It was born from the need to plumb the depths of my profound human nature in a period in which I had decided to bring out into the open all the rot I felt I had inside. A sort of self-therapy in images, texts and sounds.
-Who are your influences?
Many and of various nature. Not just films or directors but also music, painting and art in general. If I really had to choose a director I would say Tarkovsklj for his ability to expand the human soul to the point of touching the divine and his ability to make you feel part of everything.
-What fascinates you about WILD FILMMAKER?
The possibility it gives directors to be welcomed, listened to and not judged a priori for their proposals and the message they try to convey. Which is very rare these days.
-What is the mission of your art?
Try to bring out some aspects of people’s inner lives while watching my films, giving them the opportunity to ask themselves questions and possible answers which should always be individual and never definitive. A very pretentious goal, but I think it is the main purpose of art.
-What has been the greatest difficulty you faced in producing your project?
For many years Giuseppe Vincenzo Sciarra and I had been thinking about this “Canovaccio” project and in 2023 we finally managed to produce it; post-production was completed this year. We had little time to make the short film, the constantly changing weather conditions forced us to make some changes in the shooting, but in the end the strong feeling between the three lead actors Gino Curcione, Brando Improta and Giovanna Asia Savino, allowed us to achieve the magic we were looking for. Moreover, the original music composed by Gianluca Erriu is an added value for the film.
-Do you think the film industry today has been damaged by political correctness?
Today, many projects are held back by this ‘political correctness’, what is ostensibly done to promote inclusion often has the opposite effect. I have always dealt with social issues and diversity is a wealth that must be valued and included in more realistic and lighter stories… Cinema must be courageous to convey a feeling, a sincere emotion.
-What was the greatest source of inspiration for creating your project?
The setting, Naples, from a particular point of view, i.e. a terrace of a house in the Posilippo district, was strongly desired by us and important to create a certain type of atmosphere. My colleague Giuseppe Vincenzo Sciarra and I initially tried to recreate a project close to French cinema and Italian genre comedy. But I think we made a very different film. This question should probably be put to the audience.
-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 have always had a passion for Fellini’s Cinema and there are many questions I would ask the author. His work is still topical today, and above all his approach to the genre of the “fake documentary”, an aspect that is perhaps a little less well known, is also interesting. If I had to choose just one, in particular I would ask him if I could attend the shooting of one of his films.
-What do you think of the Wild Filmmaker platform?
I think that this platform is one-of-a-kind, and it’s good medium for artists to make themselves known. I would like to take this opportunity to thank the organisers who selecting my project for the Special Event at 81st Venice International Film Festival exclusively on Wild Filmmaker.
What has been the greatest difficulty you faced in producing your project?
It’s been a gradual step-by-step process. It is a short film and I have experienced no real difficulty. So far, it has been a joy.
-Do you think the film industry today has been damaged by political correctness?
I don’t think anything can damage the core of the film industry, it’s a force of nature. It may have ups and downs, but like the Sun, it will rise in the morning.
-What was the greatest source of inspiration for creating your project?
Apprentice, like Mickey Mouse in Fantasia. I have studied the I Ching, Tarot, Mystery School, Mythology, the Secrets of the Shamans, Folklore, Archetypal Fairy Tales, and Sacred Geometry, all of which have led me to the Genre of the Fairy Tale. My stories have always possessed a mystical undertone but The Girl Made of Earth and Water is my first true Fairy Tale. Using the tools of fantastical enchantment and the language of metaphors, the viewer (child or adult) is introduced to contemplating their thoughts, which aids in finding meaning in their lives, a greater sense of self, and how they fit into the world. It extracts the mind from the mob mind.
-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?
At this moment, although I would love to speak with Frederico Feliini or Ingmar Bergman, I have to go with a man still walking among us – Alejandro Jodorowsky. Watching the opening scene of El Topo, with Jodorowsky, dressed in black leather on a white horse, walking across the desert, to in your face, full screen, his ten-year-old naked son burying the portrait of his mother in the sand – I was knocked out! But, I have always been especially inspired by his Graphic Novel illustrated by Artist Mobius, The Incal. The great Taiki Waititi is currently adapting The Incal and will direct it for the big screen. I can’t wait to see it!
-What do you think of the Wild Filmmaker platform?
The Wild Filmmaker is a gift to the Indie Film Industry. Indie films are essential for creatives to explore, innovate, and take risks. Wild Filmmaker champions those efforts that benefit the mainstream Industry in the process
-What has been the greatest difficulty you faced in producing your project?
Producing a film involves orchestrating a complex symphony of details whilst holding onto the vision. From coordinating things like food and transportation between locations, and checking in with the team during intense scenes, felt like I was both a conductor and caretaker. I was constantly thinking of the people above everything else on set to ensure a safe passage for all, and at the same time I was checking in on scenes as it was my story being filmed and holding the authenticity was important to me. In post-production, the editing process demanded meticulous attention to detail, stitching together scenes, refining pacing, and maintaining my overall vision was exhilarating and exhausting. My festival strategy evolved as I had to be adaptable in my approach to film festivals after a number of knock backs. Then as the awards started flowing in, it became an addiction in many ways and then it was hard to know when to stop. Filmmaking, for me, is an artistry of balancing so many things all at once in the air, and not letting one ball drop.
-Do you think the film industry today has been damaged by political correctness?
The film industry, like any cultural sphere, grapples with the impact of political correctness. While sensitivity and inclusivity are essential, there’s a find balance to strike. The only thing I had to grapple with was “trigger warnings”. As someone with lived trauma experience and work in the area of mental health, I’ve encountered this firsthand. ‘Say My Name’ delves into addiction, abuse, violence and suicide, each carries immense emotional weight. Providing trigger warnings can be well-intentioned, but it’s not a one-size-fits-all solution. Trigger warnings suggests that we might exacerbate mental health struggles, but the latest research and I would agree, by desensitising viewers, we risk hindering healing. As filmmakers, we must approach this with empathy. Balancing artistic expression with audience wellbeing is crucial. Perhaps, rather than warnings, fostering post-viewing discussions or providing resources could be more effective. Healing lies in acknowledging pain while allowing space for growth.
-What was the greatest source of inspiration for creating your project?
This short film is based on my younger life story and book ‘Sleeping Under the Bridge’. This is the first book in a trilogy series that I want to be turned into feature films. The short film was to enable the start of this long-term vision. I always had the dream to have a film depicting the trauma I lived through as a child to shine as a beacon of hope that anyone can overcome any battle in life. My inspiration is if my life can give courage and change to other people’s stories, then it is worth sharing. It is why I have dedicated this short film and my books to all those who have walked in these shoes. As a survivor of horrendous trauma, I’ve transformed pain into purpose. Sharing this narrative is not just a story or a concept, it is a lived reality. The feature films will expand on this impact, as there is far more to tell of my story, more healing to offer the world.
-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?
Given my background, I didn’t get to see much films as a teenager, but one of my early graphic design jobs was creating movie posters and VCR covers that drew me into film. I soon learned that I loved films that make you think, that doesn’t give away every detail but allows you as the viewer to walk through discovering what you need about the characters and yourself. I wanted my short film to do precisely that, and to not have much dialogue but to drive the message through visual and sound. As a team, I think we did this extraordinary well. There was one particular movie that was a cinematic innovation that struck me in my late teens that I watched many times over my lifetime, ‘Metropolis’, the 1927 German expressionist science-fiction silent film. Directed by Fritz Lang and based on Thea von Harbou’s 1925 novel, ‘Metropolis’ immerses viewers in a futuristic urban dystopia. If I could converse with Fritz Lang, I would ask him about the delicate balance between revealing and withholding details. How did he craft a film that invites introspection without spoon-feeding the audience? How did he hold the silence, and yet add depth? The film’s art direction that was inspired by opera, Cubism and Futurism, melds seamlessly with its Gothic undertones. Perhaps Lang would share how he wove these influences into a tapestry of human struggle and hope.
-What do you think of the Wild Filmmaker platform?
Being recognised as an award-winning film first by 8 and a Halfilm Awards opened doors to the Wild Filmmaker platform. It allowed me then to expand our network and awards portfolio. Recognition is both validation and motivation for indie producers. The platform’s evolution from awards to events is a positive shift providing networking opportunities and exposure for indie creators. Thank you for making the platform affordable for indie creators and your vision in providing prestigious names that reflect the entire film industry is enlightening. Balancing opportunities while maintaining focus is an art, especially when receiving frequent selection invites. Supporting indie filmmakers is vital, and platforms like Wild Filmmaker play a crucial role. Thank you for championing our work, and my vision to captivate hearts.
-What has been the greatest difficulty you faced in producing your project?
Michelangelo and Me hasn’t been produced yet. I only actively started submitting to festivals a little over a year ago though I came up with my novel concept of the same idea over twenty years ago. The published book version is called Heaven’s Rogue and was published by Dorchester Books’ Millennium imprint in 1999 to launch their imprint celebrating the turn of the millennium. I’ve altered the storyline quite a bit to make it fit screenplay format better but the basic romance and many of the character arcs are very similar. lt was requested by my editor but she liked it so much she asked for a trilogy. I’ve begun the second story and the beginning is attached to the end of the Michelangelo script.
-Do you think the film industry today has been damaged by political correctness?
Yes. And also by the proliferation of online free video sources. It’s hard to get traction in this noisy world and we’re all jaded from too many boilerplate stories that get altered a bit and then told over and over. I consciously try to create stories that are fresh and have a large reading/viewing audience because I want to create characters and worlds that span religion, ethnicity, gender and age. A curse/blessing kind of goal I guess because we all know franchises, in both book and film form, are most popular with readers/viewers. However, every billion dollar franchise began as an idea somewhere that savvy people in the industry risked a lot of money on. Something I hope to achieve someday. The curse part is my ideas tend to be way too expensive for me to produce alone.
-What was the greatest source of inspiration for creating your project?
Trying to come up with an idea that tied humanity’s fates in the past, present and future, largely what we create ourselves along the way by the daily choices we make, into a meaningful throughline with a moral, philosophic core, much more than mere romance. After all, very few people ever live to see the turn of a millennium and the subjects celebrating it should be thought provoking. When I came up with the idea of Michelangelo’s David as the symbol of all three of those times yet in an immortal way only Michelangelo could have created, everything else fell into place.
-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?
Probably Alfred Hitchcock. I already know a lot about him having researched and written an original script about him (Full Circle) which has also done well on the festival circuit. I don’t know if asking a few questions would help me much. I’d rather just follow him around for a week during filming of, say North by Northwest, to better understand the challenges of creating film stories that will, like the David, also live forever. I particularly admire the genre bending ideas he found interesting enough to bring to life. Very few directors today can combine true suspense, great, interesting and flawed characters who get thrust into situations they don’t know how to handle but have to rise to conquer, in absorbing plots with brilliant cinematography, directions and dialogue. I went over the top a bit with my Full Circle villains deliberately (the Cohen Brothers and Quentin Tarantino are also great at combining humor and suspense in their antagonists) . I also tried to add a lot of the dry humor Hitch loved to use. I’d challenge anyone who loves film as much as I do to tear apart and study the dinner scene between Eve and Roger and tell me it’s not one of the most interesting, sensual sex scenes ever written though it’s all done with dialogue. Hitch knew it: in one of his interviews he said he was the first to bring an X rated sex scene to film past the censors. He was referring to the last scene where the train goes into a tunnel right after Eve and Roger join on the top bunk of their sleeper car as newly married. Hitch was also smart enough to say when questioned, that the script, the script, the script was the most important part of a film. As a writer, I obviously agree…
-What do you think of the Wild Filmmaker platform?
I love the black and white look but am not very familiar with the format and distribution as of yet. But I know this is a fairly new venture.
What has been the greatest difficulty you faced in producing your project?
Because I have no budget, I have to do everything myself. For example, I have to be both an actor and an actress for all the characters. This is obviously a problem. I cannot even play a female character. My English is terrible with heavy accent. I have to admit that I don’t fit as an actress; but, I have to play all my animation characters. This is not the only problem. There are other difficulties if you do not have a team.
-Do you think the film industry today has been damaged by political correctness?
Ha, ha, of course. Not everyone has the courage to come forward or to push envelope. Not everyone is willing to risk being back fired by the public or special interest groups. It would take a lot of courage to stand up and step up. It is c considered rude in our society to speak out or to be different. We have become conformists, as society conditions us. I think it is important for us to re-learn self-love and make worthy of ourselves.
-What was the greatest source of inspiration for creating your project?
I was a computer programming nurd. I worked with many Silicon Valley nurds, who just like me, wanted to be un-nurd. I am writing and making my animations to tell my younger self what to do.
-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 saw Titanic four times in movie theaters. It is one of my all time favorite. I love Titanic theme song written by Horner and sang by Celine Dion. I would like to ask Titanic director James Cameron if he believes true love exists? I am fifty-four and never been kissed. I had many many crushes on people whom are out of my league. But, I don’t want to just settle with anyone that I don’t have chemistry with. I would like to ask James Cameron that if someone as me can still find love. I am financially broke and is an aspiring artist who barely makes the end meets every month. Do you think it is selfish for someone as broken as me to want love? I feel that I don’t have the ability to love.
-What do you think of the Wild Filmmaker platform?
Of course I only have good words for Wild Filmmaker. Ha, ha, I’m just kidding. Thanks to Wild Filmmaker magazine, I get to express my opinions to the public. With the popularity of Wild Filmmaker magazine and many critic reviews, artists gain public attention and get to tell the world not only how they make their films, but also express their opinions and ideas publicly.
-What has been the greatest difficulty you faced in producing your project?
Producing movies in Brazil is always difficult, but we fight bravely against this barrier. The greatest difficulty I faced in producing Doctor Hypotheses was undoubtedly the social isolation during the pandemic. This period forced us to delve into our feelings and emotions. The need for distance and the restrictions imposed completely changed the dynamics of the creative and production process. This adversity also brought a unique opportunity for emotional recycling and new creative forms, forcing us to reinvent other ways of telling stories. It was a period of intense introspection which, although difficult, turned out to be extremely enriching. During the pandemic period, I reinvented myself. I’d long had the desire, inspired by Clint Eastwood, to act and direct. I put together a minimal team and went for it. Anyone who has managed to overcome adversity and think of alternative paths for the creative process has made a leap forward in terms of innovation and originality. In my particular case, I rethought alternatives for writing the script, introducing puppets instead of actors and using the actors individually for dubbing, as well as the production process. This reinvention was crucial to the execution of the project and we achieved a surprising and impactful results.
-Do you think the film industry today has been damaged by political correctness?
The issue of political correctness in the film industry is complex and multifaceted. Some might argue that concerns about political correctness can restrict creative freedom. However, I believe that the real challenge and beauty of the creative process lies precisely in the ability to find new languages and ways to address sensitive and diverse issues. The film industry reflects its time, and we are in an era where diversity and inclusion are valued more than ever. Being politically correct in the midst of all this transition? I don’t think it’s necessarily a limitation, but an opportunity to explore richer and more varied narratives that might not have had space in other eras. Political correctness can be seen as a tool that forces us to be more careful and conscious about the stories we tell and how we tell them. It challenges us to be more creative and to find innovative ways of expressing our ideas without disrespecting or excluding groups or people. Ultimately, art is a reflection of society, and embracing these changes helps us to create movies that is more representative and meaningful for everyone.
-What was the greatest source of inspiration for creating your project?
The greatest source of inspiration for the creation of my project was an unexpected moment of illumination, literally. I was in the production company’s garage, reflecting on the times we were facing during the pandemic, when a bolt of light came through the garage vent and created a magical atmosphere in such a magnificent way that it inspired me to visually design the film. This “divine” moment made me think about how light and shadow can be used to tell a story, leading me to look for literary references that would complement this vision. It was then that I revisited the short story “The Evils of Tobacco” by Anton Chekhov. The conflict and emotional complexity of Chekhov’s text inspired me to develop the script for “Doctor Hypotheses”. From this basis, I was able to script and produce a film that not only explores universal themes, but also uses photography to convey the intensity of human emotions. There in the garage, in the midst of the pandemic, from that ray of sunshine, the most audacious project of my filmmaking career was born.
-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?
If I could ask a question to a great director from the past, I’d like to talk to Federico Fellini, creator of a very particular creative process. Fellini is an icon of cinema who has always fascinated me for his ability to create deeply thought-provoking films. My question to him would be about his creative process: “Federico, how did you transform your ideas and visions into scripts and scenes that captured the essence of life and fantasy so masterfully? Fellini had a unique gift for exploring the human subconscious and creating narratives that were both personal and universal. Understanding his working method would be an incredible opportunity to learn. Marcello Mastroianni used to say that Fellini liked faces, and most of the time the face he liked wasn’t that of an established actor or actress for the character, but that of an ordinary person he met on the street who didn’t act and who couldn’t memorize lines, so he created a method to work with”. And sometimes he would ask the then actor to count numbers, so that later on in the dubbing phase he could fit in the correct text. Isn’t that great?
-What do you think of the Wild Filmmaker platform?
By embracing this evolution, the Wild Filmmaker platform is helping to shape the future of cinema, celebrating its rich heritage while promoting innovation and inclusion. The great Brazilian filmmaker Glauber Rocha, an icon of “Cinema Novo” (one of the biggest film movements in Brazil, which began after the end of World War II and lasted until the mid-1970s), left behind, in addition to his prestigious work, a phrase that marked his career: “an idea in your head and a camera in your hand”. And don’t we all carry a camera in our hands these days? We have excellent quality cameras on our cell phones, and anyone with a cell phone camera can tell a story through images. Global connectivity allows these stories to go viral quickly, reaching audiences around the world. The key is the idea in your head and the knowledge of filmmaking. Thus, Wild Filmmaker is an innovative platform that has come to add to and open up new horizons, especially for independent movies, where a person with a cell phone and a little cinematographic knowledge can tell a story through images. Global connectivity allows these stories to go viral quickly, reaching audiences around the world.
