forced to confront his own past. Two narrative layers coexist between the murder investigation and the life of the protagonist.
WILD FILMMAKER generously provides filmmakers like me the opportunity to share our voices, images and be heard. I am deeply grateful for this support.
Well Derek Martin, professionally Derek Lakeith Martin, is a passionate individual who loves all-things Cinema. From an early age I have always been drawn to movies and TV shows, especially the ones that require you to use your imagination a little bit. My journey into filmmaking was a long one. I started as an actor, then later joined SAG/AFTRA, which I’ve been a part of for 20 years. Being a part of that organization allowed me to get up-close and personal on Film and TV sets where I could see all of the departments in action. There, I was able to learn what it takes to put a film in motion. My love for directing, cinematography and editing were the driving forces behind this. I am a self-driven person that believes if you can conceive something in your mind, then you should at least put forth an effort to make it happen.
I’m also a big history fan. What people did differently from how we do them now always fascinates me. I like learning about anything that took place in different eras. To be honest, I like learning about anything new. I believe you should try to educate yourself on anything outside of your on comfort zone that will allow you to be a well-rounded person.
-Do you remember the exact moment you fell in love with cinema?
The exact moment I fell in love with cinema had to happen when I first experienced cinema on a large scale. I was young when the television premiere of Richard Donner’s Superman: The Movie came on TV one night. Although I had been to movie theatres before, and this was TV, there was still something different about this. The commercials hyped it up all week as a must-see experience…and they weren’t wrong! I can remember sitting there eating popcorn while the opening credits swooshed in, accompanied by that iconic score from John Williams. To see one of your favorite cartoon characters come to life in a movie at that age was magic to me, and I knew that I wanted to be a part of that somehow when I grew up. To this day, I will always go and watch it when there is a special screening at the theatre.
-Tell us about your project “Maxwell”.
Maxwell follows the story of Ann, a horse ranch owner and her enduring relationship with an aspiring artist, Maxwell. As they navigate the journey of their relationship, they have to decide what is best for them individually. I was looking to make a story-driven film, something where you could relate to the characters and the situation that they were in. I reached out and acquired a script from a longtime writer friend, Jake Taylor, who just happened to be sitting on this story. After reading it, I simply said “Hey, I want to make this!” One of the things that attracted me to the story was its possibility to expand and be more than just a standalone short film.
I got started on casting the roles by picturing who I thought would be a great fit for each character, and how they could bring them to life. This process went fairly smooth until it came time to cast the role of Rain. I needed to find an actress of a certain age and was the perfect fit for what I was looking for. After not finding someone that fits the description, I was starting to think I was going to have to go in a totally different direction. One day I received a phone call from a theatre coach saying they may have found who I was looking for…they were correct! So, I cast this remarkable young actress and started filming. I always mention to people that Lila Patrick was the one that “completed” my film.
When you’re in the realm of independent filmmaking, you have to be able to explore creative ways to execute your vision of the final product. This only happens with a talented cast and crew that you trust. I wanted to create an environment where they could be comfortable speaking freely and having their ideas heard. There were a lot of moving parts while producing and directing Maxwell, and having a strong group around you makes the filmmaking part of it easier. So far Maxwell has been making waves through the film festival circuit. I am very proud of some the accolades that it has received so far, especially Best Indie film and Best Indie Filmmaker.
-Which Director inspires you the most?
To be truthful, I don’t have one particular director that serves as a source of inspiration. As someone who enjoys different types of movies, I am influenced by different types of directors. I grew up watching films from big budget directors like Steven Spielberg and later Michael Bay, but I also like the recognizable styling of directors like Tim Burton. Then you have directors like Ryan Coogler whose films I enjoy with his brand of storytelling, and the loyalty he always shows by using familiar cast, crew, and composers. I admire that type of loyalty. This is a practice that I’m fond of and use in my own world of filmmaking, as I am a very loyal director myself. I am always studying different styles from individual directors, therefore I’m inspired by a lot of different directors.
-What do you dislike about the world and what would you change?
The world is filled with many different types of people and everyone has their own path that they follow. Being an individual is okay, but I dislike when someone can’t become knowledgeable outside of their own world. I believe that “knowing is growing” and how I would change this is to encourage people to learn something new outside of their comfort zone.
-How do you imagine cinema in 100 years?
I hope that cinema is still going strong and still has a strong base in storytelling in 100 years. As someone that understands how technology is important in film, I hope it doesn’t overtake some of the practicality that makes cinema special. People, meaning cast and crew, are what makes cinema what it is. I do believe that technology will have a prominent presence, but I just hope it doesn’t take over fully.
-What is your impression of WILD FILMMAKER?
Wild Filmmaker is doing a great job of giving a voice to independent filmmakers such as myself. Not everyone gets the opportunity to be heard or share what inspired them, but having a platform like this certainly helps change that. I really hope that Wild Filmmaker can continue to expand its reach across the globe.
I’m an Environmental and Safety practitioner with a lifelong passion for storytelling. As an emerging screenwriter, I explore identity, memory, and the emotional landscapes we carry with us. Though in screenwriting as a creative hobby in my spare time, my debut feature Heart of Love has already received positive feedbacks, affirming the emotional resonance and originality of my work. I bring a unique perspective shaped by years working within real-world systems and a deep interest in the human side of transformation
Do you remember the exact moment you fell in love with cinema?
..of course..it was 1981 and I went to the cinema with my dad and brother to watch Raiders of the Lost Ark…that was the moment…when the magic sparked…
Tell us about your projects: “Heart of Love”.
The script explores an intimate drama about the haunting power of memory, the fragility of timing, and the radical courage it takes to show up as your true self. For anyone who’s ever whispered “What if?”, this is the answer—echoed across decades and danced in the dark. Heart of Love is written with an emphasis on emotional architecture, character depth, and cinematic intimacy.
Heart of Love presents an intersection of emotional and high‑concept identity mystery—two genres that consistently perform in both theatrical and streaming markets. This combination widens the film’s reach: it appeals to viewers seeking nostalgia and emotional catharsis, as well as those drawn to mystery, reinvention, and psychological tension.
The story’s core engine—a man confronting the life he abandoned and the love he never stopped carrying—is universally relatable . Themes of memory, identity, and redemption translate across cultures, and the high‑school‑reunion setting offers a built‑in hook that resonates with a broad demographic.
Heart of Love has received multiple accolades, including:
• Winner – Wolf Media Festival • Winner – Seattle Filmmaking Award • Winner / Finalist – World Class Film Awards (Honourable Mention category) • Semi‑Finalist – Hollywood Indie Festival • Semi‑Finalist – Dallas Movie Awards • Semi‑Finalist – WIKI: The Fastest Screenplay Contest • Quarter‑Finalist – Los Angeles International Screenplay Award • Official Selection – American Screenwriters Conference • Official Selection – Slamdance • Official Selection – Philadelphia Off Page Movie Festival • Official Selection – Off Page Film Festival
Which Director inspires you the most?
..Steven Spielberg without any doubt….independently of talent and styles or commercial allure he is the only one that can truly speak to a wide audience from small child to elderly people
What do you dislike about the world and what would you change?
I love the world the way it is and the way it has always been…I truly believe in balance of good and evil and an higher power so I let myself go in this wonderful thing we call life without complains and accepting the good and the bad, because of the AI revolution and technological advances I would not really know….it impossible to foresee…let’s hope the magic of acting and directing won’t be lost…
What is your impression of WILD FILMMAKER?
Great..very positive and engaging experience and a good opportunity for emerging talents to be heard.
“Between the mists of the Sibillini Mountains and the fire of Sicily, Andrea Greco searches for the truth in an investigation where memory, dreams, and reality blur together.”
Who is Virginia Spanò?
I am an Italian writer who loves telling stories where dreams, legend, and memory blend with reality.
What I write often arises from a specific territory and from the atmosphere that place can generate.
In my first novel, Perfumes and Scratches, I wanted to explore precisely this border space: the one where the landscape is not just a background, but becomes a living presence capable of influencing the characters, their memories, and their choices.
I am interested in telling the most fragile side of the human experience: invisible wounds, memory, and the way the past continues to act within us. For this reason, two dimensions always coexist in my stories: on one hand the investigation and the mystery, and on the other the inner journey of the characters.
Could you tell us about your novel “Perfumes and Scratches”?
Perfumes and Scratches is a psychological thriller set between Ascoli Piceno and the Sibillini Mountains, a territory rich in ancient legends and atmospheres suspended between mystery and myth.
Everything begins with the discovery of a corpse in Lake Pilato, a real place linked to a medieval legend according to which the body of Pontius Pilate was thrown into those waters.
The investigation is led by Andrea Greco, an inspector of Sicilian origin who has been transferred to Ascoli Piceno. While conducting the investigation, he is also forced to confront his own past.
Two narrative layers coexist in the novel: the criminal investigation, made up of murders and symbolism, and the inner journey of the protagonist. Throughout this path, Sicily constantly re-emerges through his dreams, memories, and the scents of his homeland, becoming an emotional presence that accompanies the reader throughout the story.
The central theme of the novel is manipulation: of memory, faith, and human relationships. Evil does not appear as something distant or abstract, but as something that can arise precisely where there should be protection.
Have you already planned a possible film or television project based on your novel?
I believe that Perfumes and Scratches has a strong visual component that could adapt well to a cinematic series.
The story unfolds across very evocative settings: on one side the Sibillini Mountains and Lake Pilato, places full of legends and atmospheres suspended between mystery and myth; on the other side Sicily, which emerges through the memories and dreams of the protagonist and brings the reader back to the landscapes of his homeland, up to the imposing presence of Mount Etna.
This contrast between the mists of the Sibillini Mountains and the primordial strength of Sicily could create a very interesting visual dialogue, in which nature becomes an integral part of the narrative.
I imagine an adaptation capable of maintaining this balance between criminal investigation, psychological dimension, and symbolic suggestion, where the search for truth also becomes a journey through memory and one’s own roots.
What do you dislike about the world and how would you change it?
I dislike when the complexity of people is reduced to simple or superficial categories.
Often what is defined as fragility is not really a weakness, but an authentic part of our nature. These are aspects of human sensitivity that, instead of being understood, are easily labeled and reduced to limitations.
In my novel, for example, the protagonist Andrea Greco suffers from panic attacks and anxiety, and also lives within a very intense dream dimension, where dreams become a space in which the past returns and takes shape. These could be considered signs of fragility, yet it is precisely through these cracks that he manages to perceive what others cannot see. His sensitivity becomes a tool of understanding and, in a certain sense, also a form of strength.
I believe that many of the wounds that run through our society arise precisely from this: from the unwillingness to truly listen to people’s stories and vulnerabilities.
Literature, cinema, and art, on the other hand, have the ability to restore depth to the human experience. Telling a story often means giving space to what is ignored or simplified.
If I could change something, I would like us to learn to look at these fragilities with a different perspective: not as weaknesses to hide or cure, but as parts of our humanity that can become a form of knowledge and strength.
What is your relationship with Artificial Intelligence?
I believe that artificial intelligence is a very powerful tool, but like all tools it depends on how we use it.
For me, writing always comes from a human experience: from observation, memory, and emotions. This remains the heart of every story.
Artificial intelligence can be useful as support in research, but narrative sensitivity and the vision of a story remain profoundly human.
What is your opinion about the activity of WILD FILMMAKER?
I find the work of WILD FILMMAKER very interesting because it creates a space for dialogue between authors, directors, and producers.
Today stories increasingly move across different languages: from literature to cinema, from television series to digital platforms. In this context it is important that places exist where these connections can be created.
Editorial projects like this can help bring out new authors and new stories, encouraging the meeting between the world of writing and that of the audiovisual industry.
I’m a writer and director who loves family, friends, technology, and keeping up with the latest in TV, film, and comics. Storytelling has always been the center of my life. Whether I’m watching, writing, or filming, I’m constantly exploring how stories connect us and challenge us.
Do you remember the exact moment you fell in love with cinema?
I don’t remember the exact moment, but I can point to two memories that narrowed it down. The earliest story, according to my family, is me at two years old watching Cats & Dogs, shouting, “No, Lou, no!” at the screen. Even then, I was emotionally invested. That was my first understanding of how powerful storytelling could be. The second moment came when I was 17 and Batman v Superman hit theaters. I remember thinking, “People dedicate their whole lives to filmmaking.” That realization changed something in me. It made me see cinema not just as entertainment, but as purpose.
Tell us about your project “SCP-Zombie”.
SCP-Zombie exists within the larger SCP universe, an online collaborative writing project that anyone can contribute to. The SCP Foundation is essentially a catalog of horror stories organized by numbered anomalies. Each entry focuses on a monster, object, or humanoid anomaly that is captured and studied. My film centers around an outbreak of SCP-008, known as the Zombie Plague virus. It follows a group of survivors who must shelter in place while waiting for rescue. At its core, the film explores fear, isolation, and how people respond when systems of control begin to collapse. As for my film it follows a group of survivors that live through an outbreak of SCP-008 the Zombie Plague virus. The survivors must shelter in place until help arrives.
Which Director inspires you the most?
Zack Snyder inspires me the most. After watching Batman v Superman, I did a deep dive into his filmography and realized he had directed many films I already loved. I had only missed a few. His bold visual style, mythic scale, and willingness to take risks deeply resonate with me. His work reinforced my desire to pursue filmmaking seriously.
What do you dislike about the world and what would you change?
The world is beautiful. From the oceans to the sky, it’s filled with wonder, mystery, and love. But if I could change one thing, it would be the human mindset. We can be violent, destructive, and lacking in empathy. If we led with empathy, we would understand that people make mistakes. We would be kinder to emotional and physical pain. We would accept different cultures, religions, and lifestyles without hostility. The lack of empathy is what I would change.
How do you imagine cinema in 100 years?
In 100 years, I imagine cinema being separate yet connected. Traditional physical theaters may decline, but technology will bring audiences together in new ways. I believe virtual reality will be perfected, allowing people to simulate the theater experience from their own homes while still sharing it with others across the world.
What is your impression of WILD FILMMAKER?
I think WILD FILMMAKER is doing something important. They create space for artists to share their thoughts and vision while asking thought-provoking questions that push deeper reflection.
I’m a film director/screenwriter/producer/videographer/content creator from Belgium. I’m neurodivergent in the sense of having Autism Spectrum Disorder and Gilles de la Tourette (mentally, not vocally). I’m an author filmmaker; I have chosen my own voice which I dub “east meets west”: my own filmmaking style that is inspired by Japanese anime, manga and video games (east) as well as iconic western cinema (west).
-Do you remember the exact moment you fell in love with cinema?
I was around 14-15 years old when I frequently watched two films: The American (directed by Anton Corbijn) and Tron Legacy (directed by Joseph Kosinski) which started to spark my interest in cinema, but it wasn’t until I saw In Bruges (directed by Martin Mcdonagh) that I knew I wanted to be a filmmaker namely a screenwriter. Years later I would decide to primarily become a film director as well.
-Tell us about your project “Pathos”.
After my first short film Ethos received mostly negative reviews, I was devastated by it and wanted to make a new short film as soon as possible. Around that time I became an intern at a local ambitious IT company AMOTEK Technologies founded by entrepreneur Filip Smet. We shared an interest in cinema and the idea for making a short film together was born. During my internship, I became fascinated by AI and thus Pathos was born.
Originally Pathos was going to be very different, namely a science fiction thriller short film about redemption, but eventually I realised the story felt flat and I took the advice I received of starting over with the script. I dived deep in my cinema loving soul, I realised I wanted to be a stand out and created my filmmaking style “east meets west” and thus the real Pathos was born: a story with the personal theme of healing and the modern most important subtheme of AI. Pathos is inspired by the masterpiece Nintendo DS game Kingdom Hearts 358/2 Days (directed by my biggest artistic influence Tetsuya Nomura), the Japanese anime film Dragonball Super Broly, the legendary iconic masterpiece The Godfather (directed by Francis Ford Coppola) and finally The American (directed by Anton Corbijn).
-Which Director inspires you the most?
I have two directors who inspire me the most: from the east there is Tetsuya Nomura who is the creator of the Kingdom Hearts series of which I’m a huge fan and from the west there is Francis Ford Coppola who directed The Godfather trilogy. I always felt a special connection with the video game series of Kingdom Hearts which is much more than partially Disney to me, it’s so original, emotional and tragic with a beautiful soundtrack composed by Yoko Shimomura and as for The Godfather trilogy that needs no explanation of course.
-What do you dislike about the world and what would you change?
The toxicity and all the hate: people constantly backstabbing each other because they only care about themselves. I would want to change that and make people aware that in these dark times the last thing we should do is raise the sword against each other. We have to be there for each other in times of need, work together and we have to unite as we are supposed to be humanity.
-How do you imagine cinema in 100 years?
There will be four categories of cinema: the first three are what we have always known as arthouse, arthouse/mainstream mix and mainstream cinema, but the fourth one will be new: AI cinema which will be films entirely made by AI. Why you might ask? Because AI technology can’t be stopped and must co-exist with humanity, the arts and cinema.
Life is complexly gray: we need AI and AI needs us, we compliment each other, but true cinema (the first three categories) must always remain dominant!
-What is your impression of WILD FILMMAKER?
WILD FILMMAKER is great and kind for giving filmmakers like me the chance to show their voice and let them be heard. For that I’m eternally grateful to WILD FILMMAKER.
