Author: Dreamate Demo

Who is Jeffrey George Moline?

Jeffrey George Moline grew up a cowboy on a farm on a dirt road outside of Austin Minnesota – where the meat product Spam is created. He was a stranger in his home due to his sexuality. He grew up in a musical family. In 1980 at 19 years old he left his home and family and moved to Los Angeles where he overcame more adversity. He became strong and created a wonderful uniquely American family of his own. I have been a creator, an artist all my life. Life on lifes’ terms can be challenging and disappointing. We have jobs, bills, expectations, illness, misfortune – that stall or stop our idea of progress based on our perceived idea of what success looks like. It was age 65 when my lifetime of experience as a musician and storyteller combined with filmmaking and the support of friends and loved ones, that I was able to bring Grandpa’s Got A Brand New Pill to life.

Do you remember the exact moment you fell in love with cinema?

 I was 8 years old and Mae West was my first – Hollywood Diva. On saturday nights at midnight KROC TV station out of Rochester Minnesota played old Hollywood Comedies. I was breaking the rules by staying up late, with my face inches from the old black and white television in the basement, the sound down low. Miss West impressed me because she wrote her own material and strutted across the screen, but I also loved W.C. Fields, The Marx Brothers. From then on I read any and everything I could, about film, film stars, the picture business and Hollywood. When I moved to Hollywood I would often go to watch these classics on the big screen at revival theaters.

Tell us about your project “Grandpa’s Got A Brand New Pill”.

Our short musical film began as a song inspired by my then 80 year old mothers boyfriend taking too much Viagra and thinking he was having a heart attack. I then decided at age 65 to reinvent myself as a musical artist and take my talents outside the world of dingy clubs and into the world as a musician and filmmaker. So I wrote a short story about a fiesty woman on the eve of her 96th birthday who insists on a happy ending so she shows up with Viagra and weed. The senior residents of Shady Nook get happy and the police are called.  Having lived in Hollywood so long I’ve met many actors so I reached out to my friends and tailored the parts for their particular talents. Grandpa’s Got A Brand New Pill has provoked laughter around the globe. Our next short musical comedy film is titled Two Tears In A Bucket and begins shooting late this summer of 2026.

Which Director inspires you the most?

Luc Besson – I enjoy the world he creates in his films. The Fifth Element is one of my favorite films. The color, the costumes and characters are amazing. I also love Indian films with dancing scenes.

What do you dislike about the world and what would you change?

Obviously LGBT hatred. It is difficult to navigate a hostile world. I practice Nichiren Buddhism with the SGI USA. I believe a person can undergo an inner transformation, a human revolution, a change in their character and that act itself provokes change and transformation in our physical environment. I have seen this play out in my own personal life. So I am helping make a change for the better by continuing to listen, learn, grow and change and cultivating my humanity daily.

How do you imagine cinema in 100 years?

Everyone will be able to use AI to make personal films.

What is your impression of WILD FILMMAKER?

It feels like a wonderful opportunity to connect to other filmmakers, connect to festivals and meet other wonderful people who create and love art.

Who is Patricia Planck?

I am a creative producer and writer focused on film and television content.  Storytelling is a world I love to go to and see how far I can take it.  To develop quality, but original high-concept stories, or story-driven intellectual properties – I care deeply about developing original, high-concept, story-driven projects that feel both engaging and on a journey you might never explore.

My focus isn’t on chasing what fits a big-budget mold, but on creating stories that genuinely connect with audiences—work that feels human, authentic, and lasting. I’m especially interested in stories that open a window into different cultures, with the hope that they not only entertain, make you feel, but also broaden understanding in a real and thoughtful way.

Do you remember the exact moment you fell in love with cinema?

When I first felt the magic, the impossible possible, the power of opening the mind and being inspired. 

Tell us about your project “THE ARMCHAIR TRAVELLERS”.

• The story is a wholly original and a high-concept screenplay, with multi-award-winning recognition both here in the US and on the international stage as Best Fantasy/Sci-Fi, and Thriller. 

• The Armchair Travellers is a genre-defying cinematic journey – blending fantasy, historical literature, rom-com warmth and thrilling fearless adventures. In a world where books come alive, the most extraordinary story is not found between the covers – but between the lines. 

• What begins as a miraculous gift of human desire, all play out across worlds beyond the written word.  As the female led ensemble chase their deepest wishes, they discover that dreams can come true- but only some come without a price. 

• The “Chair” / Does the chair possess a consciousness of its own, quietly observing and deciding who may wield it?  Is it inherently benevolent, guiding its occupant toward healing and revelation, or does it harbor a darker intent, subtly steering events toward chaos?

• It’s full of Wild Magic with Heart.  www.thearmchairtravellers.com

-Which Director inspires you the most?

There isn’t one.  The directors like the Cohen Brother, or Wes Anderson, to Peter Jackson are just a few because they are not afraid and with vision. 

What do you dislike about the world and what would you change?

Opportunity is still unevenly distributed.  There’s more information than ever, but not necessarily more clarity, and I think because of this, we seem to be in short supply of kindness, realizing we are all human and beings.   I’d want a world that’s a little more intentional and a lot more giving.

How do you imagine cinema in 100 years?

Honestly, with A.I. at our doorstep, I find it hard to answer.  However, I believe good stories, by humans, will remain the light in the dark and we will be choosing films to watch, based on human versus A.I.  It is already happening.

What is your impression of WILD FILMMAKER?

What matters most to me is that you’re continuing to support the arts at a time when everything is changing so quickly. That kind of commitment isn’t small—you’re helping shape where things go next.

By standing behind storytelling, you’re opening hearts, shifting perspectives, and giving space for work that truly connects with people. That has real impact.

Wild Filmmaker feels fearless in that way, and willing to support bold stories, meaningful voices, and projects that say something. You’re not sitting on the sidelines of change.

And it really does feel like a wave, a big one. The industry is evolving, the world is evolving, and you’re helping carry that momentum in a direction that values stories not just for the moment, but for what they can mean over time.

– When you plan the realization of a film project, what are your objectives?

My objective is to create an experience that continues after the film ends.

With Asherah: A Love Odyssey, I wasn’t interested in simply telling a story—I wanted to construct a space the audience steps into. The film moves through five movements—invitation, witness, origin, completion, and declaration—designed to be felt as much as understood.

I’m not trying to deliver answers. I’m trying to activate recognition. When it works, the audience doesn’t leave with a conclusion—they leave with the sense that something has opened.

That’s the objective: not closure, but continuation.

– With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?

AI is accelerating cinema—but it’s also exposing it.

The tools are no longer the barrier. Images, voices, even structure can now be generated at scale. That shift forces a deeper question: if anyone can make something, what makes it matter?

The answer is intention.

AI can replicate form, but it cannot originate meaning. It doesn’t live, it doesn’t risk, it doesn’t choose. What we’re seeing isn’t the replacement of filmmakers—it’s the removal of excuses.

Cinema is moving from execution to authorship.

This isn’t the end of something—it’s the beginning of accountability.

– To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

I’m looking for partners who understand that cinema is evolving beyond a single format—it’s becoming a living ecosystem.

Companies like A24, Neon, and CJ ENM stand out because they support work with a clear identity that still travels globally. They recognize tone, authorship, and cultural positioning—not just output.

Asherah is designed as a chaptered narrative universe, with the feature film as its opening movement. The right partner sees beyond a single release and understands how story, character, and world evolve together over time.

This is not just about distribution—it’s about alignment.

– WILD FILMMAKER can now “sit at the table with the big players”… Do you think we are doing a good job?

Yes—and more importantly, you’re doing the right job.

Cinema has always existed in tension between art and commerce. What you’re doing ensures the work itself doesn’t disappear inside that tension. By keeping the focus on the film—not just the market—you preserve the reason the industry exists in the first place.

That doesn’t oppose the system. It stabilizes it.

Without spaces that prioritize the work, the industry loses its center—and everything becomes noise.

What you’re building cuts through that.

Final Line

I don’t see cinema as something we inherit fully formed.

I see it as something left open—
not abandoned, but waiting for us to complete it.

-When you plan the realization of a film project, what are your objectives?

First off, I thank the WILD FILMMAKER editorial staff for including me in the Cannes Film Market. My primary objective upon the conception of a new screenplay is to tell a story derived from my personal experience in a manner that will resonate with many moviegoers. I have learned that is the most essential aspect of a story from Tammy Gross of ReelAuthor (tammygross.com) my friend and film script guru since 2022. My film scripts American Money and Padre Guns do just that. I have signed an Artist-Producer agreement with Incandescent Pictures, an independent film producer based in Nashville, to produce American Money in the near future. Padre Guns, a film script addressing sacrifice & redemption, will likely hit the market in late April. On the other hand, an example of one of my film script ideas that needs a lot of work is Peace Of Mind, the story of my 1990 exit from Wall Street. Tammy read the “barf” draft of the script and made the astute and valid comment about a key character, who was based on my extramarital girlfriend at the time, “No man will want to watch this movie with his wife.” So, it’s back to the drawing board to make that aspect of what I believe to be a great story that would have been completely screwed by the fictional Lana Grace, whom I love but everyone else would have despised.

-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?

The effects of AI on all art are akin to a major earthquake caused by the movement of major tectonic plates. I’ve read filmmakers can easily duplicate intellectual property such as musical performances and visual designs. AI has even given filmmakers the ability to “manufacture” a person; there’s no need to discover a Norma Jeane Mortenson in a World War II airplane factory because AI can simply generate a Marilyn Monroe. So, those artists need legal protection. In my humble opinion, writers are better protected, for now; I believe the current state-of-the-art of AI cannot write quality film scripts, but AI is getting better and better as the calendar pages flip. I’m 92 days away from my 70^th birthday. By the time I live out my natural life, by the grace of God, AI will be as good as Tammy and I are now. I love to paraphrase the idea Al Franken expressed in an article on the subject of AI versus native intelligence published in The New Yorker during the recent Writers’ Guild strike: Artificial Intelligence has never hugged the porcelain throne puking its guts out from food poisoning after being jilted by a lover. Native intelligence rules…for now. Stay tuned. Don’t touch that dial.

-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

Film festival juries since February 2025 have primarily steered American Money toward indies and arthouses. Then, in November I signed with Incandescent Pictures. I believe this trend is because of how I tend to write, and I’m thrilled with those prospects. One indie producer has already committed to read Padre Guns. Once I make Lana Grace more palatable, I can see Peace Of Mind headed toward arthouses. A fourth film script idea for which I’ve written the ending, Soaring Dove, may have the potential for more mainstream production. An Everyman helps a woman who is the future of benevolent American politics resolve a threat to her constituents. It’s set in the mid-1990s and has a Notting Hill feel to it. So, we shall see about that one. I love how I got here and I like where I’m headed. Indies and arthouses are fine with me.

-WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural
Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing.
Do you think we are doing a good job?

Absolutely! WILD FILMMAKER is doing a wonderful job, and I’m speaking both as an artist and a fan of film. Every movie begins with an idea; placing the work of art at the center only makes sense because that makes marketing easier. Personally, as a screenwriter, WILD FILMMAKER has taken me places I never thought were assessable to me. I’m a retired mechanical engineer who sought advice from three great writing teachers to turn his hobby into calling waiting to happen. I have the utmost appreciation for Michele Dioma and the editorial staff of WILD FILMMAKER. Thank you all. It’s been an awesome journey that I hope never has a destination. May the Peace your higher power gives you be as sweet as the Peace that The Holy Trinity provides me.

-When you plan the realization of a film project, what are your objectives?

There are two reasons for me to start with a film project. The first one is an idea I like to put into moving pictures. The second one is when I feel like doing an experiment or exploring new ways of expression.

-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?

Personally I would say that it’s not quite helpful for humanity to be replaced by machines. On the other hand, filmmakers have always taken advantage of the latest technology. So it’s better to be optimistic.

-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

Until today I haven’t put much effort in looking for a production company.

-WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing.
Do you think we are doing a good job?

I’ve liked the idea of WILD FILMMAKER since the very beginning. Of course, it has been quite helpful for me to be part of it. If you ask me,there is no need for wild filmmaking to compete with mainstream cinema. It has never been my personal goal to to reach the same audience as big production companies do.

-When you plan the realization of a film project, what are your objectives?

When I plain the  realization  of a film project , my objectives  are to truly touch  the heart of a producer-director but also of the  viewer  by various means. Since my screenplays  are already  published  by my  publisher  (Edilivre Editions) ,  I ‘m   referring  to the  booksellers who distribute  them on their  sites. I  give  interviews with  you:  Wild Filmmaker.  I ‘m presenting   the teaser formy screenplays on your tube  channel.  Like my   scenarios   are  also    historical, various articles   written   by  journalists   are published   such  as  in L’Indépendent  or on   the  Rennes-  Le- Château  Web  Gazette ( I have   written  also    ten  historical   books  on the mystery  of this  treasure of Rennes  the Castle ). I received 283 Awards Winner   with   my feature film  screenplay   about  the   treasure of Abbe Sauniere  of Rennes the Castle   and the holy   Grail   of  the Templars , competing  in numerous  international  film festivals.   

-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?

In artificial  intelligence ,  there is   the  adjective artificial. Consequently, not  the very essence  of a reflection   that aims  for transcendence  and transforms into creativity.

At  the  heart of the imagination, thousands  of ideas  take  root , like  birds  thirsting  for ideals , surfing  on our  emotions  to  transform  them  into  beautiful  tableaux.

As  I am medium  , my screenplays are also  written  thanks  to mediumistic visions , which   adds mystery  to the plot  and also  amplifies  the  power of images. I’ have already  played   the role  of my heroine  in my screenplay   about Camille Claudel .  I identified  with  this great sculptor. She  literally   inhabited me during  the filming  of a pilot  sequence  in Marseille   by  Benjamin Burghartz with my friend the great painter   Raymond  Mustacchi , as   I am also   a highly  regarded  painter myself.

 The same  applies  to my  fictional  screenplay  about the treasure  of  Rennes –le- Chateau . I would like   to propose  to the producer  who wants   to make  the film  the role of Florence , this protagonist   and medium  essential   to the plot  of the story , because  there ‘s  nothing  better   than playing  myself  as a medium.

-WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural
Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing. Do you think we are doing a good job?

Yes , you are  doing  a good job!

 Because marketing is  not  art and therefore  neither  creativity , nor talent can find its  a place  in this  bargaining . Great  creators  have never  followed fashion , nor  have  they submitted  to  the  dictates of money  and  profitability  as industrialists  do in   the pursuit  of productivity.  Beauty of a work  lies  in the  genius  of the artist  who stands out from    the norm  through  their  innovative originality , often  misunderstood by everything  that falls  under  the normative  category.

 The artist’s  freedom  cannot be  bought.  And at Wild Filmmaker , we respect  each creator  in their   way of  working.

And now  with Wild Filmmaker,   I hope to capture   the attention  of a producer  at the Cannes  Film Festival’ s  film market , knowing   the  film  rights  are one hundred  percent  with  me  and not  with my publisher .

-When you plan the realization of a film project, what are your objectives?

To engage an audience whether streaming or cinema, and make them laugh, cry and think.  I aspire to making films that last whether independent or studio.

-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on
this?  

AI is already disrupting everything, not just film.  Anthropic helped themselves to 12 of my 18 published novels digitally to train their AI without a request or compensation.  They were sued partly by the Author’s Guild, which thank goodness I recently joined, and they put up a link to the page that has a ‘works list’ and I found 12 of my books.  They didn’t upload my other five Berkley books either because they’re too old and long, a different style, or because they didn’t want to  fight Simon and Schuster.  I filed a formal complaint which they acknowledged.  Authors everywhere are being bilked of their intellectual property, not just filmmakers.  Musicians, all the creatives will face these challenges until and unless we get legal guardrails. 

That said, like any other dangerous tool that can be used for good or bad, AI has its uses and creatives have to learn to use it like a tool while protecting their contributions.  Michelangelo and Me would benefit if the Sistine Chapel images are AI generated but I know Pope Leo hates AI so who knows?  If there’s another cheap way to human reproduce them for this script I’m all ears but I know I wouldn’t want to be the artist redrawing Michelangelo’s ceiling…wearing my business hat, I know this would already be an expensive budget just with VFX for the statues and live action. But what they did with Val Kilmer’s image after it sounds like just asking permission, is inexcusable if the estate wasn’t compensated for the full hour which is what I’m hearing.  Just like copyright, whoever owns the rights should be paid before any images, print, film, novel, article, whatever, are used.  And it will take the Feds to do it so we all know what’s needed come November….I hope Europe is more protective as they tend to be.  The European Union is certainly more creative friendly.   It will take a worldwide movement to stem this tide like a dam we can control for good uses and avoid training machines to take our jobs.  But stop it we can’t.   We can certainly tag it though.  The Author’s Guild is working on a logo for its members to incorporate into projects that state human produced with a registration number that can be vetted and used.  I think they’re also going to allow non guild members to use it for a fee.  Contact them for more info.   

-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

A studio and/or an alliance of production companies.  Ideally I’d like to see one or two Italian companies ally with Hollywood partners to film and distribute whether streaming or theater.  But someone from the beginning needs to consider demographics, which are different here and other places. An international team could best do this.  I genuinely believe, and I’m not saying this about any of my other stories with the possible exception of Monster Mash which isn’t even begun yet, that this story has worldwide allure for all ages, most nationalities, and both genders.  But the film has to be great and the marketing prescient to lessen the risk.  And one of my ideas?  I’d love to ask Pope Leo to appear in cameo….I can’t imagine anything in this story centered on the power of dreams and believing in miracles again to be objective to him. The world needs this story right now.  And it subliminally promotes great values:  redemption, honor, family, even a sprinkling of spiritualism but though the Vatican plays a big role this is not a Christian story.  It’s a story of humanity, who we were, who we are, and who we aspire to be.  Universal.  I believe that comes through, but if not, I’ll just do more revisions.  But I own 100% of the copyright to both the source material, Heaven’s Rogue and the script and my very deep expertise in fiction of all types  needs to be reflected.

-WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing.
Do you think we are doing a good job?

Yes, I’d like to have your air miles, Michele lol.  No , really I think ya’ll are doing a great deal for independent cinema but it’s still scattered.  I’ve entered a lot of festivals and won lots of awards, but I never get any feedback or see a mention of my name in prestigious publications.  Some type of digital copy would be very helpful and would, frankly, keep me writing screenplays.  Right now I’m concentrating on the reissue of my third Berkley book and it’s called The Hawk’s Lady, new cover in progress below.  Too long and sweeping and flowery for a script but the allegories between what we fought for in 1799 and what we’re fighting for now are scary.  I researched it for months at Duke University and at one time, not sure now don’t know how to check, it was listed in the online catalogue at the Library of Congress which is surely unusual for a paperback romance.   I plan some considerable promotion including a self reading at you tube of a few scenes.  My goal is to get all the logistics done prior to July 4th so I have to hustle.  I just want people to know I write all the time, which is one reason I don’t do social media much.  I switch easily between scripts and novels and vice versa.   The cover image is for you and other festivals, not intended for this article, I just want y’all to know.

-When you plan the realization of a film project, what are your objectives?

My objectives as a director with interpreting a movie script and creating a vision for a film is to focus on a storyline that shares knowledge, encourages humanity, and helps people to overcome obstacles in every area of life to succeed.

-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?

I prefer to use the creative ideas inside of my spirit that transfers images and tells a story from a human perspective instead of creating a film with AI.

I enjoy the creative process of forming thoughts to create a film in my mind to seeing my thoughts turn into reality through the human process.

I can feel the difference in a AI movie and a movie created by a person. I prefer a human interaction from one human to another with my films. An AI generated film can’t replicate the human spirit. The human spirit flows out of a movie and can be felt. The tangible connection from human to human is my focus.

-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

I would like to have my film distributed in movie theaters globally and on streaming platforms globally. Connecting to independent movie distribution companies to help me reach my vision for global film distribution is a desire that I have. Distributing my films on Christian networks,Netflix, Hallmark, and Amazon Prime are networks platforms that are on my list.

-WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing.
Do you think we are doing a good job?

WILD FILMMAKER supported my ethical beliefs, values, and mission to bring my film into film festivals and creating opportunities for me to share my story with the world of cinema globally. I’m pleased and happy to be supported by WILD FILMMAKER as an independent filmmaker.

When you plan the realization of a film project, what are your objectives?

A I am a visual artist, so while I love the process of fitting together the puzzles of a thrilling plot and giving human, interesting dialogue to my characters – as I write I am visualising the worlds I am building, these scenes are alive in my imagination. In many cases, they are images I’ve never seen onscreen before… so my endgame is seeing a creative rendering of what my imagination has created.

With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on
this?

When cinema transitioned from silent to sound in the 1920s – just like when black & white evolved into colour – the over-riding fear with “this is the end of the movies!” It didn’t quite work out like that. AI has been present in our lives since last century; it offers a range of valuable and fast-evolving tools for good film-makers and a lazy short-cut for the minority. It cannot replace writers, actors, composers, visual effects artists… but it can help them all, as part of their toolkit.

Which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

A Fractures In Time is a science fiction thriller, and in scope it has some ambitious visual set pieces… but at its heart it is a very human story. I would love to talk to some independent film-makers who bring their own vision to it – with Source Code, Looper, Minority Report as precedents. But in scale it could be a massive budget blockbuster, so I would welcome conversations with Disney or Amblin or Lionsgate!

When you plan the realization of a film project, what are your objectives?

When I begin a film project, my first objective is to identify the emotional core of the story. Before thinking about production scale or visual choices, I focus on what feeling and what trace the film will leave in the audience after it ends.

A film should not only be watched; it should remain in the viewer after the final frame.

For me, cinema is not only about telling an event; it is about constructing an atmosphere where silence, rhythm, gesture, and visual tension naturally become part of the narrative language.

The international awards received by my latest film also confirmed once again that audiences today pay attention not only to the story itself, but also to how that story is built, to its rhythm, and to its cinematic approach. For this reason, in every new project I give even more importance to creating narratives that preserve their local identity while remaining emotionally accessible across different cultures.

A film should belong to its own geography, but emotionally it must remain open to the world.

My main objective is always to create work that carries cinematic identity rather than simply delivering information.

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With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?

Artificial Intelligence is becoming an important creative tool, but I do not believe it can replace artistic intuition.

Technology can accelerate cinema, but meaning still comes from human vision.

It can accelerate technical processes, expand visual possibilities, and make a significant contribution during preparation stages. It also offers strong advantages in production planning, pre-visualization, time management, and in making creative processes more efficient for teams.

As an extension of this perspective, I recently founded Motto Meta AI, a company focused on exploring how AI can be used more effectively in cinema and creative production. Our goal is to reduce time loss during production, make certain stages more predictable, and ease the technical burden on creative teams.

For me, AI can be a strong assistant, but not a creative subject.

The real issue is not simply adapting to technology, but preserving human narrative power while using new tools intelligently. I believe AI should remain on the side that supports human production capacity rather than replacing it.

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To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

For me, what matters is working with structures that understand a strong directorial perspective and believe that local stories can resonate internationally.

On one side, companies such as A24, mk2 Films, and MUBI stand out because they protect directorial language and value narrative identity. On the other side, companies such as Netflix, Sony Pictures Classics, and Searchlight Pictures also play an important role today by combining global reach with the ability to support strong artistic projects.

The ideal partner is not only financially powerful, but also editorially courageous — a company able to evaluate a film not merely as content, but through its cinematic identity.

Today, it is no longer enough simply to produce a film; what matters is bringing it to the right structure and connecting it with the right audience in the world.

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WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing. Do you think we are doing a good job?

In today’s cinema landscape, spaces where independent filmmakers can express themselves without being filtered only through market priorities are becoming increasingly valuable.

Independent cinema needs platforms that still speak about films before speaking about numbers.

In recent years, WILD FILMMAKER’s approach — giving visibility to directors, opening space for independent cinema, and keeping the film itself at the center — has become particularly noticeable. It is not easy today to create a voice outside major industry structures, which is why platforms like this matter.

What remains essential is maintaining editorial credibility and long-term seriousness while creating visibility.

If this approach continues with the work of art genuinely at its center, WILD FILMMAKER can become not only a media platform, but also a meaningful international cultural space for independent cinema.