Category: Senza categoria

Idiopathy

BEST ARTHOUSE FEATURE SCRIPT & BEST INTERNATIONAL ORIGINAL IDEA

Not Without Gloves

BEST EXPERIMENTAL CINEMATOGRAPHY, BEST INDIE DIRECTOR (Category: Arthouse Experimental film) & BEST EUROPEAN PRODUCTION COMPANY

Omnipotent Resolution

BEST INTERNATIONAL MUSICAL, BEST DANCE FILM & BEST ORIGINAL SINGER ON THE YEAR

Five Silent Shorts

BEST INTERNATIONAL COMEDY OF THE YEAR

Brushstrokes

BEST ANIMATED SHORT FILM & BEST DIRECTOR (Category: Animation)

The Assassin’s Apprentice 2: Silbadores of the Canary Islands

BEST ORIGINAL SHORT FILM, BEST ARTHOUSE CINEMATOGRAPHY, BEST EDITING & BEST AMERICAN FILMMAKER OF THE YEAR

Routine

BEST INDIE SCREENWRITER, BEST SOUND DESIGN, BEST CAST & BEST INDIE NARRATIVE SHORT

The Taste Of Rain

BEST FEATURE SCRIPT 2024 & BEST ORIGINAL SCRIPT

The Demon

BEST EUROPEAN ACTOR & BEST INTERNATIONAL YOUNG ACTOR OF THE YEAR

Dragul and Forbes

BEST INTERNATIONAL SCREENWRITER & BEST INDIE FEATURE SCRIPT

The Duchess

BEST ORIGINAL DRAMA & BEST CINEMATOGRAPHER

Thankful

BEST FEATURE SCRIPT & BEST ARTHOUSE WRITER

The way of Mizoguchi

BEST EUROPEAN DIRECTOR, BEST ARTHOUSE DOCUMENTARY FEATURE & BEST ORIGINAL STORY

Daddy Blueberry

BEST INDIE NARRATIVE FEATURE, BEST CAST & BEST FILMMAKER (Category: Narrative Feature)

Monument to Love

BEST ARTHOUSE PRODUCER, BEST EDITING, BEST INDIE DOCUMENTARY FEATURE & BEST FILMMAKER

Life is Beautiful

BEST ORIGINAL SONG OF THE YEAR

Smell Of Pain-T

BEST INDIE MUSIC VIDEO & BEST DIRECTOR (Category: Indie Music Video)

Artists and Aliens

BEST SCI-FI, BEST SOUNDTRACK & BEST SOUND DESIGNER

Alta California

BEST ORIGINAL SCREENWRITER

And We Were Left Darkling

BEST INTERNATIONAL FEATURE SCRIPT

The Pathos of Hamlet

BEST EXPERIMENTAL DIRECTOR & BEST ARTHOUSE SHORT FILM

The Stones of Rome

BEST AMERICAN NARRATIVE SHORT OF THE YEAR

Emancipacion con los campeones Julian y Bruna – Tango Bardo

BEST ORIGINAL MUSIC VIDEO

Doctor Hyphoteses

BEST INTERNATIONAL COMEDIAN

Nossos Caminhos (Our Paths)

BEST ORIGINAL SCREENPLAY

Luzinete

BEST INDIE FILMMAKER & BEST DRAMA SCRIPT

Michel Steiner 64 agendas

BEST INTERNATIONAL DOCUMENTARY SHORT & BEST DIRECTOR (Category: Indie Documentary Short)

Amen-Amen-Amen: A Story of Our Times

BEST SPIRITUAL DOCUMENTARY FEATURE & BEST HUMAN RIGHTS FILM

Dojo

BEST INTERNATIONAL NARRATIVE SHORT, BEST ORIGINAL THRILLER, BEST ACTION MOVIE & BEST AMERICAN PRODUCTION COMPANY

Brothers of Babylon

BEST AMERICAN FEATURE SCRIPT, BEST ARTHOUSE WRITER & BEST INDIE ORIGINAL SCREENPLAY

Risveglio Planetario

BEST INDIE FILMMAKER OF THE YEAR (Category: Music Video)

5 Marzo 1955 Una Canzone Per Carla

BEST EUROPEAN SUPER SHORT FILM & BEST ORIGINAL STORY

Down the Rabbit Hole

BEST ORIGINAL ACTOR

The Quest for Camelot

BEST DIRECTOR OF THE YEAR

Orpheus with his lyre

BEST INDIE FEATURE SCRIPT

-Who is Barış AKBULUT?
I am Barış AKBULUT, a traveler and photographer dedicated to exploring life and capturing the essence of different cultures through photography. I have had the opportunity to visit many cities across Turkey and over 20 countries around the world. The landscapes, cities, and stories of the people I encounter on my journeys inspire me deeply. My journey in photography began with the desire to immortalize these moments during my travels; now, each shot reflects the soul of the places I’ve visited and the unique atmosphere of that moment.

–What inspired you to become a photographer?
The biggest inspiration for my photography has been the diverse landscapes and people I encountered on my travels. Every city, every country, every culture tells its own story, and I wanted to capture these stories and share them with others. From a lone figure walking along the shore to children playing in a historic street, each detail allows me to rediscover the world in a single frame.

-Do you think cinema can bring about change in society?
Absolutely, cinema is a window into different cultures and a force that brings people together. Watching a film allows us to witness the lives of people living in other countries or cities and to feel their emotions. I try to capture this cinematic effect in my photographs as well; through images taken in different countries and cultures, I aim to remind people that shared emotions exist all around the world. Like cinema, photography is a powerful tool for fostering this understanding

-What would you change in the world?
I would love for more people to travel and experience different cultures and people. Traveling has helped me to understand different ways of life and perspectives, which has fostered a greater sense of tolerance and empathy. If more people explored the world and appreciated cultural diversity, I believe it would lead to a more peaceful and connected world.

-Where do you see the film industry going in the next 100 years?
In the coming years, I think the film industry will become richer with technologies like virtual reality and interactive experiences. However, I also believe that films and visual storytelling must retain their ability to create an emotional connection. As in photography, cinema should both entertain and provoke thought, allowing people to better understand their own world and experience different cultures.

Not Without Gloves

BEST POETRY SHORT FILM & BEST EXPERIMENTAL CINEMATOGRAPHER

In a Whole New Way

BEST EDUCATIONAL FILM & BEST HUMAN RIGHTS SCREENPLAY

Brothers of Babylon

BEST AMERICAN SCREENWRITER

Angel

BEST INTERNATIONAL FIRST TIME DIRECTOR

The White Chronicles: The Beginning? Book One

BEST NOVEL/MANUSCRIPT

Mashuga Wedding And Sheldon’s Jewish Christmas

BEST AMERICAN COMEDY OF THE YEAR

Searching for Camelot

BEST SOCIAL FILM & BEST AMERICAN ARTHOUSE DIRECTOR

Because We Are Too Many

BEST ARTHOUSE NARRATIVE FEATURE OF THE YEAR

THE BLANKET – Die schwarze Decke

BEST ORIGINAL ANIMATED SHORT FILM & BEST ORIGINAL IDEA

Under Tension

BEST ORIGINAL DRAMA, BEST INTERNATIONAL SCREENPLAY & BEST ARTHOUSE EUROPEAN FILMMAKER

I Waited for You

BEST INTERNATIONAL EXPERIMENTAL FILM

Stigma

BEST DIRECTOR (Category: International Documentary Short)

Normal Thoughts From A Strange Mind

BEST INTERNATIONAL TELEVISION SCRIPT

Appointment With The Plague Doctor, Lester Haywood

BEST ORIGINAL HORROR OF THE YEAR

La sposa nel vento

BEST EUROPEAN EDUCATIONAL FILM, BEST ORIGINAL SCREENPLAY (Category: Feature Film) & BEST ARTHOUSE EUROPEAN DIRECTOR OF THE YEAR

When the Withered Leaf Awakens

BEST CAST, BEST INTERNATIONAL INDIE FILM & BEST PRODUCER (Category: Narrative Feature)

The Duchess

BEST INTERNATIONAL DRAMA & BEST ARTHOUSE INDIE FILMMAKER

Innovation in Connecticut

BEST INTERNATIONAL DOCUMENTARY FEATURE & BEST ORIGINAL EDITING

I Rose

BEST INTERNATIONAL VIDEO POETRY & BEST INSPIRATIONAL FILMMAKER

Katabasis

BEST INTERNATIONAL FILM, BEST CINEMATOGRAPHY (Category: Narrative Feature) & BEST EUROPEAN DIRECTOR

Emergency Musical Response: Part 1 – Journey to Netherworld

BEST INDIE EXPERIMENTAL SHORT FILM, BEST ARTHOUSE INSPIRATIONAL FILM & BEST DIRECTOR (Category: Indie Experimental Project)

Dojo

BEST NARRATIVE SHORT, BEST AMERICAN DIRECTOR, BEST THRILLER, BEST ACTION & BEST CASTING DIRECTOR

Etnoragù

BEST EUROPEAN ARTHOUSE SHORT FILM, BEST DIRECTOR (Category: Indie Short) & BEST ORIGINAL SCREENPLAY SHORT

The Demon

BEST ORIGINAL ACTING & BEST EUROPEAN ACTOR

Omnipotent Resolution

BEST DANCE SHORT FILM OF THE YEAR, BEST INTERNATIONAL INDIE SONG, BEST ARTHOUSE SOUND DESIGNER & BEST HUMAN RIGHTS SONG WRITER

Nova and Beyond

BEST INTERNATIONAL DOCUMENTARY SHORT

Homage to Sokurov

BEST ARTHOUSE DOCUMENTARY, BEST EUROPEAN PRODUCTION COMPANY & BEST ORIGINAL FILMMAKER

Alta California

BEST AMERICAN FEATURE SCRIPT & BEST ORIGINAL STORY

Only You Can Save Her,” pilot teleplay of series THE BOY WHO EARNED HIS MAGIC

BEST PILOT TV

Blooming Sisters

BEST INDIE ACTRESS & BEST ORIGINAL ACTING

Non temere

BEST EUROPEAN MUSIC VIDEO & BEST SONG WRITER OF THE YEAR

Remnant

BEST ARTHOUSE NARRATIVE FEATURE, BEST FILMMAKER & BEST CINEMATOGRAPHY (Category: Film)

Belles Paroles

BEST HUMAN RIGHTS PROJECT

American Phantasmagoria

BEST ORIGINAL BOOK OF THE YEAR

Secrets of Montmartre 2

BEST AMERICAN SCREENWRITER OF THE YEAR (Category: Feature Script)

Gold, Gloves & Glory

BEST ORIGINAL ARTHOUSE FEATURE SCRIPT

An Ever After Drama

BEST ACTRESS, BEST AMERICAN INDIE NARRATIVE SHORT FILM, BEST ORIGINAL SCREENPLAY SHORT & BEST AMERICAN ARTHOUSE FILMMAKER OF THE YEAR

Walking With God

BEST ARTHOUSE NARRATIVE FEATURE & BEST INDIE CASTING DIRECTOR

Colombano le la Ventunesima Fetta

BEST HISTORICAL FILM & BEST EUROPEAN INDIE SCREENWRITER

Thankful

BEST ORIGINAL FEATURE SCRIPT, BEST AMERICAN SCREENWRITER & BEST ORIGINAL IDEA

Am I a painter?/Czy jestem malarzem?

BEST INTERNATIONAL ANIMATED SHORT FILM OF THE YEAR

Idiopathy

BEST ORIGINAL SCREENWRITER (Category: Feature Script)

Heart to Heart

BEST INTERNATIONAL SONG & BEST SINGER OF THE YEAR

BLIND FAITH: Moments of Missed Understanding

BEST EXPERIMENTAL FILM & BEST CINEMATOGRAPHER (Category: Experimental)

Can’t Figure It Out

BEST DIRECTOR, BEST PRODUCER & BEST EDITING (Category: Experimental)

Big Momma Earth

BEST COMEDY OF THE YEAR & BEST SCREENPLAY

Ye Ole Glorya

BEST DIRECTOR (Category: International Comedy)

Darker Realities

BEST INDIE FEATURE SCRIPT

Underwater Hazards

BEST ORIGINAL SCREENPLAY

Wrath On Evil

BEST INTERNATIONAL HORROR OF THE YEAR

Key to Key

BEST TELEVISION SCRIPT

The Assassin’s Apprentice 2: Silbadores of the Canary Islands

BEST INTERNATIONAL NARRATIVE SHORT FILM, BEST ORIGINAL CINEMATOGRAPHY & BEST AMERICAN SCREENWRITER

Routine

BEST AMERICAN DIRECTOR, BEST ORIGINAL IDEA & BEST INDIE PRODUCER

Amen-Amen-Amen: A Story of Our Times

BEST DIRECTOR OF THE YEAR (Category: International Documentary Feature)

The Stones of Rome

BEST SCREENWRITER & BEST AMERICAN ACTOR

The Pathos of Hamlet

BEST INTERNATIONAL ARTHOUSE SHORT FILM

Smell Of Pain-t

BEST EUROPEAN INDIE MUSIC VIDEO & BEST CINEMATOGRAPHER (Category: Music Video)

The Dragonfly Dreaming Project

BEST INDIE FILMMAKER (Category: Documentary Short), BEST ARTHOUSE EDITING & BEST CAMERA OPERATOR

Love Is My Gun

BEST MUSIC VIDEO & BEST ORIGINAL SINGER

Australia

BEST ARTHOUSE DIRECTOR OF THE YEAR (Category: Documentary Short)

Nossos Caminhos (Our Paths)

BEST INDIE SCREENWRITER

Luzinete

BEST ARTHOUSE NARRATIVE SHORT & BEST MAKE-UP

No Porn Avocado

BEST INTERNATIONAL ARTHOUSE COMEDY

Risveglio Planetario

BEST EUROPEAN ORIGINAL MUSIC VIDEO & BEST SOUND DESIGNER

Una Canzone Per Carla

BEST INTERNATIONAL ARTHOUSE SUPER SHORT FILM

Apples, Oranges, Lemons & Limes

BEST AMERICAN ARTHOUSE SHORT FILM & BEST AMERICAN INDIE CINEMATOGRAPHER

Sam and Dukes Big River Adventure

BEST ANIMATED SHORT

Monument to Love

BEST INTERNATIONAL DOCUMENTARY FEATURE, BEST ORIGINAL STORY & BEST CINEMATOGRAPHER (Category: Documentary)

Roses are Blind

BEST AMERICAN DIRECTOR & BEST THRILLER

Omnipotent Resolution

BEST MUSICAL, BEST ORIGINAL FILMMAKER, BEST ARTHOUSE SOUND DESIGNER & BEST INDIE NARRATIVE SHORT

The Demon

BEST INTERNATIONAL ACTOR & BEST EUROPEAN ARTHOUSE PROJECT

Ye Ole Glorya

BEST COMEDY SCRIPT

Big Momma Earth

BEST DIRECTOR & BEST INDIE PRODUCER (Category: Comedy)

The Assassin’s Apprentice 2: Silbadores of the Canary Islands

BEST INTERNATIONAL NARRATIVE SHORT, BEST ORIGINAL SCREENPLAY & BEST CAST

Routine

BEST ORIGINAL INDIE DIRECTOR, BEST STORY & BEST ARTHOUSE CINEMATOGRAPHY

An impossible secret

BEST DIRECTOR (Category: International Drama), BEST INDIE CAST & BEST ORIGINAL STORY

Downriver

BEST INTERNATIONAL DANCE FILM

I Waited for You

BEST ARTHOUSE DIRECTOR (Category: International Experimental Film) & BEST INSPIRATIONAL EDITING

Remnant

BEST ORIGINAL NARRATIVE FEATURE, BEST FILMMAKER (Category: International Picture), BEST PRODUCTION COMPANY (Category: International Narrative Feature) & BEST ORIGINAL SCREENPLAY

The Order

BEST EXPERIMENTAL FILM & BEST ORIGINAL EDITING

Drag Queens Of Emeralis

BEST AMERICAN FEATURE SCRIPT OF THE YEAR

Darker Realities

BEST ARTHOUSE WRITER

The Girl Made of Earth and Water

BEST INTERNATIONAL SUPER SHORT FILM & BEST DIRECTOR (Category: Super Short Film)

The way of Mizoguchi

BEST ARTHOUSE DOCUMENTARY, BEST EUROPEAN FILMMAKER & BEST INTERNATIONAL INDIE PRODUCTION COMPANY

Risveglio Planetario

BEST ARTHOUSE MUSIC VIDEO, BEST FILMMAKER & BEST INTERNATIONAL PRODUCER (Category: Music Video)

The Taste Of Rain

BEST FEATURE SCRIPT

The White Chronicles: The Beginning?

BEST INTERNATIONAL NOVEL

Emergency Musical Response: Part 1 – Journey to Netherworld

BEST INDIE FILMMAKER & BEST PRODUCER (Category: Experimental Film)

Not Without Gloves

BEST ORIGINAL EUROPEAN DIRECTOR & BEST EXPERIMENTAL CINEMATOGRAPHY

Eye of the Storm

BEST BIOGRAPHICAL FILM, BEST AMERICAN PRODUCER & BEST CINEMATOGRAPHY (Category: Documentary)

Alta California

BEST INTERNATIONAL SCREENPLAY

The Script, A Celtic Horror Tale

BEST ORIGINAL FEATURE SCRIPT & BEST AMERICAN SCREENWRITER

The Mongrel

BEST TELEVISION SCRIPT OF THE YEAR

Dojo

BEST INTERNATIONAL NARRATIVE SHORT, BEST ACTION, BEST SCREENPLAY, BEST EXECUTIVE PRODUCER & BEST PROP DESIGNER

Amen-Amen-Amen: A Story of Our Times

BEST INTERNATIONAL DIRECTOR (Category: Documentary Feature) & BEST HUMAN RIGHTS FILM

Maiden Tower, The

BEST INTERNATIONAL INDIE WRITER (Category: Feature Script)

No Porn Avocado

BEST ARTHOUSE DIRECTOR (Category: Comedy)

The Duchess

BEST ORIGINAL ACTING & BEST INTERNATIONAL CASTING DIRECTOR

Sheldon Mashugana gets Stooged

BEST ORIGINAL COMEDY

The Pathos of Hamlet

BEST INSPIRATIONAL SHORT FILM & BEST INTERNATIONAL FILMMAKER

The Stones of Rome

BEST INDI CINEMATOGRAPHY & BEST ARTHOUSE EXPERIMENTAL SHORT FILM

The Priory of Sion

BEST ORIGINAL IDEA & BEST ARTHOUSE SREENPLAY

Luzinete

BEST INTERNATIONAL DIRECTOR (Category: Drama)

Nossos Caminhos (Our Paths)

BEST SCREENWRITER (Category: Arthouse Feature Script)

Calm Lake

BEST INTERNATIONAL ACTION & BEST FANTASY OF THE YEAR

-Which writers inspire you the most?

E. Hemingway, Jack London, E. Remarque, Diana Springfield.

-What was the main challenge you faced while writing your work?

Good editors are expensive, and I’m a retiree. I’ve only been writing scripts for 4 years, and professional feedback is very important to me.

-Every screenwriter needs feedback after completing a project. Is there someone you always turn to for opinions as soon as you finish writing?

First, I share it with my son, daughter, and husband. I take their comments into account, make adjustments, and then give it to an editor for the main and final revisions.

-Are you currently working on a new script? If so, could you tell us more about it?

I’m currently working on three scripts: a story about three sisters in love with the same man, and two fairy tales – _”The New Adventures of Baton the Cat”_ and _”The Snow Queen’s Bracelet.”

-If you had to describe your writing style with three adjectives, which ones would you choose?

A storyteller’s style with a kind heart.

-Which writer inspires you the most?

Screenwriters:  Aaron Sorkin and William Goldman.   Novels:  Stephen Hunter, Thomas Harris and Douglas Preston and Lincoln Child.  I buy the latter authors in print usually hardback from Barnes and Noble to support the last major national bookseller.   All authors make more money in print and I want to support them.  Just as I went to Horizon in the theater because I wanted to support Kevin Costner.  I’ll also see Gladiator II there. 

-What is the main challenge you encountered while writing your work?

I know this may sound arrogant, but I don’t seem to have many limitations on my imagination or skill set in bringing ideas to fruition. That said, getting the novels into screenplay format has been difficult.  Having written both, I can tell you indubitably scripts are much more difficult to write– well– than novels.  I’ve written ten at this point but only really tried to market three of them, all listed at Film Freeway.  If anyone reads all three they’ll see on the first read they’re very different, but to me they all have the same elements:  romance, action/adventure, humor and usually some type of art, history or science.  Time and the research involved are also a challenge.  Two of my novels, unpublished as of yet, required me to query prominent professors, one on wormholes (Kip Thorne) and the other on prions (Stanley Prusiner).  I needed information I couldn’t find either online or in libraries and they were both definitive sources.  Both gave me personal replies that answered my questions.  Both subsequently won the Nobel prize in their fields. I’m not saying this to brag but to illustrate the lengths to which I’ll go to make my research accurate.  And I’m also very good at tracking down people and information, which was an advantage in my development career and is surely an advantage in screenwriting too.

–Every screenwriter needs feedback after completing their project. Is there someone you always turn to for their opinion as soon as you finish writing?

I have two screenwriter friends, one in LA who has won tons of festivals, done multiple shorts, and works in management at a prominent LA based festival.  Per her suggestion I just joined the Blacklist a few days ago.  We’ll see what happens.  The second one lives in Austin and is in my critique group.  I manage it and we meet twice monthly.  He’s the only experienced screenwriter in the group as he was a paid but uncredited writer on a major film, and used to be a script doctor.  He’s given me great feedback.  Funnily enough, when I pitched to him my idea of bringing in Robin Williams in da Vinci and Me to teach God to be a comic, he was negative on the idea.  I saw it clearly in my head, however, and cried for weeks when Robin died.  I wanted to give him a tribute as well as da Vinci, and when this screenwriter read the 12 page sequel opener, he ‘loved’ it. The other four in my critique group are all very good writers but didn’t have much feedback on the two scripts I printed for them because they liked them and were not sure what to critique.  I can say I never market a rough draft; I revise multiple times before I even take it for a critique.  I’ve also received coverage from several film festivals but they seldom make the same notes.   I’m just not a formulaic writer, either for my novels or scripts, which I think has made it difficult for me to make all the plot points clear.  I’m working on a rewrite now for the Blacklist. 

  –Are you currently working on a new screenplay? If so, can you tell us more about it?

I think I’ll probably write the first ten pp of the last of the trilogy, Rafael and Me.  Da Vinci and Me, if it gets written, will be considerably different to Heaven’s Hero, its source material, especially as I’ll bring da Vinci to our time, unlike in the book.  I already have multiple scenes in my head, such as having a scene where da Vinci has to borrow a helicopter to help defeat the antagonist.  I’m attaching a rendering of his machine, just delete if you think it doesn’t fit your format.  As for the last story, Rafael and Me, I haven’t come up with a logline yet I love but a kinder, gentler Gladiator meets Star Wars fits pretty well.  Rafe will be given the same choice as Mike and Honor:  transport to another era on an important mission for humanity.  But he’ll be going to the year 3000 when humanity has traveled to the stars.  I’m an optimist so I believe we’ll make it that far, hopefully much improved as a species.  In my story humanity has evolved into empaths.  Artists, engineers, architects, scientists.  Because of the earth wars that sent them there they abhor violence and are about to be conquered by an alien race who have based their world building on ancient Roman ideals and ruthlessness.  Rafe, homeless and unhappy back in modern NYC because he misses the SEALS that unfairly cashiered him out of their ranks, is in God’s plan to teach them to fight (again, shown in the Sistine Chapel).  In the process, he’ll fall in love with the lead empath’s daughter.  It may sound like a lot, but I know this last story will have the same elements as the others and that I can pull off this unusual combination.  I have the first chapter and a synopsis that my editor offered for, but we couldn’t come to terms.  Many of my reviews of Heaven’s Rogue and Heaven’s Hero mention a request for Rafe’s story.  Author’s note: Whether Hollywood considers me small potatoes or not, I know I’m a professional fiction writer.  These days I only write something I think I can market.  I’m working on a virus thriller now that will be the first of a series.  Of course if I sell Michelangelo and Me I’ll put it aside and concentrate on screenwriting, but I’m not just going to twiddle my thumbs lol.  I’ll be writing until the day I die and there’s much longevity in my lineage.

  –If you had to describe your writing style using three adjectives, which ones would you choose?

Believable, entertaining, emotional.

-Which writer inspires you the most?

Shakespeare , Rimbaud and Baudelaire . With them visit all spheres of life and the celestial in writing that is the Verb. So when the immensity unfolds , open yours eyes wide to marvel. To write poetry in my screenplays is to love life and embrace it all its dimensions . Creativity demands the salt of life , caravel of words , I feel like a woman !

– What is the main challenge you encountered while writing your work?

No challenge ! No support except God . Dolls that float in time . Contemplative , I smell the sky touch the stars and my writings rest in the palm of God . From then on the word emerges from the living in this writing which gives birth to beauty , inkjet plays with the marvelous .

-Every screenwriter needs feedback after completing their project. Is there someone you always turn to for their opinion as soon as you finish writing?

Not feedback ! I only my soul to give son many graces in the word life ! This power that is given to me ! The grace of living the infinite and to live it fully in this intoxication of the dream that becomes reality !

-Are you currently working on a new screenplay? If so, can you tell us more about it?

Yes after the one on Rennes the Castle , the Priory of Sion and the treasure of Abbey Sauniere published by Edilivre Editions who got 230 Awards Winner and the last on Camille Claudel and Rodin , now I write a new screenplay about the marvelous ! Because the cement sky of my creativity plays with density in various tones. Walk near stars , it’s opening the window of my creativity for a hundred years . My thoughts fly away like an angel kneeling before God ! Echo of his cross , melodious caress
of the sky , give the best of yourself . With God, I see everything in greatness and majesty . Thus when reading the living the Grail ignites.
“ Rimbaud , Eternity has not passed !” I find it in the smallest pores of life and in my creativity . Vines of grapes , red white wine desire, the blood of Christ !”’

-If you had to describe your writing style using three adjectives, which ones would you choose?

Poetic , mediumistic , philosophical, historical .

An impossible secret

BEST DIRECTOR (Category: ARTHOUSE NARRATIVE SHORT) & BEST ORIGINAL SCRIPT

Omnipotent Resolution

BEST MUSICAL SHORT, BEST POETRY FILM & BEST DIRECTOR (Category: Dance Film)

Ye Ole Glorya

BEST INDIE COMEDY & BEST SCREENPLAY (Category: Comedy)

Big Momma Earth

BEST DIRECTOR (Category: Comedy)

Sous Tension

BEST INTERNATIONAL DRAMA & BEST EUROPEAN DIRECTOR OF THE YEAR

The Brawl

BEST HUMAN RIGHTS SHORT FILM & BEST INDIE PRODUCTION COMPANY

Effata

BEST INTERNATIONAL SINGER, BEST ARTHOUSE SONG & BEST ORIGINAL MUSIC VIDEO

Dreaming Vincent

BEST INDIE DIRECTOR (Category: ARTHOUSE EUROPEAN SHORT FILM) & BEST EUROPEAN CAST

Roses are Blind

BEST DIRECTOR, BEST SCREENWRITER & BEST PRODUCER OF THE YEAR (Category: THRILLER)

THE BLANKET – Die schwarze Decke

BEST SUPER SHORT FILM & BEST DIRECTOR (Category: Indie Super Short Film)

Cactus Run

BEST FEATURE FILM SCRIPT

Leaded dead: A Detective Gabrielle Lax Mystery – BOOK 2

BEST INTERNATIONAL TELEVISION SCRIPT

Tony N’ Tina’s Wedding

BEST ARTHOUSE PRODUCER & BEST AMERICAN ORIGINAL DIRECTOR

Risveglio Planetario

BEST DIRECTOR (Category: EUROPEAN MUSIC VIDEO)

The Priory of Sion

BEST EUROPEAN WRITER & BEST ORIGINAL IDEA

Hot Afternoons Have Been in Montana

BEST VIDEO POETRY & BEST INSPIRATIONAL FILMMAKER

Not Without Gloves

BEST INTERNATIONAL EXPERIMENTAL SHORT FILM, BEST INSPIRATIONAL INDIE FILMMAKER & BEST ARTHOUSE EDITING

The Esteemed Priority

BEST ANIMATED CINEMATOGRAPHY, BEST ORIGINAL FILMMAKER, BEST INSPIRATIONAL SHORT FILM

Remnant

BEST ARTHOUSE NARRATIVE FEATURE, BEST INTERNATIONAL DIRECTOR (Category: Film), BEST CAST & BEST ORIGINAL CINEMATOGRAPHY

Key to Key

BEST INTERNATIONAL SCREENWRITER (Category: Television Script)

Amen-Amen-Amen: A Story of Our Times

BEST HUMAN RIGHTS DOCUMENTARY FEATURE

Brothers of Babylon

BEST FEATURE SCRIPT & BEST AMERICAN WRITER

Hoplove – a journey through the hop year at Lake Constance

BEST DIRECTOR (Category: ARTHOUSE DOCUMENTARY SHORT)

Sinestesìa

BEST DIRECTOR (Category: MUSIC VIDEO) & BEST ARTHOUSE PRODUCER

The way of Mizoguchi

BEST ORIGINAL DOCUMENTARY FEATURE, BEST EUROPEAN FILMMAKER & BEST ARTHOUSE EDITING

Michelangelo and Me + Da Vinci and Me opener

BEST INTERNATIONAL FILMMAKER, BEST ARTHOUSE PRODUCER & BEST INDIE SCREENWRITER

Blood & Betrayal

BEST INDIE TELEVISION SCRIPT & BEST ORIGINAL IDEA

Sheldon Mashugana gets stooged

BEST INTERNATIONAL COMEDY OF THE YEAR

Secrets of marguerites

BEST ARTHOUSE SHORT FILM OF THE YEAR, BEST INDIE FILMMAKER, BEST EDITING & BEST ORIGINAL STORY

Alta California

BEST AMERICAN WRITER

And We Were Left Darkling

BEST INTERNATIONAL FEATURE SCRIPT

Dojo

BEST INTERNATIONAL SCREENPLAY SHORT, BEST ORIGINAL NARRATIVE SHORT FILM, BEST ACTION MOVIE & BEST EXECUTIVE PRODUCER

Am I a painter?/Czy jestem malarzem?

BEST ANIMATED SHORT FILM & BEST ORIGINAL ARTHOUSE DIRECTOR

Colombano e la 21esima Fetta

BEST EUROPEAN ORIGINAL FILM OF THE YEAR

Luzinete

BEST ORIGINAL DIRECTOR & BEST DRAMA SCRIPT

Nossos Caminhos (Our Paths)

BEST INTERNATIONAL INDIE FEATURE SCRIPT

The Assassin’s Apprentice 2: Silbadores of the Canary Islands

BEST INTERNATIONAL NARRATIVE SHORT FILM & BEST ORIGINAL SCREENWRITER

Routine

BEST AMERICAN DIRECTOR, BEST INDIE ORIGINAL ACTING & BEST INDIE PRODUCER

The Demon

BEST EUROPEAN INDIE PROJECT & BEST ORIGINAL ACTING

Thankful

BEST INTERNATIONAL SCREENWRITER, BEST ORIGINAL IDEA & BEST ARTHOUSE FEATURE SCRIPT

Katabasis

BEST DIRECTOR, BEST CINEMATOGRAPHY, BEST EUROPEAN SCREENPLAY & BEST CAST

Monument to Love

BEST INTERNATIONAL FILMMAKER (Category: Documentary Feature) & BEST CAMERA OPERATOR

Balkan Jazz

BEST ARTHOUSE DOCUMENTARY OF THE YEAR

Virulence

BEST ORIGINAL SCREENPLAY OF THE YEAR

Eye of the Storm

BEST DIRECTOR (Category: Documentary Feature), BEST PRODUCER & BEST ARTHOUSE BIOGRAPHICAL FILM

The Stones of Rome

BEST ARTHOUSE ACTOR & BEST ORIGINAL DIRECTOR

The Pathos of Hamlet

BEST POETRY NARRATIVE SHORT & BEST AMERICAN INDIE FILMMAKER

Asmin (In It Now)

BEST INDIE SHORT & BEST INDIE EDITOR

Spike Game

BEST INDIE CINEMATOGRAPHER & BEST ARTHOUSE PRODUCTION COMPANY

We love Everywhere

BEST EUROPEAN FILM OF THE YEAR

No Porn Avocado

BEST EUROPEAN COMEDY OF THE YEAR

Wisdom of the Waves

BEST DOCUMENTARY SHORT OF THE YEAR

-Which writer inspires you the most?

I was lucky enough to be the son of teachers, and I remember as a child many books and collections in the library at home. I remember the book series ” World’s Best Reading” by the Reader’s Digest and the 1980’s collection “Tesori della Narrativa Universale” by De Agostini. From this collection I chose the first book I read entirely: “Tales” by Edgar Allan Poe, a piece who continues to influence my fantasy until today. During my adolescence I was also inspired by H.P.Lovecraft, with the cycle of Cthulhu’s Myths, especially with “At The Mountains of Madness” story, by “The Old Man and the Sea” by Ernest Hemingway, with his dry prose and the use of understatement and by Virginia Woolf’s “To the Lighthouse”, for its wonderful pages fully of characters introspection. More recently, my scripts are influenced by Murakami Haruki, especially the one of “IQ84” for the personal magical realism you can breathe in its pages (and that reminds me the Kurosawa’s and Fellini’s visual style), and by George R.R. Martin for his great ability to show and manage multiple characters. Indeed reading “A Song of Ice and Fire” you can literally learn to present and develop characters in a TV series! I also follow the works of Taika Waititi, Dai Sato, Hideaki Hanno, Phoebe Waller-Bridge and the creations of showrunners like Vince Gilligan (“Breaking Bad”), Tony Gilroy (“Andor”), Craig Mazin (“Chernobyl” and “The Last of Us”) and of course, Damon Lindelof (“Lost”).

–What is the main challenge you encountered while writing you work?

When you have an idea in your mind, whether you want to write a novel, a poem, a song or you want to make a painting, a film or a theatre show, you will always have to deal with writing, I would say almost with the purity of calligraphy, according to master Zang Yimou in the movie “Hero” (2002), that makes Nameless warrior say: “Calligraphy and sword art are alike. They are born from the harmony between the strength of the wrist and the feeling of the heart.” To write you must have wrist (the technique) and you must have heart (the feeling). In other words, you need to encapsulate the main idea and develop it into a form that you will communicate to the public. Writing is already seeing. That’s the great challenge. But it is also an opportunity we can take today as new boost, thanks to the social network’s power, a circuit of independent festivals and online reviews that can exponentially multiply the distribution channels. When you write and when you shoot, try to think in artistic terms but also in cross-media and multiple platform terms, you must prepare an expanded narrative, that helps the audience to “peek” at the work with curiosity from more points of view and perspectives. From this point of view, my crew and I are proud to be part of Wildfilmmaker, the first global network of independent artists, actors and directors. This is a constantly evolving project, which takes the historical and artistic roots of cinema and likewise aims to radically renew both selection processes and production, thanks to the active collaboration of an international community. So Wildfilmmaker enhances cinema. According to Michele Diomà, the WILD FILMMAKER project creator, this happens because our entire community loves cinema. More concretely, the challenge I had to face as a writer was the script of the Tv Series Boombox (The God of The Dance). I started from the 2022 short film, winner of several international awards, which had an open ending, a cliffhanger. The audience that always asked me the same question: “Why the boombox radio disappear?”. To answer this question I had to build an entire world. A fantasy world well revelead by the pitch-deck of Boombox Tv Series, also created with the help of generative AI software and awarded from Wildfilmmaker network. Boombox TV-Series world building involves the introduction of new powerful characters into the script, the construction (and destruction) of bonds between them, the creation of a credible villain, but above all an episode structure that consistently manages the inciting incident, main protagonists reactions, conflict and story resolution. It was very complex to manage the interactions between the characters, their introspection and characterization, the cliffhanghers on episodes ending, always focusing on the creativity of the anthology plot and the coherence of the running plot. I tried to do all this while maintaining my narrative style, which combines comedy, drama and a touch of hard sci-fi veins, here accentuated by the fascinating scientific context of quantum physics. We also caught two great challenges: the translation into words of a universe made up only of music, noise and sound (the Universe of Sound) and the use of direct cross-media interludes in the plot, such as the intervention of influencers and youtubers.

-Every screenwriter needs feedback after completing their project . Is there someone you always turn to for their opinion as soon as you finish writing?

My writing process frequently begins with a dream that merges and mix with a film or video I have seen in the past. This is what happened for my last short film, Dreaming Vincent. Kurosawa’s Dreams Episode 5 was grinding in my brain, until I made my version of the movie! Usually I fix the ideas that come from my dreams on the paper, connecting them with arrows, as in a brainstorming process. Later I save everything on my smartphone, to have a logical place where ideas can “flow” and “grow” at any time. So I take note of them wherever I am: at an exhibition, at the cinema, in a theatre, stadium or even at the supermarket… At this stage, I’m having conversations about writing process and narrative ideas with three people: my brother Igor, who has a great literary culture, Simona, my producer with whom we develop both narrative and marketing ideas, and not last, my nephew Francesco, who is 15 years old, when we discuss about the future of cinema and TV series, but also about the evolution of expanded narratives of masterpiece videogames like “The Last of Us”, “Red Dead Redemption” and especially “Detroit Become Human”. Francesco gave me some very useful suggestions on the readability of the pitch-deck of Boombox Tv-Series. Naturally, once the script is complete, I check it with all of them, with most of my crew, including in particular Luca Bottello and Alberto Cerri, and also with the WILD FILMMAKER community!

-Are you currently working on a new screenplay? If so, can you tell us more about it?

The exergue of this interview with the quote from Michelangelo’s Rhymes is not a random incipit. Michelangelo replied in 1545-46 with some verses, entitled “Buonarroto’s answer” to a famous quatrain of praise by Giovanni Carlo Strozzi, in which the statue was invited to wake up to be seen animated. “Caro m’è ‘l sonno, e più l’esser di sasso, mentre che ‘l danno e la vergogna dura; non veder, non sentir m’è gran ventura; però non mi destar, deh, parla basso.” Michelangelo made the statue itself pronounce these verses, highlighting what was the reason for the serenity of the night compared to the restlessness of the other statues. The statue prays not to be awakened by its serene, creative and “prolific” sleep. We find this in the opening theme of the anime “Ergo Proxy” (2006) by Manglobe Studio, universally recognized as a cult for deep introspection of characters and mixing traditional animation and CGI. At this link you can see the opening of Ergo Proxy anime, “Kiri” of Monoral: https://www.youtube.com/watch?v=0AiiT6IO_LA The ending theme of the anime is even “Paranoid Android” by Radiohead. The anime was written by the visionary master Dai Sato, who described the subject in a 2005 interview: “A group of robots become infected with something called Cogito virus and become aware of their own existence. So these robots, wich had been tools of humans, decode to go on an adventure to search for themselves”.

–If you had to describe your writing style using three adjectives, wich ones would you choose?

It’s not easy to explain my writing style in three words, but I would say my scripts are always pictorial, musical, and sensually misterious.

-Which writer inspires you the most?

I cannot say my writing follows a particular writer’s style but there are a few worldwide known authors like Gabriel Garcia Marquez, Jose de Alencar and Graciliano Ramos to mention but a few whose works like Hundred Years of Solitude, Iracema and Vidas Secas have left a significant mark on me.

-What is the main challenge you encountered while writing your work?

There is always so much to say and keeping the focus on what has to be said and what can be sacrificed.

-Every screenwriter needs feedback after completing their project. Is there someone you always turn to for their opinion as soon as you finish writing?

In the past I have put a huge amount of trust on a few people to read my script, a script that is so intimate and close to me only to have this trust misplaced. If you give your work for someone you trust to give you a feedback you expect that person to read it. This is a matter of respect! I am much more careful now on whom I bestow my trust. Thankfully I have e a few friends that haven’t disappointed me. As a screenwriter is crucial to have the people you know will give the importance and attention your hard work deserves!!

-Are you currently working on a new screenplay? If so, can you tell us more about it?

I have just finished my feature script Nossos Caminhos (Our Paths) which is a story based on true events of two sisters separated at birth but reunited sporadically throughout theirs lives. Despite having similar beginnings their paths take different directions with one dying of cocaine overdose while the other through resilience and determination manages to conquer her dreams.

-If you had to describe your writing style using three adjectives, which ones would you choose?

Bold, Evocative, Poetic