Trust the Process
BEST NARRATIVE SHORT, BEST ORIGINAL SCREENPLAY, BEST INTERNATIONAL INDIE FILMMAKER & BEST CINEMATOGRAPHY
Sitting in a Dream – Golden Hair
BEST MUSIC VIDEO & BEST SOUND DESIGN
Pink City Film
BEST EXPERIMENTAL FILM
Another Chance
BEST INTERNATIONAL CAST
Ricchezza vera
BEST EUROPEAN SONG
Teddy
BEST INDIE MUSIC VIDEO & BEST DIRECTOR
The Order
BEST ARTHOUSE PROJECT & BEST EXPERIMENTAL FILMMAKER
Brothers of Babylon
BEST INTERNATIONAL FEATURE SCRIPT & BEST ORIGINAL WRITER
Omnipotent Resolution
BEST DANCE SHORT FILM, BEST ORIGINAL INDIE SHORT FILM, BEST INTERNATIONAL SINGER & BEST CHOREOGRAPHY
Emergency Musical Response; Part 1- Journey to Netherworld
BEST ORIGINAL SCREENPLAY
13 Driver’s Licenses
BEST ARTHOUSE DOCUMENTARY SHORT
But I Want to Leave the Party
BEST ARTHOUSE SCREENWRITER, BEST ACTRESS & BEST PRODUCER
The Esteemed Priority
BEST ANIMATED SHORT FILM
Traveling Putz
BEST INTERNATIONAL COMEDY
Not Without Gloves
BEST EXPERIMENTAL CINEMATOGRAPHY & BEST BLACK & WHITE FILM
Dojo
BEST INTERNATIONAL NARRATIVE SHORT, BEST ACTOR, BEST ACTION MOVIE & BEST AMERICAN PRODUCTION COMPANY
Normal Thoughts From A Strange Mind: Volume I
BEST INTERNATIONAL TELEVISION SCRIPT & BEST WRITER
Appointment With The Plague Doctor, Lester Haywood
BEST ORIGINAL DIRECTOR & BEST HORROR
Anything You Lose
BEST ARTHOUSE DOCUMENTARY FEATURE & BEST INTERNATIONAL EDITOR
Roses are Blind
BEST INTERNATIONAL THRILLER
Alta California
BEST INTERNATIONAL SCREENWRITER & BEST ORIGINAL SCREENPLAY
Eye of the Storm
BEST AMERICAN DOCUMENTARY & BEST BIOGRAPHICAL FILM
Two Million Steps
BEST INTERNATIONAL MANUSCRIPT
Bitter Brownies
BEST INDIE NARRATIVE SHORT
Corelli – Trio Sonata, op.3 no.5 (v. 2)
BEST EXPERIMENTAL FILM & BEST EDITING
The Pathos of Hamlet
BEST ARTHOUSE NARRATIVE SHORT & BEST DIRECTOR (Category: Narrative Short)
The Stones of Rome
BEST ACTOR
Albuquerque Mosaic
BEST INTERNATIONAL DOCUMENTARY SHORT
Luzinete
BEST SCREENPLAY SHORT, BEST INDIE PRODUCER & BEST INTERNATIONAL FILMMAKER
Bat Sheva (The Daughter of 7even)
BEST ORIGINAL SCORE
Marky the Magnificent Fairy A Disability Story of Courage, Kindness, and Acceptance
BEST INTERNATIONAL BOOK
An impossible secret
BEST ORIGINAL CINEMATOGRAPHY & BEST CAST
Monument to Love
BEST INTERNATIONAL DOCUMENTARY, BEST DIRECTOR & PRODUCER (Category: Documentary Feature)
Virulence
BEST INTERNATIONAL FEATURE SCRIPT
Under Desert
BEST POETRY SHORT FILM, BEST EXPERIMENTAL DIRECTOR & BEST INDIE EUROPEAN PRODUCER
Artists And Aliens
BEST ORIGINAL SOUNDTRACK, BEST INDIE DIRECTOR & BEST ORIGINAL SHORT FILM
THE BLANKET – Die schwarze Decke
BEST EUROPEAN DIRECTOR & BEST SUPER SHORT FILM
Risveglio Planetario ( Planetary Rebellion)
BEST ORIGINAL SONG
March 5 A Song For Carla
BEST ARTHOUSE SUPER SHORT FILM
The Assassin’s Apprentice 2: Silbadores of the Canary Islands
BEST INTERNATIONAL ORIGINAL DIRECTOR, BEST INDIE PRODUCTION COMPANY & BEST ORIGINAL EDITING
Routine
BEST NARRATIVE SHORT & BEST AMERICAN FILMMAKER
The Lost Village
BEST INDIE PRODUCER & BEST ARTHOUSE DIRECTOR
Say My Name
BEST INTERNATIONAL SHORT FILM, BEST PRODUCTION COMPANY, BEST CASTING DIRECTOR & BEST CINEMATOGRAPHER
Halloween (Rabbit Well Episode 6)
BEST INTERNATIONAL ANIMATED PROJECT, BEST ORIGINAL DIRECTOR & BEST COMEDY
Sinestesìa
BEST MUSIC VIDEO & BEST DIRECTOR (Category: Indie Music Video)
I ‘ll never be like you. I change all the time
BEST INSPIRATIONAL FILM & BEST EXPERIMENTAL FILMMAKER
-What has been the greatest difficulty you faced in producing your project?
My greatest difficulty was coming to terms about how to create a satirical film without hurting people’s feelings. The story of two poetic muses, one an intellectual prostitute and the other, a reluctant daughter of a senile God both vying for love, is a strange fantasy that appeared for some people too challenging and threatening to appreciate. Why? Perhaps the answer lies embedded in the next question.
-Do you think the film industry today has been damaged by political correctness?
Yes, I do. Political correctness ruins film’s creative freedom. This especially applies to new attitudes about humor. The misunderstanding of how irony, sarcasm and comic exaggeration create laughter is too often literally interpreted and silenced under the brandishing sword of moral correctness. If anyone deserves the questioning eye of a creative filmmaker it is this puritanical crowd of well-meaning yet boring simpletons proselytizing moral superiority.
-What was the greatest source of inspiration for creating your project?
“Salinger’s Two Dark Muses” was first of all inspired by my own experiences of being a young man aspiring to be a poet. Another great source of inspiration was the Faust legend. Faust craves the whole world and is willing to sell his soul to Mephistopheles to gain fame. The last great inspiration was the Ern Malley literary hoax. Two conservative Australian writers created a fictitious poet imitating modernist poetry which in the early 20th century tricked the whole world into thinking that Malley was a new great genius.
-If you could ask a question to a great director from the past, who would you like to talk to and what would you ask them?
Perhaps I would have liked to meet the greatest director of all time, Fellini. But what questions could I ask of a genius who himself so marvelously questioned reality? All I would say was, “Thank you Federico for opening the doors of cinema for me.”
-What do you think of the Wild Filmmaker platform?
The people working at the Wild Filmmaker Platform are informed, ambitious, friendly and very supportive. I’m not sure yet of what and how they exactly operate but hopefully with time that will become clearer to me.They seem to be reaching for the sky.
The screenplay “Brothers of Babylon” received top marks from the “Sun Dance in Paris Film Awards 2024” team. The narrative style and originality of the author, Gabriel Womack, met all the high expectations of the jury. The WILD FILMMAKER team had pointed out the young American screenwriter Gabriel Womack as a great talent, frequently awarded in the international festival circuit hosted by the WILD FILMMAKER platform, and we were very pleased to discover that the information provided matched our evaluation. As a jury, we are certain that “Brothers of Babylon” has all the qualities to become a film with an international cast, as it is a universal story that deserves to transition from screenplay to film. It would be interesting to find out if the author Gabriel Womack also wishes to direct the film based on his excellent screenplay or if he prefers to entrust the project to another director. We will find out. For now, we can only state that Indie cinema can boast an author of extraordinary creativity to whom we wish the greatest success. Once again, we thank the WILD FILMMAKER platform for introducing us to an artist of excellent inspiration like Gabriel Womack.
The Omnipotent Resolution project profoundly captivated the jury of the 2024 Swedish Critics’ Choice Awards! This short film, which can also be considered a music video, possesses extraordinary spiritual power, where music and dance become a pathway to understanding the human soul.
Artists Uniqueness Heiress & Azia managed to move and provoke thought in our jury, and unanimously, we decided to award the project the highest marks. We are very pleased to have formed a partnership with the Wild Filmmaker platform, which allowed us to discover this fantastic Artwork!
-What has been the greatest difficulty you faced in producing your project?
The most significant challenge I faced was overcoming my own resistance, opening up to the world in a vulnerable way, and sharing my truth, hopes and discoveries. It proved difficult to emerge from the wreckage of shattered dreams and expectations. I frequently repeated to myself an Albert Einstein quote, “You cannot solve a problem with the same mind that created it.”Throughout the post-production process, my mind and heart expanded, gradually reducing the emotional scar left by the story. Inevitably, I reached acceptance. But the experience of finding the way back to self has been a powerful challenge.
-Do you think the film industry today has been damaged by political correctness?
I understand your meaning. I admire the courage of the Wild Filmmaker for addressing a social issue that remains largely unexplored within the societal framework. Thanks to your unwavering support and interest, we’ve grow in an organic grassroots way to 85 festivals, 55 awards and 24 nominations. Despite the entrenched focus of mainstream media on infertility success stories with vague statistics, ‘Anything You Lose’ managed to connect with audiences and critics through the fertile ground of Indie Film Festival Network.
-What was the greatest source of inspiration for creating your project?
It serves as a memory bank for the time when I was young —a time when I exuded confidence and believed I could tackle any problem. The challenges of the story cracked me open. I was shocked and surprised to know how painful, raw, unearthing and unsettling this infertility struggle may become. It’s far more powerful and psychologically complex than commonly portrayed. My goal was to create a documentary account, both as a personal record and to raise awareness among those who might be traveling in my footsteps unaware of challenges ahead.
-If you could ask a question to a great director from the past, who would you like to talk to and what would you ask them?
I’d like to speak with Charlie Chaplin. I’m curious about the pivotal moment in his life when he chose to perceive the world through the lens of comedy. His mother, Hannah Chaplin, battled mental health issues, and his early life was fraught with hardships. However, after he rose to stardom in Hollywood, he brought his mother to America and ensured she received the necessary care.
-What do you think of the Wild Filmmaker platform?
I love you guys. Thanks for championing my work and being a beacon of the new era. You are a credit to your profession!
-What has been the greatest difficulty you faced in producing your project?
As a fashion designer, that has stepped into the roll of writer, to screenplay writer and so on. I’ve found the difficulties to be numerous and eye opening. When creating a fashion line, I’m old school in my creation, I believe in sewing what I sketch. I like to be hands-on from the inception of an idea to its development. In the case of Thankful, I’m doing my best to build this project with that same concept in mind. While the creative side of me prefers to build everything myself, I know that is impossible with a project of this caliber.
-Do you think the film industry today has been damaged by political correctness?
ONE HUNDRED PERCENT! My prospective, plain and simple…political correctness has gotten way out of control. It has gotten to the point that there is no story to tell unless it is build around a political push of some sort or another. Which leads me to believe that people focus more on the stories they know as those stories are regurgitated. Sadly, some with political correctness worked into their modern versions.
I can not tell you how fortunate I feel to have created Thankful and not have anything politically alienating connected to it.
A clean story focused on life, loss and living again while growing to understand the importance loving one’s self, without the need of overtly selling nudity, violence or politics.
-What was the greatest source of inspiration for creating your project?
I would say there are three main sources for Thankful: Family, Friend/kinship, and Love. It all comes down to not knowing what the highs and lows do to a person. The moment when everything feels like
it’s happening at once. For example, Thankful covers topics such as suicide of close friends, sudden death of family members, divorce, tsunami while pursuing a career in fashion. It opens the door to seeing the true nature of the impact of all these situations at once. All the while focusing on the main character and how he deals with sadness, happiness, love, heartbreak, and trying to create a beautiful world of happiness through art. And all this in, just before the tsunami devastated the Indian Ocean. It’s very impactful.
-If you could ask a question to a great director from the past, who would you like to talk to and what would you ask them?
George Cukor, from RKO Pictures, would be the director I’d love to speak with the most. For those unaware of George Cukor, he was the third director hired for the Wizard of Oz. I would love to speak with him and ask what his full version of the Wizard of Oz would have been. Being that he cleaned up the look of the yellow brick road along with a number of other technicalities. I’ve often wondered what his version and vision of the world of Oz would have been. The Wizard of Oz was the first movie my mother took me to see at the age of 5. I never belonged to any Dorthy or Oz groups. I just remember being in love with these amazing characters while I was going through recovery. It wasn’t until my 20s that I understood the
amount of directors the film actually had.
-What do you think of the Wild Filmmaker platform?
Wild Filmmaker Platform is a gem and a blessing. There’s no doubt that many people are doing their best to bridge the gap between indie and mainstream groups through movies, music videos, and even books. Wild Film Platform fills this gap better than most forums in the world. Creating a mind map is always the easy part; Bringing that map to life is a process that can make or break someone’s success. The Wild
Filmmaker Platform seems to have achieved its goal.
-What has been the greatest difficulty you faced in producing your project?
“The Girl Who Faded Away” took more than a decade to fund and produce, but has proven to be worth the wait. It is a continuation of my collaboration with songwriter and guitarist Tom Guernsey, who left this world before his time from ALS. After we completed the video for Tom’s “On the Road (At 17),” Tom told me that I would have “carte blanche” on the next one. Adrienne, Tom’s widow, was very supportive and introduced me to Tom’s former bandmate George Daly, today an iconic music executive/artist who joined me as Executive Producer and Co-Writer. The coupling of Tom’s past with the very experienced George Daly was almost a miraculous bit of inspiration. So thanks Tom. The Girl Who Faded Away will now never fade away.
-Do you think the film industry today has been damaged by political correctness?
Political correctness is not inclusive enough to be truly effective. “Do to others as you would have them do to you” are better words to live by.
-What was the greatest source of inspiration for creating your project?
My inspiration arose from the lyrics of this melodious song. Since the heroine, the ethereal girl “faded away” when the “night is day”, I envisioned her as an apparition, and one representing a lost love. Because the recording of the song has scratches and pops, I decided to have the protagonist listen to a vinyl record on a phonograph. Having met the male lead Eric Schopmeyer in his persona of DJ powerless at a party, I made Eric the first hire and primary counter basis for everything that follows, with the “Girl” and him.
-If you could ask a question to a great director from the past, who would you like to talk to and what would you ask them?
I would ask Jean-Jacques Beineix for an apprenticeship.
-What do you think of the Wild Filmmaker platform?
George Daly and I are honored to be included in this class act among so many talented artists.
Hotel Purgatorio: Room 917
BEST WEB/TV SERIES & BEST PRODUCTION COMPANY
Dream Reality
BEST SCREENPLAY THRILLER
Calamity & Mercy
BEST INDIE DOCUMENTARY FEATURE
Vita piena
BEST POETIC SONG, BEST SONG WRITER & BEST EUROPEAN SINGER
Not Without Gloves
BEST ARTHOUSE DIRECTOR & BEST EXPERIMENTAL CINEMATOGRAPHY
It’s the Gravy
BEST INTERNATIONAL COMEDY
Precious the Baby Dragon
BEST INTERNATIONAL BOOK
Monument to Love
BEST DIRECTOR (Category DOCUMENTARY FEATURE) & BEST SOCIAL FILM
Lockdown
BEST ARTHOUSE DIRECTOR & BEST ORIGINAL PROJECT
Medea
BEST ORIGINAL NARRATIVE SHORT, BEST CINEMATOGRAPHER & BEST INTERNATIONAL FILMMAKER
Omnipotent Resolution
BEST DANCE NARRATIVE SHORT, BEST POETRY FILM, BEST DIRECTOR (Category Music Video) & BEST CHOREOGRAPHY
Emergency Musical Response; Part 1- Journey to Netherworld
BEST INDIE SHORT, BEST ARTHOUSE FILMMAKER & BEST ORIGINAL EDITING
The Question Mark
BEST ARTHOUSE SUPER SHORT FILM
Routine
BEST INTERNATIONAL FILM & BEST AMERICAN FILMMAKER
The Assassin’s Apprentice 2: Silbadores of the Canary Islands
BEST PICTURE & BEST INDIE PRODUCTION COMPANY
Eye of the Storm
BEST INTERNATIONAL DOCUMENTARY FEATURE
Atlas of Uncertainty
BEST SOUND DESIGN
In Search of A P-I-G
BEST NARRATIVE FEATURE & BEST DIRECTOR (Category: Narrative Feature)
The Second Coming
BEST INDIE SHORT, BEST ARTHOUSE PRODUCER & BEST ORIGINAL SCREENPLAY
In a Whole New Way
BEST INTERNATIONAL DOCUMENTARY SHORT
The Queen of Camelot
BEST DIRECTOR
Holiday on Ice
BEST PILOT TV
Vuelta al perro (Dog’s Walk in circle)
BEST NARRATIVE FEATURE
What Kind of Day
BEST INDIE DIRECTOR & BEST INTERNATIONAL DRAMA
“Only You Can Save Her,” pilot teleplay of series THE BOY WHO EARNED HIS MAGIC
BEST INDIE TELEVISION SCRIPT
Corelli – Trio Sonata, op.3 no.5 (v. 2)
BEST EXPERIMENTAL FILM
Virulence
BEST ARTHOUSE WRITER & BEST INDIE FEATURE SCRIPT
Dojo
BEST NARRATIVE SHORT, BEST ACTOR, BEST EDITING & BEST ACTION MOVIE
The Taste Of Rain
BEST ORIGINAL SCREENPLAY & BEST AMERICAN SCREENWRITER
Seasoning of the Soul
BEST ARTHOUSE SHORT FILM, BEST ORIGINAL FILMMAKER & BEST INDIE PRODUCER
The Blanket – Die schwarze Decke
BEST EUROPEAN SHORT FILM & BEST INDIE PRODUCER
The Lost Village
BEST AMERICAN DIRECTOR & BEST ORIGINAL IDEA
Luzinete
BEST INTERNATIONAL DIRECTOR (Category: INDIE NARRATIVE SHORT) & BEST SCREENPLAY SHORT
Coraggio
BEST EUROPEAN SUPER SHORT FILM
The Dead Ringer
BEST INTERNATIONAL FEATURE SCRIPT
Missing In Plain Sight
BEST TELEVISION SCRIPT
Sinestesìa
BEST POETIC MUSIC VIDEO & BEST INTERNATIONAL SONG
Soul
BEST INTERNATIONAL DIRECTOR, BEST INDIE ANIMATED PROJECT & BEST FANTASY
Halloween (Rabbit Well Episode 6)
ANIMATED COMEDY & BEST FIRST TIME DIRECTOR
The Great Animal Escape
BEST INDIE BOOK
Bat Sheva (The Daughter of 7even)
BEST INTERNATIONAL ORIGINAL SCORE
The Pathos of Hamlet
BEST ORIGINAL INDIE FILMMAKER
The Stones of Rome
BEST ACTOR & BEST AMERICAN NARRATIVE SHORT
BOOTS on the Ground for Art
BEST INDIE SUPER SHORT FILM
-What has been the greatest difficulty you faced in producing your project?
For me, it is always a great effort to start the work and then to finish the project. It feels like a ollercoaster, with huge self doubts at the lowest points and a euphoric feeling at the top points. Getting through the rollercoaster, adjusting my ideas so that they become realistic is a big struggle.
-Do you think the film industry today has been damaged by political correctness?
I don’t think so. On the opposite I think political correctness was much needed. I’m happy that there are more female directors and more diverse movie subjects now thanks to political correctness – I.e. films about feminism, lgbtq+, people with handicaps, but also films about grief.
-What was the greatest source of inspiration for creating your project?
My own grief for my husband. He died when I was 38, and through my grief for him I learned to appreciate life a lot more. Today I’m very aware that life can end on any day, so that it feels very precious. That makes me live a lot more conscious and grateful.
-If you could ask a question to a great director from the past, who would you like to talk to and what would you ask them?
I’d like to talk to Alfred Hitchcock and ask him whether he had self doubts as well. And if he had a trick to get through them.
-What do you think of the Wild Filmmaker platform?
I think this platform stands out and I’m proud to be one of your winners.
