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?
– Do you remember the exact moment you fell in love with cinema?
The exact moment I fell in love with cinema was when I watched the timeless masterpiece Casablanca. The film is a perfect blend of romance, sacrifice, and the complexities of human relationships set against the backdrop of World War II. The performances of Humphrey Bogart and Ingrid Bergman are nothing short of iconic, and the emotional depth of their characters resonated with me deeply. The line “Here’s looking at you, kid” has become etched in my memory, symbolising the bittersweet nature of love and longing.
Following closely behind was Gilda, a film that introduced me to the enchanting allure of Rita Hayworth. Her portrayal of Gilda is captivating; she embodies both strength and vulnerability in a way that draws the audience in. The chemistry between Gilda and Johnny Farrell, played by Glenn Ford, is electric. Watching their tumultuous relationship unfold on screen was an exhilarating experience that made me appreciate the art of storytelling through film.
Another film that profoundly impacted me is Love Story. This poignant tale of love and loss speaks to our universal experiences. The emotional tug-of-war between Oliver and Jenny, played by Ryan O’Neal and Ali MacGraw, encapsulated the beauty and tragedy of love. The line “Love means never having to say you’re sorry” became a mantra for many, encapsulating the idealism of young love that I found so appealing.
Breakfast at Tiffany’s was another revelation. Audrey Hepburn’s portrayal of Holly Golightly introduced me to a new kind of femininity—whimsical, free-spirited, and unapologetically authentic. The film’s exploration of identity and the pursuit of happiness in a city like New York resonated with my dreams and aspirations. I was captivated by the story, stunning visuals, and unforgettable fashion that defined an era.
Then there’s Sudden Fear, a thrilling film that showcased Joan Crawford in a riveting role. The tension and suspense kept me on the edge of my seat while illustrating the darker sides of love and trust. Crawford’s performance is powerful and haunting, reminding me of the complexities of relationships and the sometimes dangerous paths they can take.
Lastly, Gentlemen Prefer Blondes is a delightful romp filled with humour and charm. Marilyn Monroe’s portrayal of Lorelei Lee is iconic, and her performance in “Diamonds Are a Girl’s Best Friend” is nothing short of legendary. This film made me appreciate the joy and entertainment that cinema can bring while also highlighting the underlying themes of love and ambition.
Each of these films has played a pivotal role in my journey as a film lover. They have opened my eyes to the magic of storytelling, and the profound impact cinema can have on our lives. I am grateful for these experiences and look forward to discovering many more films that will continue to inspire and move me.
– When did you realise that the story in your heart had to be turned into a screenplay and a film project?
I have recently begun developing a feature screenplay, “The Hallmark Couple,” inspired by the disturbing yet compelling stories surrounding Jeffrey Epstein and Ghislaine Maxwell.
I aim to shed light on the immense suffering inflicted upon the victims of Epstein and Maxwell. Sensational headlines often overshadow their stories. I feel it is crucial to humanise these individuals and portray the deep emotional and psychological scars left in the wake of their actions. Through this narrative, I hope to honour the voices of those who have been silenced and bring their experiences to the forefront.
While many documentaries have explored these themes, I believe there is a unique opportunity to create a biographical drama that delves deeper into their lives, motivations, and the impact they had on each other and their victims. This approach allows for a more nuanced exploration of their characters, providing audiences with a richer understanding of their actions and the broader societal implications.
I have noticed that the market is saturated with documentaries focusing on these figures, but there is a noticeable gap in scripted narrative films. “The Hallmark Couple” seeks to fill this void by combining factual elements with creative storytelling, thus engaging viewers on an emotional level while encouraging critical reflection on these fundamental issues.
I seek funding to develop the entire feature film to bring this vision to life.
– Is there a person you would like to thank for helping you bring your project to life?
I wanted to take a moment to express my heartfelt gratitude for the invaluable support Ms Brennan and Mr Richards provided in developing my project’s Pitch Deck and Business Plan.
Ms Brennan’s expertise in crafting compelling narratives and a keen eye for detail significantly enhanced the presentation. Her help in refining our messaging made the Pitch Deck more engaging and ensured that the vision was communicated clearly and effectively.
Mr. Richards’s analytical skills and strategic insights were instrumental in shaping the Business Plan. The thorough research and data analysis he provided added a layer of credibility to the projections and overall strategy. His ability to foresee potential challenges and opportunities was incredibly beneficial and prepared this project to move forward confidently.
– Which writer inspires you the most?
A few names stand out in literature, each representing a unique aspect of storytelling that resonates deeply with me. With his brilliant prose in “The Picture of Dorian Gray,” Oscar Wilde captures the complexity of human nature and the consequences of vanity and moral decadence. His wit and insight into society’s flaws have influenced my approach to character development and thematic exploration.
Similarly, Jane Austen’s “Pride and Prejudice” offers a masterclass in social commentary and character dynamics. Austen’s ability to weave humour with sharp observations on class and gender inspires my narrative style, reminding me of the importance of social context in storytelling.
Then there’s Leo Tolstoy, whose “Anna Karenina” profoundly explores love, family, and societal expectations. The depth of his characters and their moral dilemmas have encouraged me to delve into the complexities of human relationships in my writing.
Victor Hugo’s “The Hunchback of Notre Dame” showcases the power of place and the role it plays in shaping characters and their destinies. Hugo’s ability to evoke deep emotions and highlight social injustices resonates with my desire to address universal themes in my work.
Charles Dickens’s novel Great Expectations offers a rich tapestry of characters and a compelling narrative arc that reflects the importance of personal growth and redemption. His vivid descriptions and memorable characters remind readers of the impact that well-crafted storytelling can have on readers.
Homer’s epics are not only foundational texts of Western literature but also rich sources of inspiration that resonate deeply with me. The themes of heroism, honor, and the human condition portrayed in “The Iliad” present a profound exploration of the struggles and triumphs of individuals in the face of adversity. The complex characters and their moral dilemmas compel me to reflect on my own writing and the depth I strive to achieve in my characters.
On the other hand, “The Odyssey” captivates me with its themes of journey and discovery. Odysseus’s long and arduous journey home is a powerful metaphor for the creative process itself. It reminds me that the path to achieving one’s goals is often fraught with challenges and unexpected detours. This resonates with my own experiences in writing, where perseverance and adaptability are essential.
Moreover, the vivid imagery and lyrical quality of Homer’s language serve as a constant reminder of the beauty of storytelling. I often find myself inspired to experiment with my prose and seek out the poetic elements in my own work. Homer’s ability to weave together adventure, emotion, and philosophical reflection ignites a passion within me to craft stories that are both engaging and meaningful.
I cannot overlook Edgar Allan Poe, whose mastery of the short story form has left an indelible mark on my writing. Works like “The Tell-Tale Heart,” “Bells,” and “The Raven” explore the darker aspects of the human psyche, and his use of rhythm and sound in poetry inspires me to pay close attention to the musicality of language in my writing.
In addition to these literary giants, I find inspiration in screenwriting. Rob Zombie, known for “The Lords of Salem,” brings a unique voice and aesthetic to horror filmmaking that challenges conventions and explores deeper themes of fear and the supernatural. His bold storytelling and visual style encourage me to experiment with narrative techniques.
Sidney Sheldon’s work on “I Dream of Jeannie” showcases clever character dynamics and humour. It reminds me of balancing light-hearted moments with deeper emotional arcs in my stories. His ability to create engaging plots motivates me to craft narratives that captivate audiences.
In summary, the influence of these writers and screenwriters on my work cannot be overstated. Their diverse styles, themes, and characters inspire me to explore new ideas and push the boundaries of my creativity. I am grateful for their impact on my writing journey and look forward to continuing to learn from their legacies.
– Do you think the Wild Filmmaker Community is helping to turn your dream into a reality?
I am grateful for the Wild Filmmaker Community’s impact on my aspirations. As I strive to carve out my path in this competitive industry, the support and resources provided by this community have been instrumental in guiding me toward my goals and dreams.
From a young age, I have been captivated by the power of storytelling through film. Its ability to convey emotions, provoke thought, and inspire change drives me to pursue this art form. However, becoming a successful screenwriter and filmmaker is often challenging. That’s where the Wild Filmmaker Community comes in. Through workshops, mentorship programs, and networking opportunities, I have gained invaluable insights that have sharpened my skills and broadened my perspective.
As I continue to develop my craft, I am excited to share that I am currently working on a project that I believe has the potential to resonate with audiences and create a meaningful impact. However, to bring this vision to life, I need support from sponsors who believe in the power of storytelling as much as I do. I am confident that earning the accolade of “Winner” would significantly enhance the credibility of my project, making it more appealing to potential sponsors. This recognition could be a catalyst, helping transform my dream into a tangible reality.
Winning an award is not just about recognition; it validates the hard work, dedication, and passion I pour into my projects. It would signify to sponsors that my work is worth their investment and that I am committed to delivering a high-quality film that engages and inspires audiences. Moreover, this accolade would open doors for collaborations and partnerships that could elevate my work to new heights.
– Do you remember the exact moment you fell in love with cinema?
As an infant I recall being put to bed in my cot in Hong Kong, and watching the first ever TV shows there, and being entranced. The One O’Clock show was a real movie, and I soon came to know that the pirate movie, by Michael Curtiz (which I later found out was “Captain Blood”) was wonderful and that “Brigadoon” was also a marvel to behold. So for me it was two old movies a day, and then cartoons for kids starting at 5. Then my parents came home from work and my “nap” time was over!
– When did you realize that the story living in your heart had to be turned into a screenplay and then into a film project?
Actually, only in recent years. I’d been writing and directing short films and plays in competition in London, learning the trade while acting in commercials, then I moved into fashion and beauty studio photography, then cinematography, then to directing commercials. This is while writing stories all along. Then I realized I didn’t know anything about film editing, so re-apprenticed in London and moved into feature film editing, then to TV editing in Los Angeles. Only during the hard times recently and Covid was it made clear to me that I had to work with my own material. Before then I’d only worked on others’. However, I’ve been writing my own little tales, pretty much consistently, since I was 12.
– Is there a person you would like to thank for helping you bring your project to life?
My partners, paul gunn and Jean Heckmann, without whom “NeverWhere: a Lycan Love Story” would ever have been conceived. And my other partner, CC Williams, who has been wonderful in helping to put together the executive side of the project.
– Which writer inspires you the most?
Wow. Many, many, but probably that would have to be either David Mamet or Neil Gaiman, but I would be seriously remiss without giving thanks and mention to Jeff Kitchen, Corey Mandell and John Jarrell.
– Do you think the Wild Filmmaker Community is helping to turn your dream into a reality?
This is my first interaction with the Wild Filmmaker Community, who reached out to me, apparently out of the blue, to celebrate my more than 36 international laurels for the book, concept and screenplay of “NeverWere”. Kudos and thanks to you all at the WFC! While our partnership, the EP!C FILM FOUNDRY, works diligently every day to raise funds and distro for the project, I’m very optimistic that the WFC can be instrumental in the project’s upcoming success.
-What is the main challenge you encountered while writing your work?
I have the ability to remember everything I do and have seen. So I take those experiences and make my films.
-Every screenwriter needs feedback after completing their project. Is there someone you always turn to for their opinion as soon as you finish writing?
Actually no, I do them and when it’s time to edit the film, I do that as well.
-Are you currently working on a new screenplay?If so, can you tell us more about it? +
I have 3 pending productions I wrote. We are looking for funding on Sheldon Mashugana Returns to the Future for 2025.
-If you had to describe your writing style using three adjectives, which ones would you choose?
Mel Brooks on the improv and laughter he makes. A lot of Yiddish jokes and words are always funny. The only problem is that a lot of people don’t understand it, So I’m working on a way in the screenplay to adjust for that.
That is a very difficult question to answer. It is almost impossible to narrow my preferences down to one name because there are so many distinct literary areas and forms of writing – so many different reasons for choosing text as a form of expression, particularly for an experimental visual artist.
Having said this, there are authors whose work has left an indelible mark on my perspective of the human condition. Kurt Vonnegut is an excellent example. His ability to treat challenging situations facing an individual as a metaphor for social situations and problems that go well beyond the situations in question, always fascinated me. His fragmented, non-linear narratives seemed highly relevant to my understanding of the world and had an impact on both the still images and films I have made over the years. In works like Slaughterhouse Five, Cat’s Cradle or Breakfast of Champions his treatment of truth as something subjective and his position that the way in which we approach and understand a story depends on our personal baggage and perspective, always rang true to me. I would characterize his influence on me as both psychological and sociological in perspective.
I would be amiss if I did not also mention the impact that Hermann Hesse’s writings had on me, particularly during my younger days at university and the years following my graduation. The Glass Bead Game, Steppenwolf and Siddhartha were transformative works for me dealing with the lives of persons that for different reasons found themselves on the margin of their societies, forever reminding us of the ambiguity of daily life and twists and turns that define it. In an essay entitled “Why They Read Hesse”, Kurt Vonnegut wrote of Hesse that he had a profound understanding of the notion of homesickness (and therefore in my view by association, of homelessness) – both the positive and negative aspects. It is something profound. The wandering of his characters is a quest for hope.
Perhaps it is not a coincidence that I chose these two authors.
-What is the main challenge you encountered while writing your work?
Many of my experimental video works do not involve the use of text in the form of dialogue, instead employing short inspirational phrases in storyboard style as a guide to voice-overs, as well as to the nature of visual content. Often some form of contemporary musical exploration also serves as an inspiration for the visuals of a piece. When I turn to text as a tool, it is for a very specific purpose. Normally, my decision to use text is based on one of two possible (and sometimes inter-related) motivations:
to create confusion and misunderstanding such as in my video “Can’t figure It Out” or
to delve more deeply into more philosophical aspects of what is happening visually, such as in “Déjà Vu on the Ledge”, an award winner in this year’s Best Screenwriter of the Year event.
Clearly, the challenges involved in each of these options are different.
In works like “Déjà Vu on the Ledge”, the main challenge was to explore in depth the various philosophical and psychological aspects of a particular aspect of the subject matter from various different perspectives, while at the same time maintaining “an edge” – that is, creating curiosity and stimulating reflection on the topic in question in a provocative manner. Too much clarity can kill the excitement of exploration. It is often a fine line. Visually, the piece deals in a symbolic manner with the difficulty and precarity of navigating challenging everyday conflictual situations between two persons. The text, on the other hand, takes the position that it is the very fact of being in a precarious conflictual situation that constitutes the most essential life lesson and that this is far more important than exploring an eventual solution or resolution of the situation as the visuals suggest. We learn from our presence in the conflict not from any eventual resolution of it. The text plays the role of agent provocateur, teasing and leading us on. In films like this, striking a balance between the message of the image and the apparent conflicting message of the text is a delicate exercise.
-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 fact, no there isn’t. Writing for the type of independent experimental filmmaking I create has more in common with painting or sculpture than it does with more traditional filmmaking. A shorthand script is sometimes a point of departure for a project that sets in motion the creation of images and at other times, is a reaction to finished images that were created based on other references far removed from the domain of the written word. I normally work alone and therefore I alone decide the methodology and processes employed in the creation of the final work.
Of course, as always, there are some exceptions. For example, I am currently working on a project that involves my choosing 5 or 6 artists from different countries around the world charged with interviewing persons they select to respond to a series of questions I have formulated that deal with their personal frustrations with their daily lives. In such a context, collective reasoning and exchange play a role. Entitled “The Choir of Discontent”, it deals with the message noise created online by the simultaneity of millions of frustrations voiced every minute of every day around the world on social media platforms. The message is simple: nobody is listening … nobody really cares.
-Are you currently working on a new screenplay? If so, can you tell us more about it?
In addition to the ongoing project that I described above, I am also working on a screenplay for a sequel to my experimental short film “Can’t Figure It Out”. Tentatively entitled “All the Time … Anywhere”, the film is a portrait of a man trying unsuccessfully to formulate a call to action to deal with an undisclosed situation. The portrait shot of him speaking is interrupted by scenes of the sea with an infinite horizon. His awkward inability to clearly articulate his intentions is a metaphor for our inability to accurately articulate our thoughts and feelings in a clear, honest manner even to those with whom we are intimate.
At the end of the film our protagonist, dejected, looks into the camera as it slowly zooms in for a close-up and says:
“Perhaps it is all an illusion … a state of apparent awareness potentially riddled with errors.
I am … even if I simply pretend to act.
Perhaps that simply has to suffice …”
-If you had to describe your writing style using three adjectives, which ones would you choose?
The late Sue Grafton who wrote the famous Alphabet Series of Detective Kinsey Millhone and of course many of the classics like those of Agatha Christie spur true story telling while carrying on a specific character from book to book. Terry Goodkind and his Sword Of Truth series is another favorite. Janet Evanovich is another prolific series writer. Stories inspire! I want a story with a reason, not a story with an agenda. Agendas are a dime a dozen. A good story is priceless.
-What is the main challenge you encountered while writing your work?
I have so many stories and beginnings in my head I am forced to make notes constantly to remember them all for possible screenplays, pilots etc in the future. Often knowing which to focus on is as easy as waking after having a dream that touches a certain story or even a new one. I have learned that you can just walk away from a script when you’re stuck and allow it to percolate for a while in your head. Do something else other than writing and then suddenly, you find your way in the story. It works for me, but not always.
-Every screenwriter needs feedback after completing their project. Is there someone you always turn to for their opinion as soon as you finish writing?
When I first started my writing, late at the age of 50, I had a mentor. John Herman Shaner taught and supported my goals and we spoke on the same level. That is important. He never spoke down or told me what I needed to write. He would read my completed script and make notes throughout and final notes on the back page. We would then meet at his home with his martini and pen and spend several hours discussing what I wrote. Because my genres are wide spread, he always enjoyed seeing what I had written.
He would note punctuation, formatting and places that he may not understand the meaning or if something was repetitive or just not needed for forward the story. We would discuss goals of the story as well as fulfillment of the story line. In FIRE FLIES he loved the story. He noted that he was captivated from the first page until page 70 and then it dropped off. There was nothing that held his interest. He told me to go home and “let it percolate” in my head and figure out what’s missing. He never told me what I needed to write or any type of story suggestions. I sat at home that night and rewrote the end and gave it back to him the next day with the new ending. His eyes were wide open that I had done the rewrite overnight but when we got together to discuss the changes he said with surprise, “You gave me a fucking chase scene. You made it all work as one.”
That is how I learned to keep the story moving forward even if it means removing scenes that I love. He gave me the inspiration of what to look for, not what’s needed to be written. That second pair of eyes is important. Sadly the world lost Mr Shaner several years ago but his thought process stays with me always.
-Are you currently working on a new screenplay? If so, can you tell us more about it?
I have currently been working on several and more recently sequels to my FIRE FLIES SERIES such as THE DRAGON’S TOMB & THE RETURN OF THE RED DRAGON.
FIRE FLIES is part one and FIRE FLIES: THE GOLDEN DRAGON is part three and are both completed. I have since had an epiphany of FIRE FLIES: THE DRAGON’S TOMB which is part two and is currently 50% completed. FIRE FLIES: THE RETURN OF THE RED DRAGON is part 4 and started.
As you can see, my writing is an ongoing creation and learning process. I thought I had done well until I had a dream that I needed to do a part two. Go figure but never close out a thought train. As in FIRE FLIES all the characters are dual roles covering Current Times and Mystical Times ala The Wizard Of Oz. This continues throughout the series because it is young Gerald’s coping mechanism in life, transferring into his fantasy world on paper in his art.
I have also just completed transcribing book 5, SAUTE’D SAPPHIRE: (A Detective Gabrielle Laxx Mystery) into a long form 2 full act TV Film script that is two feature film episodes. I am editing as we speak.
-If you had to describe your writing style using three adjectives, which ones would you choose?
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