Category: Senza categoria

-What has been the greatest difficulty you faced in producing your project?

This film was made with unused footage from a previous project. In this particular case there were no particular difficulties. I was presented with this idea while reviewing all the footage in the archives.

-Do you think the film industry today has been damaged by political
correctness?

Political correctness is a contrivance contrived with the specific intention of not telling things as they really are. I am not politically correct, I am politically correct ( in the etymological sense of the word ) and the film industry should return the art of film to the hands of artists.

-What was the greatest source of inspiration for creating your project?

The feminine universe and the depth that lies beneath it.

-If you could ask a question to a great director from the past, who
would you like to talk to and what would you ask them?

I think it would be interesting to reverse the parties. I am sure that a filmmaker from the past ( Tarkovsky for example ) addressing a contemporary mainstream filmmaker would give him a giant question mark.  

-What do you think of the Wild Filmmaker platform?

Wild Filmmaker represents one of the few realities able to give voice to independent and extraordinary artists ( there are many ) who otherwise would have no way to express their creativity freely and without pressure. One of not many opportunities to reaffirm that filmmaking is not dead and that, indeed it still has a lot to give.

-What has been the greatest difficulty you faced in producing your project?

The greatest difficulty I faced in producing my project was finding the right balance between creative vision and my x always telling me to stop dreaming and tell everyone, I was a wanna be and an epic failure… It was challenging to bring my artistic vision to life while managing limited resources effectively.
From being put down every day… Telling me I am going to go no where… This made me more determined to succeed…
In My vision and go forward.

-Do you think the film industry today has been damaged by political correctness?

I believe that the film industry today has been influenced by political correctness. While there is a push for more inclusive and diverse storytelling, there are instances where excessive political correctness may hinder creative freedom and authentic storytelling. Finding the right balance is crucial for the industry’s growth and evolution.

-What was the greatest source of inspiration for creating your project?

The greatest source of inspiration for creating my project was personal experiences and emotions. Drawing from real-life stories and human connections fueled my creativity and gave depth to the characters and narrative. I have been blessed to have actors that go and went far beyond my expectations. My actors , Tony Nicholas, Jenny Meehan, Hayden Clarke,  Alice Benfer,
Brian Jewell, Tina Currah , Marcel AG, Sue Dobbins , Tarynn Roach, Murray P and Mark Wainwright…

Have brought Catalysm Down Under to life with there amazing skills of acting…
And have fueld this feature film with plenty of action and suspense.

-If you could ask a question to a great director from the past, who would you like to talk to and what would you ask them?

If I could ask a question to a great director from the past, I would like to talk to Stanley Kubrick. I would ask him about his meticulous attention to detail and his unique approach to storytelling. Understanding his process and creative decisions would be enlightening and inspiring.

-What do you think of the Wild Filmmaker platform?

I think the Wild Filmmaker platform is a valuable resource for filmmakers at all levels. It provides a supportive community, opportunities for networking, and access to resources and knowledge sharing. The platform fosters creativity, collaboration, and growth within the filmmaking community.

-What has been the greatest difficulty you faced in producing your project?

ALTA CALIFORNIA, an Award Winner in the Wild Filmmaker Competition, is a challenging script that explores the history of the “Mission Era” in California. The idea for my exploring this topic developed soon after my immigration to the US. Born and raised in Cardiff, Wales, I had a preconceived European
way of studying historical events. History was not just a series of unquestionable and unquestioned facts. Those “facts” were often as interpreted by the “victors.” As such, they were open to a challenge by later
ages. I expected warring plots, domination, and the political rivalries that dictates history.
After emigrating to the US, I took at class on American history. It comprised solely of manifest destiny and the Constitution. Nothing more. And so began my exploration of the clash between the Spanish conquistadores and the indigenous peoples of California, which resulted in ALTA CALIFORNIA.
Despite the script’s many national and international awards, I am often confronted by that niggling reality that some critics may not be willing to confront the topic. My answer as of this writing is that many are willing, but some are not.

-Do you think the film industry today has been damaged by political correctness?

Historical scripts such as ALTA CALIFORNIA must find that sweet spot, that exists between truth, such as it is, and entertainment. Some of the critiques I have obtained reveal the reader’s unwillingness to confront truth, saying instead, very well-written script but is the film industry prepared to accept the topic: a script that confronts the honest treatment of the indigenous peoples by the Spanish padres and soldiers?

-What was the greatest source of inspiration for creating your project?

I wanted to know, to really know what had happened. What was the truth behind the sanitized story, the fiction, between first contact between the indigenous peoples and the European invaders. What I found, and what my script speaks to, is that those men and women who seek an alternative, humane treatment for the native population are hidden beneath, even obliterated, by the chosen “truth.” And so, the history of this period is dominated by the “Good Padre” Junipero Serra. Captain Felipe de Neve who challenged Serra’s dictum by presenting an alternative vision for the future of California’s native population is
forgotten. My central character, Paco Palido, in ALTA CALIFORNIA is not, however, either of these figures. Instead, I created a fictional character, a semi-indigenous young man ripped from his mother and tribe. His is an existential journey, trying to discover who and what he is in this radically evolving, historical period? All safeguards for attempting to live a life worth living have been stripped from him. These new ways of seeing place him as “the other.” The script is divided into three sections.

-In the pre-Santa Barbara (Chumash) section, we learn of Paco’s past: village destroyed, mother murdered and life in the Franciscan school. We also witness the attitude of some Spanish soldiers to
natives, especially the women.

-Chumash period. Paco is captured by the Chumash. Here he learns the truth of his people and their beliefs.

-The post Santa Barbara section explores the future, post-Spanish era, for the mission Indians (“neophytes”). Serra has one vision, Neve (supported by King Carlos) another. Only one can succeed.
Paco learns of the subterfuge Serra adopts to assure his vision succeeds.

-If you could ask a question to a great director from the past, who would you like to talk to and what would you ask them?

I would love to meet any director who has struggled to bring an historical past, particularly a meaningful, controversial one, to a contemporary audience. For example, what thoughts went through Werner Herzog’s mind as he filmed “Aguirre, the Wrath of God”? How did Martin Scorsese decide upon “Killers of the Flower Moon”? What obstacles did he face, historically and artistically? How did he overcome them? Did you consider the audience’s reaction to your interpretation of a particular historical moment when making your movie? What were the obstacles?

-What do you think of the Wild Filmmaker platform?

I am delighted there is a Festival that recognizes many writers seek truth and meaning in their work. As Horace advised in his “Ars Poetica,” artists should strive to both delight and instruct. In ALTA CALIFORNIA I explore the question, What is historical “fact”? Is it only, as many historians note, the version presented by the victors? I thank Wild Filmmaker for recognizing I was dealing with a transitional moment in history. I am not an historian; I am a dramatist, exploring that historical moment through my characters. As the quotation says, “Before Columbus, your god did not exist in America!” Thank you, Wild Filmmaker, for recognizing I was trying to explore that moment in ALTA CALIFORNIA.

-Who is Lucio Arese?

I’m an architect, composer, guitarist, pianist, visual artist and award winning filmmaker. I work as a professional in various fields of visual arts and film since 2008. My work has been showcased at many festivals over the years, including onedotzero Adventures in Motion, Ars Electronica, SIGGRAPH, Interfilm Berlin, SICAF, FICUVAQ, The Lovie Awards, MTV, Vimeo Staff Picks, The Webby Awards, the 23rd Saatchi New Directors Showcase and many others.

-What inspired you to become a visual artist?

I had a solid musical formation in my youth and a definite creative attitude since a very little age. Parallel to my studies in piano, composition and vocal music I graduated in architecture, where I developed a great passion for 3D graphics applied to architectural design first, and pursuing it on my own after. While completing my studies, a strong inspiration to specifically pursue a career as a visual artist came to me from two works of the early 2000s: Gantz Graf, famous music video of an Autechre song created by Alex Rutterford, and Sometimes, a short film by the French collective Pleix.

-Do you think the cinema can bring a change in the society?

I believe that cinema has the enormous power to make the spectator identify with the most diverse situations, to make him experience profound emotions and stimulate countless reflections. So yes, cinema has the power to strongly influence its audience, the public and in some way society, and not only for the good. I also see a lot of bad cinema, which creates bad consequences for the public. That’s why I think filmmakers and the whole industry in general should feel a stronger sense of responsibility towards the consumers they create for.

-What would you change in the world?

I will respond with a series of cliches, but I would love to see the world as a safer, more cooperative place, with more equality and prosperity for all. Unfortunately, in today’s world, new walls and iron curtains are being put up. Unfortunately, I am not optimistic when I think about where this will bring us.

-Where do you see the film industry going in the next 100 years?

I think this is an impossible question to answer, especially considering the speed at which technological innovation moves today. I think we will be in a very different place than we are now. Perhaps some forms will retain a resemblance to what we have today, but many things will be totally different. I would certainly be very curious to be here in a hundred years and see what has happened!

-Who is Margreet Kramer?

I am a Dutch cinematographer and  I took documentary courses for 3 years before going to Art School for 5 years in Amsterdam The Gerrit Rietveld Academy. Graduated at the Audiovisual Department. My themes are broadly: seemingly insignificant rituals/actions of everyday life. Here I literally zoom in on human actions with my camera.     

-What inspired you to become a filmmaker?

For me it is very important to look differently at the world around us as it were in micro format to zoom in on human actions and execute it macro. Film is about time and movement which I find exciting.  It’s magic. Inspired by Ingmar Bergman, Agnès Varda, Jeanne Dielman, Tarkovsky and Chantal Akerman

-Do you think that cinema can bring a change in the society?

Cinema can definitely have a lot of influence on the way we think and act. The ability to touch souls in the briefest of moments and contemplation.

-What would you change in the world?

I would like to change the world in its speed and amount of stimuli and information. So being more aware of the small.

-Where do you see the film industry going in the next 100 years?

I hope the film industry will develop more attention to Art Film but for now I don’t see it happening so soon. There are no less cinemas in the future. Which I regret. Everyone watches at home with a laptop or projector. And in The Netherlands there is less money to make nice productions.

-How was your project title ‘The Panharmonion Chronicles’ born?

The title of my graphic novel and music video is made of three parts. The first one is “The Panharmonion”. I’ve imagined that this could be a harmonic frequency that contains the fundamental “code” of our reality. This frequency could be accessible by some humans, under rare circumstances and expressed through a musical score, which then could be shared with everyone on the planet.

“Chronicles” is from the Greek word “Khronika”. It usually refers to the record of past events, real or imagined. As stories are usually produced by “cause” and “effect” I’m wondering whether there could be circumstances where causality could be reversed. It’s a complicated mental exercise but fascinating on a creative and philosophical level.

“Times of London” is a play on words. This refers directly both to my fiction story and to official history. When we talk about London, we usually assume that it is the city, capital of England. But there is another “London” located in Ontario, Canada. It is also a city with a river called Thames, located between Detroit and Toronto. The city and the river were named in 18th century by British general John Graves Simcoe, as a statement to claim Canada as a colony. In my novel, I postulate an alternative history where events are changed in the 19th century and therefore in the 21st century, with surprising results. Because history in my story is changed by the actions of the protagonist, we follow an audio-visual narrative that blends technology, fiction, and reality into an aesthetic style that I call “Electro-Steampunk”.

-What goal do you dream of achieving?

The Panharmonion Chronicles is a long-term project. I started writing the story five years ago and more than 2000 pages later, I’m still writing. There is a main story arc covering 160 years with many branches into the past and the future. Each branch can be developed with specific characters, locations, and events. The first story “Times of London” is now out as a 200 page graphic novel. The second one, “Ghosts of Sound”, is being illustrated now and will be published early 2025.

In the meantime, I’m polishing a script for a pilot and an outline for an eight-part TV show, for which I’ve started creating a library of visual assets for props and set design. I’ve also written a few songs and electronic music tracks to create a particular soundscape for the story. In future, through my production studio Supanova Media, I want to collaborate with other international professionals to develop the multiple strands of this fictional world in as many media as possible, including games, animation, feature films and live performances.

Ultimately, I want “The Panharmonion Chronicles” to fund a charitable platform to sponsor literacy and education in art and science, across the world, especially for disadvantaged demographics.

-)What inspired you to create your project?

It’s an idea that had been evolving over 10 years. It first started to form after I visited Toronto and Montreal several times. The two cities are relatively close geographically but are culturally two worlds apart. I was intrigued enough to start researching the history of Eastern Canada and what I found was a complex web of colonial conflicts over centuries juxtaposing the actions of Britain, France and the USA which were conflated with immigrants from all over the world and with a large diversity of First Nations indigenous people. So, I started writing a novel based on that, when separately, as an interior designer, I was also working on the development of several Victorian houses in the borough of Camden, London. The idea was to create a boutique hotel based on an alternative history of Scotland. As we were digging the basement I found a strange artefact and could not find any explanation or references for it in the British Library. So, I decided to create my own origin story and connected the object to a new plot in my existing novel, which became a time-travel mystery thriller.

Then, because the main protagonist of my novel is a music composer, I thought it would be interesting to write songs and produce music related to The Panharmonion Chronicles and start filming music videos. The first video is a synthesis of many arts coming together, what in German is called “Gesamtkuntswerk”. I’m the writer, director, producer, editor, actor, set designer, sound, special effects and props designer. You could say it’s the ultimate indie microfilm, but also it’s much more than a music video: it’s a teaser and “proof of concept” to give a flavour of what a future film or TV show might look like.

-Which awards have your project won?

The music video is still going around the festivals, having been selected by many. So far, it has won “Best Music Video” from “8 & HalFilm Award”, “International Gold Awards”, “London Movie Awards”, “Milan Gold Awards”, “4 Theatre Selection” and “Cine Paris Film Festival”. It also won “Best Sci-Fi short” at the “Florence Film Awards” and “Best Production” at the “Europe Music Video Awards”, “4 Theatre Selection”, and “Cine Paris Film Festival”.

-Who is William R.A. Rush?

That’s a question I am still trying to answer. I have been a trial attorney for nearly twenty years. I have education backgrounds in law, eastern philosophy, psychology, creative writing and journalism. I have three daughters; Victoria, Mary and Adriana. I have an incredibly talented and supportive wife, Xxena N. Rush. All of these life experiences professionally, educationally, as a husband and father, have shaped my filmmaking. I started shooting my first short film, the Stephen King adaptation for “One for the Road” in late 2022. I hope, if I continue to work hard and improve my craft, that I can simply answer this question as follows: I am a husband, father and filmmaker.

-What inspired you to become a Filmmaker?

It was always a dream, it seems. My first theatrical experience was a second run showing of E.T. sometime in 1985, when I was around four years old. I was absolutely captivated, entranced. I found myself lost in the world of E.T. I was roughly the same age as Gertie, played so perfectly by Drew Barrymore. There was this girl, my age, and she as running around in a troubled family, caught up in the magic of hope. I was caught up in that magic as well. The first time I saw the art of film, the complex innerworkings that created the final work caught my eye. I began to see film very differently. Other films began to force me to look beyond the picture to how it was made. “Jurassic Park”, “The Departed”, “The Matrix”, “Inception”, “Amelie”, “Wild Tales” and, in particular, “Mulholland Drive” were primary examples of this immersion into the world of what goes on behind the scenes. It became a fascination. Once the pandemic hit, I started watching the films I’d always wanted to experience. With every film, this passion to know, to learn, to do, grew stronger. Finally, episode 5 of Mike Flanagan’s “The Haunting of Hill House” solidified it for me. I decided it was “now or never”. My wife, Xxena N. Rush (magnificent producer) encouraged me. In fact, Mike Flanagan himself encouraged me. I reached out to Stephen King’s office and requested the rights to “One For the Road”, pitching my ideas for it. Less than two days later I had a written contract. I had one year to write, cast, direct, edit and finalize the film. I did it, and it was pretty good.

In the back of my head I knew I could do better, I knew I had a better film in me. I had been writing “Group”, I finished it in short order. I wrote three additional features in 2024. I finished “Group”, shot “Immersion” and am scheduled to shoot “Fetish” in September. I truly believe every film I ever enjoyed planted a blossoming seed into my mind that fueled this desire in me. All I want to do is be a good husband, a good father, and make films. That is how I became, and hopefully shall remain, a filmmaker.

-Do you think the cinema can bring a change in the society?

It’s the naïve answer, but I do. Art is important. I see finished cinema as an artistic nirvana. This applies to any film, even those people deride or that are unsuccessful. In order to get from an idea to a film, so many artistic disciplines and masters must work together, somehow. You must have, as the foundation, a compelling story that’s understandable or interesting to a random reader. That story must be written in the language of cinema. You then need the organizational “big picture” thinking of producers to see the possibilities from the story. Acting is a very specific craft that I certainly have no skills in. But it’s a craft I admire beyond words. It’s magic to me. Just look to Marcello Mastroianni and you’ll see how I try (quite inadequately) to carry myself, the style I choose professionally. The ability of a performer to make you cry with words and the expression of emotion. It’s a glorious and beautiful calling. Set designers are part-architects, part-painters, part-concept artists, often a combination thereof. These people create worlds. It’s a spectacular fete. If you look at any Tarkovsky, Kubrick, Wes Anderson or Ken Russell film you get a glimpse into a world that is viscerally real. Months or years after seeing these films, you remember the fictional places as though you’ve visited them. Your sound mixers have the ears of the masses. They can listen to everything, background noises, creaks, the soft hum of an air conditioner, but what they hear and what they capture is incredible. They know how the film should sound in front of a large audience a year from now. Michael Competielle, or sound man, seems to hear the film from the best seat in a theater as we’re filming. The director of photography, in my case the great Michael Joseph Murray, is a photographer who can capture and properly light the equivalent of 86,400 photographs per hour of footage recorded. I can visualize something, write it, describe it, and this genius can look around a room, whatever the natural weather or external factors, and use light and camera to make the vision reality. The first assistant and second assistant camera can make any place become anything you want. It’s remarkable. Instagram filters take something real and make it seem fake. Cinematographers make something entirely manufactured and make it appear more real than your own living room. Costume designers not only bring the beauty and style to the characters, but also work to make the actors comfortable physically and emotionally. All of their work and skill shines through in the final film.

The editors take these raw, often disordered pieces and make them a cognizable whole. Miranda Jean Larson and Bradley Shupinski are my editing superheroes. Whatever we are able to do on set, however good, is but a chunk of marble before they complete. Even if all of the above is done to perfection…and everyone involved always strives for perfection…it lacks a soul until a great composer paints a symphony over it. I honestly don’t know what I’d do without Gary Mutch. He gives the film it’s soul. His scores and sound design evoke emotion, they resonate with the unconscious sensations borne of memory and experience in each viewer. Without music and sound a visual masterpiece like “2001: A Space Odyssey” would fail to stir the viewer. It’s all but impossible to think of Steven Spielberg without thinking of John Williams, or Tim Burton without Danny Elfman. Musical composition is a similarly involved product made of many brilliant artists bringing their specialties to the studio and creating a singular piece. I cannot help but think of Brian Wilson overseeing the “Pet Sounds” sessions. Finally, a director must be able to adopt the story into a vision, express that vision clearly to all involved, and organize the various artistic factions together to captain the brilliant collective toward the destination of completed work. It’s an incredible amalgamation of individuals with different artistic mastery, at the top of their craft, working together to create a singular piece. It’s art that can only exist through the collective and collaborate works of many great artists, each at the height of their creative strengths. Honest human emotion allows the viewer to escape. Art is mean to designed to remove you from reality during the time you consume it. So I believe cinema can, does, and has changed society. I am certain it will continue to do so, hopefully for the better.

-What would you change in the world?

Access to healthcare, proper healthcare, for everyone that needs it. This would include mental health care. My film, “Group”, has a very strong statement about that very concern weaved in throughout. Many people work very hard, often through tremendous pain, often in invisible professions. Those people are one injury away – often caused by their job, often caused by someone else – from becoming impoverished and desperate. Mental health is stigmatized. To live in a world where a life-saving mental health diagnosis could result in the patient being ostracized or professionally ruined is the ultimate Catch-22. Someone can either seek treatment to get the help needed to manage the condition and consequently suffer serious personal, financial and professional consequences, or they can avoid treatment altogether and suffer. That’s not any kind of life as I understand it. That’s hell. Healthcare for all, without financial harm or societal prejudices, is what I would give the world if I could change one thing. I think many other related (and seemingly unrelated) problems would be solved if this wish were to come true.

-Where do you see the film industry going in the next 100 years?

Technological advancements, whether 100 years in the past or the future, do not make or define the course of cinema. It’s the filmmakers who use the technology to create their visions that define the course of cinema. I believe that will always be the case. I am certain Artificial Intelligence programs and software will become more prevalent. Indeed, some film festivals are already offering submissions under such categories. There is tremendous fear in the industry over A.I.’s growing presence and influence as well. This will likely go on for a while. Some proponents of A.I. have likened the critiques of A.I.-driven film to those stars of the silent era who railed against talkies. I find this comparison spurious at best. The stars of that era were concerned about being replaced by stars in a different forum, more for fear it would fail or undermine the art than anything else. Of course, it elevated the artform.

The difference in effect between films with sound, or the advent of colorization and the like and the current “threat” from A.I. is apples and oranges. A.I. can make something visually stunning, maybe it can approximate emotional resonance. But it lacks, and will always lack, the soul needed for film to be film. It will lack the element that makes it timeless. It will never escape the uncanny valley. Soul is what feeds a film and makes it feel real. If you take it away…and A.I. largely does take it away…the husk that remains, however beautiful, will have an element of the uncanny that will be unappealing.

No computer program or app can ever create what visionaries like Bergman, Fellini, Varda, Argento, Ducournau, Cronenberg, Jordan Peele or David Lynch can bring to life. This is because they have lived. Part of the filmmaker resides inside the films they create like a beating heart. Audiences feel that humanity reaching out through the screen. A computer program is lifeless, soulless, robotic, algorithmic… Audiences don’t feel algorithms or binary code. It’s not part of living. It’s not part of the human experience. The movie industry’s recovery from the pandemic has shown that people long for great cinema. Audiences will be there to embrace it, to escape into it.

-Who is Sofia Mavrou?

I am an independent filmmaker and actress with no formal training in filmmaking and acting. I love the art of film as it is a very powerful means of communication.  It can convey messages and emotions through images, music, movements, lighting and camera angles. ”An Impossible Secret” was my directorial debut and I thoroughly enjoyed the process of writing the story and then bringing it to life. I read books about filmmaking and script writing in the past but through the process of writing and directing my own film I learned so much more. It has been an amazing experience for me and it has given me the encouragement to carry on with my next film. 

I studied Primary Education and Psychology at University which helped me develop skills that are very useful for screenwriting and filmmaking such as writing, analytical and communication skills, problem solving and teamwork. Also understanding human behaviour and the underlying causes of our actions is very important when you create your story and characters for a film.

-What inspired you to become a Filmmaker?

I have worked as a careers adviser for the last 15 years in high schools and although I enjoy my job and the interaction with young people I felt that I needed a hobby to channel my creativity. As a child I loved reading and watching films. In primary school I started writing my own stories and some of them were read in class but I never had the confidence to take part in any competitions. I loved going to the cinema as a child and always thought how wonderful would be to create your own story and then turn it into a film. However as filmmaking has always been a hard industry to break through I chose instead to go into teaching.

Last year I decided to write my own story and turn it into a film. My inspiration came from an Italian family friend. Her dad was an Italian prisoner of war who came to Wales to work on farms during the Second World War. ”An Impossible Secret” is my first film.  It took me a long time to gather the courage to get my story out there as I had to first learn how to turn my story into a screenplay. I am very lucky as I had very supportive cast and crew members that helped me bring my story to life. 

As there is a lack of female filmmakers I think it is important to break those barriers such as gender discrimination and stereotyping in a male dominated industry. Female filmmakers are not only interested in women’s stories. They can make movies about any matters that they feel are important to be addressed.

-Do you think the cinema can bring a change in the society?

Cinema is a powerful means of communication as it combines music, art, theatre. It can give the audience an unforgettable experience by immersing them into a world of strong visuals, emotive music and performances. Cinematic films can bring a  positive change in the society as they can convey messages and emotions and get the audience to start reflecting on their life, beliefs and feelings. 

Cinema can change the world for the better by touching us on a deep, emotional level and inspiring us to take action. We all remember those films that had a significant impact on us because we connected with them on an emotional level. We will never forget how a film made us feel whether it was a tale of triumph over adversity or a tough exploration of social issues. Cinema can also push boundaries and challenge what is considered acceptable in society. Some films may do this in a more subtle way and get the audience to reflect on their own prejudices and beliefs. I strongly believe that cinema has the power to challenge social norms, question current attitudes and therefore promote a more inclusive and diverse society.

-What would you change in the world?

I would prefer for the world to be more inclusive and diverse. No stereotypes such as gender, race, age, nationality, religion, social class as they do lead to inequalities in society. For example gender stereotyping feeds into gender discrimination. Gender stereotyping can limit the development of natural talents of boys and girls and limit their educational and life opportunities. I also wish the world would value personal happiness over materialism, integrity over dishonesty, altruism over selfishness, kindness over ruthlessness.

-Where do you see the film industry going in the next 100 years?

We all know that artificial intelligence is here to stay and it will also have an impact on filmmaking. AI is opening up new possibilities in film production processes. It is a development that I am still not sure where it will take us in the film industry. For example suggestions have been made to use algorithms to replace human imagination in scriptwriting, performance and the creation of moving images.

The SAG-AFTRA strike in Hollywood last year showed us that artificial intelligence could be a serious threat for everyone involved in the film industry including actors, screenwriters, visual effect artists. Union members expressed concerns about how artificial intelligence could exploit performers by using their likeness without fair compensation. The real threat is that many professionals in the film industry including actors, writers and visual effect artists could be replaced by AI within the next couple of decades. However the positive potential of AI cannot be ignored. It could make filmmaking accessible to more people. Aspiring filmmakers could potentially create their own films just by using their smartphones and artificial intelligence technology. There is also the argument that AI could reduce the need to reshoot scenes and take over more mundane tasks. I think that AI will be used in the film industry in the next 100 years even more but I do hope that it will be used in a way that will enhance filmmaking and make it an easier process for everyone involved without though replacing human imagination in scriptwriting and performance. It will be exciting to see the new forms of art culture it is going to bring and how the audiences will engage with the new forms.