I’m a writer, actor, and filmmaker focused on character-driven stories that sit at the intersection of identity, control, and survival. I’m drawn to narratives that feel intimate but carry global stakes—stories for the intelligent viewers that can linger beyond the screen.
Do you remember the exact moment you fell in love with cinema?
I’ve always loved the arts—singing, dancing, performance. But my connection to cinema truly ignited while working as an extra on Avengers: Endgame. Being on set and witnessing the scale, precision, and collaboration behind the camera made me realize film wasn’t just something to watch—it was something I needed to create.
Tell us about “The Venetian Man”.
The Venetian Man is the first chapter in a four-part film series titled The Obsidian Protocol Saga. It introduces Marco Escher—played by me—a man drawn into a covert world where identity, memory, and control are constantly in question. While the larger saga expands in scope, this first film is intentionally intimate, focused on psychological tension and the personal cost of uncovering the truth.
Which director inspires you the most?
Christopher Nolan. I’m inspired by filmmakers who trust the audience’s intelligence—stories that reward attention and thought. Films that challenge rather than explain, and continue working on the viewer long after they end.
What do you dislike about the world, and what would you change?
The constant noise. We’re surrounded by distraction. I’d like to see more patience—both in storytelling and in how people engage with one another.
How do you imagine cinema in 100 years?
More immersive, but also more restrained. Technology will evolve, but the legendary films that endure will still be rooted in human emotion, conflict, and truth.
What is your impression of WILD FILMMAKER?
WILD FILMMAKER feels like a platform that values intention over trends—one that supports filmmakers who take risks and treat cinema as an art form, not just content.
How does one define oneself, the essence of their being, in something so mundane and prone to misinterpretation as human symbols?
You see, all language is constructed of symbols. Each letter, each word, each phrase or sentence, each paragraph, chapter, book, series, collection, saga, or epic is composed of root symbols.
“The Tao that can be spoken is not the eternal Tao.”
– Opening to the Tao Te Ching (I Ching)
Human society, as a whole, tends to use these symbols tribally, much to my dismay. The beauty of poetry, of cinema, of art is the ability to reach beyond these tribal differentiations by utilizing metaphor, analogy, symbolism, parable, as well as a vast number of other techniques such as visual or auditory symbolism, which, if employed correctly, hold the power to go beyond the surface illusions of the symbols used to generate them and become that “unspeakable Tao” within the essence of those who view the artist(s)’ craft. To become something greater than the sum of its parts, a Truth in the very marrow of our souls, and in doing so, become the embodiment if our very existence; we are, at the core, at the root consciousness level, beings of light and energy – stardust in mortal form – and we, too, are greater than the sum of any individuated aspect of our totality.
We are the Philodopher’s Stone, each of us capable of alchemizing and transmuting energy, negative or positive, with the very fabric of our beings.
-Do you remember the exact moment you fell in love with cinema?
I have always loved media and storytelling. At less than six months old, I remember watching The Andy Griffith Show and Mr. Ed through the bars on my crib.
However, the real “click” moment for me was at four, at my parents house in the den, sitting on a beige carpet in gentle light in 1985, watching the living room TV display my first Live Action film.
The film?
Just The Empire Strukes Back.
That viewing radically altered the DNA of my conscious self from that point fowards on my journey.
The music: I had never heard anything close! I had been listening to Rafi and others like him my whole existence, when suddenly WHAM! Here comes John Williams like a musical Zeus of ages past striking beyond the tribal symbols and into the very essence of my being. I became a musician, a self taught composer at first, then later the principal cellist of many orchestras, and played professionally in a string quartet, all before turning 18 years old. I met my high school sweetheart through orchestra, the Carolina Youth Symphony to be exact, where i served as principal cellist for several years consecutively.
Yet, that is only a fraction of the experience.
I became the AV expert in my AFJROTC Corps in high school, while simultaneously serving a number of other leadership roles, culminating in my role as Recruitment Officer for the whole Corps, the third ranking member overall as a Major, due to the fact I only was in that Corps for three years. We earned the prestigious Presidebt’s Award for excellence all three years i was a member there.
These opened up fantastic opportunities for me.
I attended the South Carolina Junior Governor’s School for the Arts, studying everything from sculpture to mosaics to various painters, movements, styles, music, and a lot more.
I was invited to, and participated in, war games in Washington D.C. at the National Youth Leadership Conference on Defense and Intelligence, where i was elected President of my Scenario/War Game unanimously, and we collectively decided to work as a harmonic organism: every voice heard, valued, listened to, and incorporated into the tactics and strategies for our group to overcome the various obstacles presented during the scenario.
Finally, the gift that kept giving: a fierce passion for strategy games. I played every collectable card game I could get my hands on for over 20 years, and did so professionally. My favorite was Star Wars CCG by Decipher. I was ranked, back in the early 2000s, above a 2300 ELO, with a world ranking between top 12 in the world and inside the top 8, for years consistently. The friendships I garnered there are still some of my closest, even after being in the community solidly from 1995 through 2025.
All these things derived from that seemingly innocuous viewing of a film in 1985. And all different forms of the same thing: narrative story telling.
-Tell us about your project “The Harmony Saga, MOVEMENT I – DISCIPLE: ACT I OF THE HARMONY SAGA”.
Both projects are near and dear to my heart. The Harmony Saga started in a very curious way.
I was invited to write a brief snippet of script, something I had never been taught or knew anything about, as a way to earn a spot in UCF’s BFA program in 2023. I had to submit the work during the first week of December in 2022.
I wrote the opening pages, to establish the mythical world, and the crux/climax of The Legend Of Ascalon, as my way to earn my spot in the program. This is the final film of the Saga now.
Upon filling out the information for the program, the submit button simply did not work, no matter what I tried, until i swapped from the Screenwriter Program and instead selected the Narrative Production track: Directing/Screenwriting. I had no desire there, as I had never directed anything, and the acceptance was extremely narrow; yet, somehow I was deemed “qualified” for reasons that still elude me.
The Legend Of Acalon is the final film, of six feature-length films contained within the manuscript that is The Harmony Saga. Every individual film has received selection status, or higher, indepebdant of the totality, yet collectively as a cohesive vision have garnered more than 25 awards and selections across every continent we have submitted on.
MOVEMENT I – DISCIPLE: EPISODE I OF THE HARMONY SAGA is a re-envisioning of the opening of the first film of the Saga, using state of the art AI generation and animation. The first Act was completed in early December after less than 7 22 hour days of production, and has been making the festival circuit, independently garnering in its limited run thus far over 15 awards and selections in its own right already, with more juries yet to announce their verdicts. Based on this critical success, I completed Act II in 14 hours for $60.00, then merged them into a cohesive whole alongside a prelude/prologue, which is an epic symphonia setting the tone for liquid laser lightning ballet of light dancing in geometric shapes fluidly, followed by a non-arabic Azaan (spiritual call to become One with the Infinite) layered with a poem and another orchestral piece composed by Analia Lentini, the brilliant Argentinian composer.
-Which Director inspires you the most?
Oh man! There are so so many! The history of cinema is so vast, with so many unique and beautiful voices of all colors, creeds, genders, nationalities, movements and eras that picking one seems impossible!
However, to provide some assistance, there are four key headliners, from recent film hostory, as touchstones for me artistically. And one other, from a distant era of cinema, and i will focus on her last.
First: George Lucas. His work, craft, and creativity were foundational for me personally. His vision, philosophy, and ethos resonate deeply.
Second: Scorsese. Taxi Driver is one of my all time favorites, and I adapted the voice over monologue to many of my own works.
Third: Nolan. The Philosopher-King of cinema himself. I love every film this man has ever made. Every one discusses, philosophically and in differentiated ways, temporal realities, distortions, and their effects on human cognition. His period pieces (Dunkirk, Oppenheimer) do so through their editing. Hats off.
Fourth: Garreth Edwards. This director is a true visionary, a magic myth weaver of light and sound and narrative. His creations, whether refueling a saga as he did with Rogue One, or founding his own as with The Creator, were seminal artistic pieces foundational to who I am as a creative. His stance on the potential of AI and harmony of co-existence is a narrative fiction describing a Truth of our current society that many are only now finally waking up to, or even starting to. Visionary is an understatement. For my film theory class at UCF, in which I got an A+, I roasted some of the most prominent film critics in the industry (Roger) for their incoherent vehemence towards a piece of art that’s only sin was telling the Truth. Yes, there are plot holes at times. Yes, some sequences had errors. Considering Cameron’s Teminator 2 alternated in just one scene between day and night inexplicably yet was hailed in the industry as genre defining, I really hope critics will cut Mr. Edwards some slack. I doubt many of them have made a film besides a home video, let alone an $80M feature length original with a cutting Truth the world is only now beginning to acknowledge. Its very easy for the armchair critics who fundamentally do not practice the craft themselves to wrigh in obscenely. For Pete’s sake, Edwards is bleeding his soul out on a silver screen to try to illuminate Truth. You may not get it, and that’s fine. You don’t have to attempt to implode an honest artist’s career in the process. Period.
Finally (and I’m sorry, truly, for the length) we come to a founder of cinema: my artistic north star and hero: Maya Dernen.
Maya Dernen was an American experimental filmmaker, an avant-garde original. Her Meshes Of The Afternoon helped open the minds of audiences to the possibilities of true, pure artistry in film. It changed perceptions for a great many things in film, including editing. Maya was also a choreographer of dance, a celebrated poet, and so much more than these brief words can ever hope to convey. She was the Renaissance Woman at the fore of avant-garde, and avant-garde, by definition, is at the fore, philosophically, of the entire medium. As an award-winning avant-garde cinematiste myself, I hold a shrine for her and her art in every aspect of every film I have ever composed. Maya, you are not forgotten. Let those with eyes see, let those with ears hear, let those with minds investigate, and let those with hearts remember. Your trials and hardships changed the course of cinema for the better. Thank you.
-What do you dislike about the world and what would you change?
Oh man!
Hierarchy. Commidification of the Soul. The silencing of Truth so that the megalonaniacs can murder innocents in the streets and call it justice. Materialism. Monetization. The collective sale of soul for tge Lie. Take your pick. World hunger. War. Dominance. The Patriarchy. The self-aggrandizement of false prophets. The false idolatry of ego. The lists go on…
-How do you imagine cinema in 100 years?
Honestly: no clue. And to be fair, I love that. Means I’ve got to do my part and continuously reinvent myself and my craft. Predictability is a recipe for boredom, and in my humble opinion, that is, in a nutshell, the very problem we collectively face with 99% of current media. Seriously? The Lion King 5 gets funding but not cutting edge artists? Have not been to a theater at all since binging Oppenheimer. Cannot wait to see the new Odyssey by Nolan. Mr Nolan, thank you for being a true voice cutting through the noise. Cinema desperately needs you and your message and your philosophy for a long time yet.
-What is your impression of WILD FILMMAKER?
Honestly? Based on my interactions, they seem very chill and friendly. Really appreciate the outreach and solidarity and getting my voice out of the Florida Bubble so everyone has an opportunity to at least weigh my ideas, philosophy, and the ethos behind my vision at face value. That’s a very kind and noble thing for someone in my shoes. Sincerely, thank you!
Rossella Ambrosini is an actress who works with intensity and transformation. She is an eternal dreamer, yet determined and ambitious.
Half Florentine, half Romagnola, Roman by adoption, she moves between cinema, television, and theatre. Alongside her acting work, she is also active as a voice-over artist, dubbing actress, model, and host.
When did you first realize that acting was your path?
From an early age, I was drawn to disguise and change. I loved transforming myself, inventing characters, and inhabiting different identities. Even a box of diapers could become a fashionable hat. My maternal grandfather, joking when I cried over childhood dramas, used to call me “a great actress.” Perhaps those words stayed with me and worked within me toward this goal more than I ever imagined.
As I grew up, I understood that this drive was not a game, but a vocation, a necessity.
What role did theatre play in your personal and artistic growth?
As an adult, I went through a very intense and painful emotional experience. Theatre became a true form of therapy for me, a way to return to life. That is where I realized I could no longer do without it: being on a stage or on a set makes me feel alive.
How would you describe your approach to acting?
Since 2008, I have continued to study and work between Florence and Rome, driven by what I perceive as an inner fire, a great tangle of emotions that I seek to understand and give back through my characters.
For me, acting is a vital act: a hymn to life, a way to be useful, to place myself at the service of the audience, to explore the human being between light and shadow.
What does cinema represent for you?
Cinema is pure magic: living many lives in one, crossing stories, eras, and identities, immersed in a sea of shared emotions.
Your name and identity are deeply connected to cinema history. Can you tell us more about that?
On the back of my neck, hidden beneath my hair, I have my name tattooed in English: Scarlett. Before I was born, my mother said, “I will have a daughter, she will have red hair, and I will call her Rossella,” inspired by Scarlett O’Hara from Via col vento and by the legendary actress Vivien Leigh.
Do you also explore comedy in your work?
My work is rooted in listening and emotional truth, but I also love exploring the comic register, a territory I find extremely complex and stimulating. I believe that comedy, when sincere, is one of the deepest and most powerful ways of portraying the human experience.
Over time, I have received very positive feedback precisely for my ability to combine intensity and lightness, moving seamlessly from drama to irony.
What other artistic disciplines are part of your journey today?
My work also includes singing and dancing, disciplines I consider an integral part of emotional expression. I am currently completing a master’s degree in dubbing at the CSC in Rome. I enjoy improving, learning, and continuously adding new skills.
Tell us what you love to express through art.
Through art, I love to explore emotions in their most authentic form. I am interested in relationships, fragility, silences—everything that is not said but still carries weight. I enjoy an understated style of acting, built on subtraction, on the gaze, on physical presence. But I also deeply love words. At the same time, I very much enjoy challenging myself with comedy, where rhythm, listening, and truth are just as essential as they are in drama. Whether dramatic or ironic, I believe that the most powerful stories are those that manage to tell the truth, sometimes even through a smile. Cinema, for me, is life. It is the possibility to process emotions and give them back, to convey messages, to spark reflection and empathy. But it is also entertainment, lightness, a breath of fresh air. As Monica Vitti, one of my greatest muses, once said, being an actress can be a way not to die, to heal, to live. I believe deeply in this. “My work is a psychodrama. I work to help myself live, to heal.” — Monica Vitti I also recognize myself in the words of Maurice Merleau-Ponty: “Acting means living many other lives.” And that is exactly what I feel every time I work on a film set or on a stage. In my most recent projects, I have delved into intense female characters, often connected to profound social, historical, and human themes.
ZORAIDE
In the short film Zoraide, directed by Emiliano Galigani and produced by 9 Muse and Kahuna, my character exists on a double narrative plane: on one side, a fairy-tale creature—seductive and mysterious—who guides a little girl through the woods; on the other, a real-life collaborator who assists the Nazis. This duality—between appearance and truth, fantasy and reality, good and evil—was the most stimulating acting challenge of the project. Working in Tuscany, in the actual locations where the historical events took place, was emotionally powerful. Zoraide had its international premiere at the Lucca Film Festival to a completely sold-out audience, and was later screened at the Terra di Siena Film Festival and other international festivals, receiving a strong response from the public. I have a deep love for period costumes and a passion for the fantasy genre: I feel that, by wearing a costume, the body and soul naturally find their language. It is a vocation I have carried with me since childhood and continue to cultivate with passion.
THE WORD OF TOMMASO
On January 15, the film The Word of Tommaso, by Matteo Vanni, produced by Kahuna and Dado Production, will be released at Cinema La Compagnia in Florence and subsequently in many other theaters across Italy. In the film—the story of the first biographer of Saint Francis, set in the 1200s—I play a beggar mother who loses her child: a role built on subtraction, on the body, where motherhood becomes absence and memory. An emotionally powerful, essential piece of work that required deep inner immersion.
THE TENDERNESS OF THE SERPENT
This summer I had the pleasure of working on the third film (currently in production) by the multi-award-winning director Samantha Casella, The Tenderness of the Serpent, which will conclude her “Trilogy of the Unconscious.” Samantha is one of the directors who are part of the Wild Filmmaker Community and is highly appreciated and admired both internationally and nationally. It was a wonderful encounter, like blue and red intertwining—intense and profound—just like this on-set experience with the visionary, intense, attentive, and exceptionally talented Samantha: an emotion that lingers. My character, a purifier, a priestess of passage, oscillates between spirituality and darkness, between care and death, between the sacred and the terrifying. A film rich in intensity, with many friends and colleagues. I can’t wait to see the film!
HELL’S COMMANDOS
By Mattia Sarao, Insurgence Productions, Extreme Video Produzioni. It was very interesting, as I play a Nazi killer: a role developed primarily through expressions, in which I also took on physical action work.
What don’t you like about the world, and how would you change it?
I don’t like falsehood and the oversimplification of reality. We live in a time that tends to make everything fast and superficial, including emotions and relationships. I believe change comes through sincerity, listening, and the ability to tell stories that are not afraid of complexity. Empathy is essential.
How do you imagine cinema in 100 years?
I imagine a cinema that is technologically ever more advanced, but—given what we are experiencing—also ever more hungry for humanity. The means and forms of consumption will change, but the need to tell stories, to live other lives, and to recognize ourselves in others will remain unchanged. Stories capable of moving us, unsettling us, creating empathy. A cinema that doesn’t merely entertain, but leaves a trace and invites reflection. Or at least, that’s my hope.
What impression do you have of WILD FILMMAKER?
WILD FILMMAKER gives me the idea of a free, authentic, untamed space, attentive to personal and unconventional voices. A project that seems to value artistic research, risk, and the truth of the gaze, exploring the relationship between traditional cinema and new forms of visual storytelling, while also giving space to independent, experimental, and innovative works. In a panorama that is often standardized, it is important that there are realities that still believe in cinema as a creative and human act—celebrating the great masters of the past in dialogue with new voices of contemporary cinema, not only through large productions but also through the creativity of individual visions. Behind this international project one senses dedication and vision: for this reason, I admire it greatly and wish the very best to all the people who are part of it. Thank you for this wonderful space, Wild Filmmaker—see you soon!
I am primarily a television screenwriter, an executive producer, and since 2024 also Head of Drama for generalist projects at IIF, one of the oldest film and television production companies in Italy. I began writing professionally in the early 2000s and my name is attached to some of the biggest Italian TV successes, such as Distretto di Polizia, RIS (which had three European remakes), and Romanzo Criminale – The Series. For cinema, I helped launch the careers of directors like Stefano Sollima, writing the script for ACAB, and Edoardo De Angelis with Mozzarella Stories. I was also a comic book writer, which was my very first love, but for now I have put it aside to focus on television work.
Do you remember the exact moment you fell in love with cinema?
There is a moment I will remember forever, and it was my encounter with the cinema of Steven Spielberg. Raiders of the Lost Ark was the first film I explicitly asked my parents to take me to see. Until then, they chose the movies; that time, I chose. Before that, I wasn’t interested in who made films, I didn’t know directors’ names. From that moment on, everything changed. Spielberg became a reference point, also because that historical period was shaped by the aesthetics of his Amblin and of Lucasfilm. It was a shock to discover, with The Color Purple, that Spielberg didn’t only tell beautiful fairy tales and that cinema could also be something else. Ultimately, I was nurtured and weaned by Spielberg: a talent and an idea of cinema that are probably unrepeatable.
Tell us about your project “TV Man – Te L(e)o Comando”.
TV Man – Te L(e)o Comando is the first fully realized short film I directed back in 1997. It disappeared into nothingness for twenty-eight years and then, out of nowhere, resurfaced in 2025. I had already made short films before, but they were fragments, without real narrative development. With this one, I challenged myself for the first time with a “structured” story: setup, first turning point, second act, midpoint, second turning point, climax… and epilogue. In the 1990s, for a kid from a small town, it was very difficult to find someone willing to produce a short film (especially one like TV Man). But the ’90s were also the era when talents like Robert Rodriguez, Kevin Smith, and Richard Linklater emerged—people who picked up a camera without asking anyone for money and, with a few thousand dollars scraped together personally, produced their debuts. I didn’t have a few thousand euros; I had a few hundred. But I was inspired by the DIY ethic to make my short film. No crew—just me and the actors, who were friends—four locations, all shot on S-VHS, which was the only recording medium I had. Editing and sound design were also DIY: two VCRs and an audio mixer. The result was a small miracle that, twenty-eight years ago, no one saw and that vanished into thin air. Today, thanks to my sheer nerve in sending it around without shame, it has been selected by over 60 festivals, received 10 honorable mentions and 8 awards—and it hasn’t finished its run yet. TV Man is naive, imperfect, innocent, but it has something that reaches the four corners of the globe.
Which director inspires you the most?
Today, I am especially inspired by Eastern directors, particularly Japanese filmmakers, who culturally manage to keep in check the logic that has devoured and killed our sense of wonder, and who are capable of a meditative calm that we no longer seem able to find. That said, my favorite directors are many: from Spielberg to Scorsese, passing through David Lynch, John Woo, Chuck Jones, and Isao Takahata. I don’t have recent reference directors because I find most contemporary cinema derivative. I don’t need to see “a new version” of something I already know—I prefer going back to the source.
What do you dislike about the world, and what would you change?
Hypocrisy, cynicism, fear of others, cruelty. We are dehumanizing ourselves without realizing that the solution is to connect, to build networks. We had arrived at this great dream toward the end of the 1980s, with the fall of the Berlin Wall: the dream of a global world, of a united Europe. That dream was destroyed, while making us believe that there are no alternatives to cruelty and reciprocal violence. That is not true. I wish someone would help people recover faith in a great shared project—something we are missing today. Because only a great common project can allow us to look at the future with hope. Today, they have taken the future away from us. They have taken hope away from us.
How do you imagine cinema in 100 years?
I have to be realistic. New forms of AI push me to think that, in 100 years, movie theaters may no longer exist, and each of us will be able to create our own personal film at home using prompts. This will globally lead to the collapse of traditional production systems. Human originality, however, will still manage to assert itself, because only the most powerful, original works—those with a true voice—will be able to leave living rooms and reach a wider audience. But it will be a self-sufficient genius, who won’t need huge budgets and will generate very high profits. Just think that today an application like Suno can already create music tracks from scratch using prompts and roughly hummed melodies. How long will it take before an artist born with Suno becomes a massive commercial success? Not long, I’m sure. From there to a film produced entirely at home, the step is very short.
What is your impression of WILD FILMMAKER?
I only know WILD FILMMAKER superficially, but it seems like a dynamic and extremely interesting initiative. I love its philosophy and I am impressed by the visibility results it has achieved. I’m very happy to have taken part in this interview for you.
In the Time of Night and Day, a war between Heaven and Hell rages. Which side will you choose?
Introduction
‘Rise of The Accenniri’ is a supernatural quadrilogy detailing the origin of a 8-year-old girl named Antonina who becomes The Accenniri. A story of religion and faith in a caring Higher Being versus the fear and terror of the evil Human Beings. The story begins in Sicily during the Second Italian War (1499 –1504) and continues through the centuries to our present world. As The Accenniri rises, she becomes the ‘Capo Ombra’ (Shadow Boss) of the ‘Ombré Ma Fí’.
Writer / Director
My name is Charlotte (Charli) Brown, President/CEO of 311Studio Productions, LLC. 311Studio Productions, LLC is an independent production company that creates content for web series, movies, shorts, and videos. As a writer and director, my work varies from multiple genres (horror, thriller, drama), book adaptations and educational productions. My imagination created a concept and I decided to pursue the possibility of writing. It is very important that the true meaning of a story is kept intact and free of formed opinions. Words are powerful and vulnerable at the same time. It depends on how, who and when they are spoken. I am a retired ‘Air Force Brat’. I grew up traveling the world. As a ‘bookworm’, I would get lost in the stories and incorporate a character’s traits into my life. It was fun to see the world from a different perspective and have a new voice to share the experiences. It would be amazing to film all over the world to show that while we are different in race and religion, we share one common trait – the ability to kill. Humanity is a very loose term and hides behind civilized alliances. It would be amazing to explore the mindset of people who justify murder in the name of religion, war or survival. The Amoral Collective was influenced by the expansive imagination of David Bowie. It is amazing that he is able to create a character, write songs as that character, have messages in the lyrics and invite you into his world. He knows you will be able to relate. ‘Diamond Dogs’, ‘Ziggy Stardust’, ‘Space Oddity’, etc. reads like a novel and performs like a movie. After all these years, I get lost in his reality.
I’m a director that loves emotionally resonant characters and visuals. Retro cinema is a huge inspiration behind how I frame everything. I love the style of films from the 1970s and 1980s particularly. It’s really about texture and restraint, rather than “cosplay”.
I actually became interested filmmaking through stop motion work. Using figures to understand blocking and staging was very important in developing my filmmaking style.
Do you remember the exact moment you fell in love with cinema?
There is no one “moment”, I’ve always loved movies. However, when my parents took me to the movies for the first time at 3 years old to see Cars (2006), I was cheering on lightning McQueen as little me stood up in the movie theater chair.
Tell us about your project “After Dark”.
“After Dark” is a short film about a vampire mob boss who hunts down his brother’s killer, all while the rest of the mafia family plots his downfall.
This film is both a thriller and comedy. What makes the film work is both genres complement each other instead of distract. I’m interested in how visuals and music shape identity and I certainly played with this idea throughout the film. Taking characters that could easily be incredibly dislikable and making them likeable was a fun challenge when writing the script. I really let the characters do the talking and try not to interfere with them even though I’m their architect. The reason they could’ve been dislikable is because of their status and nature. A vampire mafia family. Standing above everyone and everything. Instead of making them too distant to connect with, I put them at the heart of the film by following the boss. However, the caveat is that the character, “Ezekiel”, secretly doesn’t want to be in charge of the mafia family and wants to live life on his own terms.
Which Director inspires you the most?
Martin Scorsese inspires me most, but another favorite would be Paul Thomas Anderson. The way Scorsese uses camera movement and editing to emphasize character moments is incredible. The music choices are amazing as well, they’re always motivated and intentional just as every other aspect of Scorsese’s filmmaking.
What do you dislike about the world and what would you change?
I dislike how divided everyone is nowadays. We can disagree but still be kind. Cinema certainly had that power to both unify and divide which is scary, but also quite empowering if the right people are behind and in front of the camera.
How do you imagine cinema in 100 years?
I don’t know but I imagine cinema and the filmmakers that curate it will evolve constantly until then and beyond.
What is your impression of WILD FILMMAKER?
My impression of WILD FILMMAKER is that is a high profile magazine that is useful for indie filmmakers to get their work seen and voice heard.
I’m a narrative non-fiction writer who has so far focused mostly on Stanley Kubrick. After the publication of my first book, Stanley Kubrick and Me: Thirty Years at His Side, in its English translation, I was described by The New York Times as “Italy’s leading Kubrick expert.” I have been studying Kubrick’s life and films for about twenty years and have now written four books and numerous essays on different aspects of his work. I also adapted Stanley Kubrick and Me into the documentary S is for Stanley, which won the David di Donatello Award for Best Documentary Feature.
Tell us about the Kubrick Archive in London, what were the most surprising discoveries you made there?
My work on Kubrick is always based on new, original research. I interview people who worked with and knew Kubrick well, and I visit archives — the largest and most important of which is, of course, the Stanley Kubrick Archive, held at the London College of Communication, University of the Arts London. It contains material donated by Kubrick’s widow Christiane after his death, ranging from film scripts and correspondence with collaborators to research he conducted, behind-the-scenes photographs, and artefacts such as costumes and props. It is a treasure trove of daunting scale and a unique source for understanding, truly and for the first time, how Kubrick worked.
It is difficult to single out one particularly revealing item. I can tell you what surprised me most on my last visit, when I was studying the long and convoluted creative process that culminated in the production of Eyes Wide Shut. I knew that Kubrick wanted to adapt Schnitzler’s Traumnovelle as early as the late 1960s, but I had no idea how extensively he revisited the project in the early 1980s. He corresponded with Schnitzler’s nephew and had Schnitzler’s own adapted screenplay — written in the 1920s for a proposed film by G. W. Pabst — translated into English. Comparing that script to Eyes Wide Shut, it becomes clear that Kubrick incorporated several ideas from Schnitzler’s version. Kubrick even drafted a preliminary production plan to shoot the film in London standing in for New York, with Steve Martin and Meryl Streep as the leads. I can’t wait to understand it all better and write about it in my next book.
A.I. Artificial Intelligence, directed by Steven Spielberg in 2001, was originally a Stanley Kubrick project, an work that stages one of the central debates of our time, namely to what extent AI can be a resource and how to prevent its misuse, potentially even harmful uses. Did you find information in the Kubrick Archive about the original project that differs from what ultimately became the film?
A.I. was always conceived as a fable, and when Kubrick wrote it there was little available information about artificial intelligence as we understand it today. The story revolved around intelligent robots capable of performing specific tasks, reflecting the predominant view of AI at the time. From the drafts and notes Kubrick left, I would say his main concerns involved the evolution of the human species through technology — quite literally as hybrids between organic and mechanical life. The latest drafts are more abstract, as is Spielberg’s completed film.
The film we know is obviously different from what it might have been had Kubrick directed it, but it remains faithful in terms of story and character — at least to Kubrick’s latest drafts. The issue is that Kubrick kept rewriting the project, alone and with another writer, so we simply cannot know where he would ultimately have taken it. It is not just a matter of directing, but of development. Spielberg wrote the screenplay and directed the film based on the second-to-last treatment and the preparatory work Kubrick had done. But Kubrick was still revising the story when he abandoned it in 1995, so the point I tried to make in a chapter of my book Cracking the Kube where I chronicled the development of the film is that we will never know what A.I. by Stanley Kubrick would have been.
I consider 2001: A Space Odyssey to be the Sistine Chapel of the 20th century: just as Michelangelo’s work in the 1400s represented the pinnacle of artistic expression, the same is true of Kubrick’s film. Can you reveal something surprising about this infinite masterpiece that we haven’t already heard?
The surprising fact is that the film as we know it emerged almost at the last minute. 2001: A Space Odyssey is the perfect example of Kubrick’s working method — he kept generating new ideas until the very end, often reshaping the project entirely. As I explain in my book 2001 between Kubrick and Clarke, the film began as a fictional documentary about the early stages of human space exploration; over four years, it gradually evolved into a mythological statement about humanity’s place in the universe.
The most radical change — when Kubrick moved away from Arthur C. Clarke’s more literal and scientific approach — occurred only at the end of their collaboration. In the last five or six months, Kubrick made the decisions that transformed the film’s tone and feel: he eliminated the voice-over narration, which explained much of the action, cut several dialogue scenes, and used music to guide emotional responses. We often imagine a genius filmmaker who executes a perfectly designed plan, but with Kubrick nothing could be further from the truth. He knew what he did not want, and worked tirelessly to discover new and more compelling ways to tell the story he had chosen. Nothing in a Stanley Kubrick film was fixed from the beginning.
WILD FILMMAKER is a global movement created to support independent authors; we aim to be what James B. Harris was for Stanley Kubrick. Without James B. Harris, we certainly wouldn’t be here today talking about the greatest American director in the history of cinema. Do you think our work is useful, and that people who discover and help launch artists with an original vision are missing—or are rare—in today’s contemporary film industry?
My view of the current film industry is too limited for me to speak with any authority. It is true that without his partnership with James B. Harris it is possible — if not likely — that Kubrick would have remained on the margins of American filmmaking. But Harris did not “discover” Kubrick, nor did he nurture him as a patron or mentor.
They were equal partners who wanted to make good films, and they were both satisfied with their roles: Harris as a producer who could also write, and Kubrick as a writer-director who also understood the production side extremely well. Their split happened, in fact, because both wanted as much creative control as possible. Harris and Kubrick were true soul mates in their approach to cinema and to art in general, and Harris’s influence on Kubrick is often underestimated.
Given your intense study devoted to the filmography and biography of Stanley Kubrick, I’d like to ask you a question that touches on your unconscious: have you ever dreamed of him?
I must have, given how much of my daily work revolves around him, but I don’t recall any specific dream. Perhaps I think about his films enough while awake that my subconscious needs a break!
George Megrelishvili( stage name: George Megrela) is an actor from Georgia, ( a republic of, country). Now he is based in LA , CA. He’s bending his rich cultural background with his passion for acting and performance.
-Do you remember the exact moment you fell in love with cinema?
Yes, I do. I remember I was a young boy when I first watched one of the legendary movies “The Godfather” and it strongly impressed me. It excited and influenced me so much that I remember seeing it three times during a day.
-Tell us about your project “Call of duty”.
I’m incredibly proud to be a part of the popular game “Call of Duty” as Viktor Reznov (Only the face). It’s amazing to see my face in the game, especially alongside the iconic Gary Oldman whom I’ve always admired. It’s truly an amazing gift for me that after such an iconic actor, I also had a chance to bring this character to life again.I’ve always dreamed of sharing the set with Gary Oldman, and I truly believe that one day it will happen. I’m excited for what the future holds.
-Which Director inspires you the most?
Martin Scorsese, Christopher Nolan and David Fincher.
-What do you dislike about the world and what would you change?
I wish I could live in a better and more humane world, the world without wars and violence, where there are no people living in poverty and no children dying in wars or going hungry.
-How do you imagine cinema in 100 years?
I’m sure after 100 years, the film industry will be far more developed, emotional, and fascinating, with new ideas and technologies shaping cinema. People will still talk about cinematography and legends like Scorsese, De Niro, DiCaprio, Brad Pitt, Al Pacino, and other great filmmakers and actors—and I hope that one day they will talk about me and my role in cinematography too.
This is my dream, and I believe it will come true.
Dr. Željko Mirković is a highly acclaimed and internationally recognized filmmaker whose documentary work has earned over 136 awards from festivals and competitions around the world. His feature documentaries The Second Meeting and Tesla Nation were both officially Oscar-qualified, a rare distinction that speaks to the global reach and artistic credibility of his work. Alongside his filmmaking career, Dr. Mirković is an Associate Research Professor at the Werth Institute for Entrepreneurship & Innovation at the University of Connecticut, where he brings together media, communication, and entrepreneurial storytelling to study how narratives can shape culture and innovation. He also holds a PhD in the field of documentary film, in which he explored how documentary storytelling can function as a form of soft power — a way for nations, communities, and ideas to influence the world not through force, but through compelling, human-centered narratives. Together, his academic research and award-winning films demonstrate how documentary can be both an artistic medium and a powerful tool for cultural diplomacy and global understanding.”
Filmography
Documentaries – Film Director, Producer & Scriptwriter
“He is UCONN- Big Red” (26 min.) University of Connecticut, 2025.
“Innovation in Connecticut” (56 min.) University of Connecticut, 2024.
“Saban Bajramovic- My Journey” (56 min.) Optimistic film, 2024
“Tesla Nation” / season 3/ (10 x 25 mins.) Radio Television of Serbia – Optimistic Film, 2023.
“My Dear Friend Science with Vladimir Cmiljanovic- Basel University, Switzerland” – (3 x 25 mins.) Radio Television of Serbia – Optimistic Film. 2022.
“Tesla Nation” / season 2/ (10 x 25 mins.) Radio Television of Serbia – Optimistic Film. 2021.
“My Dear Friend Science with Gordana Vunjak Novakovic- Columbia University” – (10 x 25 mins.) Radio Television of Serbia – Optimistic Film. 2021.
“My Dear Friend Science with Vladan Vuletic- MIT and Harvard University” – (10 x 25 mins.) Radio Television of Serbia – Optimistic Film. 2020.
“My Dear Friend Science with Jelena Kovacevic- NYU Tandon.” – (5 x 25 mins.) Radio Television of Serbia – Optimistic Film. 2021.
“My Dear Friend Science with Zoric Pantic- Wentworth University” – (5 x 25 mins.) Radio Television of Serbia – Optimistic Film. 2021.
“Tesla Nation” / season 1/ (10 x 25 mins.) Radio Television of Serbia – Optimistic Film. 2018-2019.
“YouTubers in Serbia.” (5 x45 min.) Radio Television of Vojvodina – Optimistic Film. 2015 – 2016.
“Meet the Ambassadors in Serbia.” (22 x 45 mins.) Radio Television of Vojvodina – Optimistic Film. 2014 – 2015.
“My Dreams.” (5 x 45 mins.) Radio Television of Vojvodina – Optimistic Film. 2013. Video Storytelling campaigns
“Welcome to UConn” (social media campaign, 43 x 1 min. short films presented by CT Governor, Senator, UConn President, Provost, Vice Presidents, Professors, Students, Successful UConn Entrepreneurs and Alumni) University of Connecticut, CT, USA, 2024.
“Swiss Rockets” (social media campaign, 30 x 2 min. short films about CEO, Founders, Scientists, Investors, Researchers, Staff, Swiss and International Partners, Academics, Biotech Leaders and Professionals), Swiss Rockets- Optimistic film, Switzerland, 2024.
-Do you remember the exact moment you fell in love with cinema?
“Long before his international film career, Željko Mirković was already deeply creatively engaged. From his high-school years, he was involved in a wide range of artistic and cultural activities that shaped the way he tells stories today. During that formative period, he developed a strong appreciation for both European auteur cinema and classic American filmmaking, a dual influence that can still be seen in his work — blending European emotional depth and reflection with American narrative clarity and pacing. That early, continuous engagement with culture, storytelling, and film created the foundation for the filmmaker and scholar he would later become.”
-Tell us about your project “Innovation in Connecticut”.
Innovation in Connecticut is a documentary initiative launched under the leadership of UConn President Dr. Radenka Maric and directed by Dr. Željko Mirković to present the University of Connecticut as a central engine of scientific, technological, and economic innovation. At its core, the film is about how research universities drive real-world progress. It presents UConn not simply as a campus, but as a living innovation ecosystem — where scientists, engineers, physicians, entrepreneurs, and students collaborate to solve problems that affect:
public health
advanced manufacturing
energy and sustainability
digital and biomedical technologies
workforce development The documentary situates UConn’s research inside a larger story: Connecticut’s transformation from a traditional industrial state into a modern, knowledge-driven economy. It shows how university-based innovation connects directly to startups, established industries, hospitals, and state and federal agencies. Rather than treating science as something abstract, the film frames it as a tool for improving lives, strengthening communities, and ensuring economic resilience.
Why this story matters for UConn
For UConn, the documentary is about identity and mission. It presents UConn as:
a nationally competitive research institution
a magnet for top scientists and students
a hub where ideas move from lab to marketplace Under Dr. Maric’s presidency, UConn has emphasized innovation, interdisciplinarity, and public impact. The film reflects that vision by showing that UConn’s research is not isolated inside laboratories — it is actively shaping medicine, engineering, business, and public policy. In other words, the documentary answers the question: Why does UConn matter beyond its classrooms? And the answer it gives is: Because UConn is a generator of the ideas, technologies, and talent that Connecticut and the nation depend on.
Why it matters for Connecticut
Connecticut has long been known for aerospace, defense, medicine, insurance, and manufacturing. But to stay competitive, those industries must continually innovate. The documentary shows UConn as the backbone of that innovation pipeline:
educating the future workforce
conducting breakthrough research
supporting startups and tech transfer
attracting federal and private investment By highlighting UConn’s research impact, the film makes a broader argument: Investing in science is not just an academic decision — it is an economic strategy for the entire state. The film therefore becomes not just a university documentary, but a portrait of Connecticut’s future.
Why it matters for the United States At a national level, the film aligns with a major U.S. priority: keeping America globally competitive in science, technology, and innovation.
Universities like UConn play a critical role in:
medical discoveries
advanced materials
cybersecurity
clean energy
artificial intelligence By focusing on one state and one university, the documentary makes a bigger point: America’s strength is built locally — through regional innovation hubs that feed into the national research and technology system. UConn becomes a case study for how public universities support national security, economic leadership, and scientific advancement. How the documentary reflects Dr. Željko Mirković’s filmmaking style Dr. Željko Mirković is internationally recognized for a documentary style that blends:
visual storytelling
human-centered narratives
a cinematic sense of place
intellectual depth Rather than relying on dry explanations, his films typically:
follow people
reveal environments
and allow images, motion, and sound to carry meaning In Innovation in Connecticut, that approach is especially powerful. Science is often hard to communicate — it can feel abstract or intimidating. Mirković’s style counters that by showing:
scientists at work
students in labs
machines, instruments, and experiments in motion
the physical spaces where discovery happens This makes innovation visible and tangible, not just theoretical. How Mirković’s style helps tell the story of science Mirković does not treat science as just data or results. He treats it as a human and creative process. Through his lens:
researchers become storytellers
laboratories become stages
experiments become visual narratives This aligns perfectly with the film’s mission: to show that innovation is not a slogan — it is something people do every day. His cinematic approach gives science:
emotion
rhythm
visual beauty That makes the message more persuasive: science is not only useful — it is inspiring. The deeper message of the documentary Ultimately, Innovation in Connecticut is saying something very simple and very powerful:
Science is the foundation of the future. For UConn, it means leadership in research. For Connecticut, it means economic renewal. For the United States, it means global competitiveness. By combining Dr. Maric’s strategic vision with Dr. Mirković’s cinematic storytelling, the documentary becomes more than an institutional film. It becomes a statement about why investing in knowledge, discovery, and innovation is essential for society.
-Which Director inspires you the most?
“Željko Mirković’s artistic roots are shaped by a rich dialogue between European and American cinema. He has long admired the poetic humanism of Italian masters such as Federico Fellini, Pier Paolo Pasolini, Vittorio De Sica, and Giuseppe Tornatore, as well as the radical storytelling of the French New Wave. At the same time, he has been deeply influenced by Russian filmmakers including Andrei Tarkovsky and Sergei Eisenstein, whose work expanded cinema into philosophy, memory, and spiritual inquiry. From the United States, he draws inspiration from directors and documentarians such as Martin Scorsese, Oliver Stone, Jim Jarmusch, and Ken Burns, whose films shaped his understanding of history, character, and the power of long-form storytelling. Together, these traditions became the foundation of his distinctive documentary style — often described as ‘documentary fairy tales’ — films that respect real human stories while carrying strong messages of peace, empathy, and cultural connection, grounded in the belief that we are all one.
Today, Dr. Mirković continues this work as an Associate Research Professor at the University of Connecticut, where he explores how storytelling, innovation, and visual communication can shape society. His recent focus on science documentaries reflects his belief that science offers some of the most powerful and hopeful narratives of our time — stories that expand knowledge, improve lives, and point toward a more positive future. This same philosophy inspired the founding of his production company, Optimistic Film — a name that reflects his worldview: that through culture, understanding, and shared stories, people across the world can live together with deeper respect and optimism.”
-How do you imagine cinema in 100 years?
Today, Dr. Mirković works as an Associate Research Professor at the University of Connecticut, where he also teaches a forward-looking course on how to make films using smartphones. He believes that the future of cinema will be shaped by new tools, devices, and formats, but that true filmmaking will always rest on the timeless principles of classical cinema — storytelling, composition, rhythm, and emotional truth. New technologies may change how films are made, but how we tell stories is what ultimately creates meaning and lasting value. This philosophy also drives his recent focus on science documentaries, where innovation and discovery provide endless new stories that shape human life in positive ways. It is the same spirit that inspired him to found Optimistic Film, a company built on the belief that through storytelling, understanding, and shared culture, people across the world can live together with deeper respect and optimism.”
-What is your impression of WILD FILMMAKER?
The Wild Filmmaker Platform represents an important and timely space for independent documentary voices, and I express my sincere respect for its commitment to supporting bold, original, and socially engaged storytelling. With more than 25 years of experience in documentary filmmaking, Dr. Mirkovic brings a deep understanding of the creative, ethical, and practical dimensions of nonfiction cinema. This long-standing professional practice, combined with active membership in the International Documentary Association (IDA), the European Film Academy, and the European Documentary Network (EDN), reflects a strong engagement with the global documentary community and its highest professional standards. I warmly encourage the Wild Filmmaker Platform to continue expanding its connections with other filmmakers’ platforms, networks, and international organizations. By building bridges across communities, Wild Filmmaker can further strengthen opportunities for collaboration, visibility, and creative exchange, helping independent filmmakers reach wider audiences and develop more impactful work. Such openness and cooperation are essential for the future of documentary cinema, and I look forward to seeing the Wild Filmmaker Platform grow as a dynamic hub for filmmakers around the world.
The treasure of Templars of Rennes the Castle in France discovered by Abbe Sauniere member of Priory of Sion then by Florence and Patrick against Brouillard Society .
The characters are multi -dimensional. The frantic search for the Holy Grail is the incandescent fulcrum of this intricate. Thriller/mystery where espionage and daring escapes follow one another between present and past . Everything wonderfully turns around the Grail, its fascinating mystery , the figure of Jésus -Christ , Mary Magdalene and iconic characters such as Abbe Boudet , Jules Verne , Victor Hugo , George Sand , Chopin , Wagner, the empress Sissi , Manon medium – pranotherapist and the king Ludwig of Bavaria who in addition to being part of the Priory of Sion , share the same need to protect their precious documents from the dirty hands of Brouillard esoteric society.
Biography
Florence Cazebon-Taveau born in 1962 is a multi –artist (painter, medium , writer, poet, screenwriter, actress ) who has obtained 285 Award Winner on many film festivals for this screenplay published by Edilivre Edition.
All cinematographic rights are one hundred per cent with the author and not with the editor.
