A human workhorse who puts mostly every free minute into film and arts, besides having a job in an office which supports my filmmaking financially. Under these circumstances, I have many hats on as I am involved in every step of the production which also makes my projects close to me and personal. Hopefully, I can step up and find ways to produce with bigger budgets with bigger ideas in the future. I regularly train my periormance skills as an actor, and as a writer, I have always ideas in my mind. I am located in Switzerland near Zurich, where I was also born, with German and Bulgarian roots, hence I like internationality.
-Do you remember the exact moment you fell in love with cinema?
There are a few – the very first film I saw in a theatre as a kid, something about dinosaurs in an unknown world, the 7. Continent or so. Then the first Superman with huge Brando which I didn’t know who he was at that time. And last but not least, when watching intensely many thought provoking and deeper films. The moments are all linked to being in the theatre and breath its air.
-Tell us about your project “The Spiritualization of Jeff Boyd”.
My first film, The Radicalization of Jeff Boyd, brought me to many film festivals, also in India. The experiences there inspired me to film there in addition to Bulgaria, where I spent lots of time as a child and wanted its culture in the story as well. The country I grew up in, Switzerland, has also a part in the film. So, it is a journey through very different cultures, within a dramatic and mysterious storyline. Shooting in India was challenging as we didn’t have a shooting permit where we wanted to shoot, then we moved to another location where it was possible, forced to adapt and improvise a little to make the story work. In Bulgaria on the first day, we were locked on the street for many hours because of an ambush attempt targeting an official, before we could start filming. Filming in Switzerland was like a Swiss watch, no issues.
-Which Director inspires you the most?
Elia Kazan whose films are masterpieces in all aspects, Orson Welles, Milos Forman, Stanley Kubrick…
-What do you dislike about the world and what would you change?
The neverending wars which are results of intolerance, greed, and superiority complexes. This could be solved when talking common sense with intelligent analysis based on knowledge, and not on stupidity and self interest, by respecting each others situations and lives. At war, people die, and it seems, the responsible people forget about this.
-How do you imagine cinema in 100 years?
What Scorsese tried to say, times 100. I really hope it won’t be only about consuming entertainment without thought provocation and meaning in order to leave the theatre with richness, thoughts and beauty. I think, either way, cinema will never die.
-What is your impression of WILD FILMMAKER?
An organization of film enthusiasts who support indie filmmaking with a special approach and credibility.
Who, is Rocco Trombetta , now this is one answer that’s not as easy to answer since all my life I’ve been called the jack of all trades and master of none ; but one thing I believe to have mastered, and … … every single minute of it as I was in total awe of pictures being projected on a huge white screen…A feeling I never felt before and will never forget.
-Tell us about your project “A Melody in the Bronx”.
What can I tell you about my book that I literally wrote back in the early 90’s since an unknown actor , back then , by the name of Chazz Palmentieri was filming a movie of his life that took place in the very … … Whether you grew up in a similar neighborhood, or anywhere else, this story will surely grab your attention and bring you into a time zone of which exists no more…
-Which Director inspires you the most?
So many Great Directors inspired me , but the one that I gravitated too, especially when I was going to film school in New York City , was Undoubtedly Martin Scorsese; Although Federico Fellini was another that I was uniquely was inspired by as well.
-What do you dislike about the world and what would you change?
What I dislike the most about this world is its lack of empathy towards people; especially those who have been effected by unpleasant upbringings and are yearning for people of good will to be much more … … life is lacking, not just in this county , but all over the world; Thus I believe needs to change or else we may be digging ourselves deeper into our own demise.
-How do you imagine cinema in 100 years?
Very hard to answer this one but I image that we will be able to virtually be in our very own home made films; Although I’m not much of a fan of this concept, but that’s where I see it going…
-What is your impression of WILD FILMMAKER?
I’m extremely impressed by the way it’s centered on independent artists and has that foreign film feel to it, hence brings me back to my youth and how it felt when I first fell in love with “IL CINEMA “!
-You are a successful screenwriter. What and who inspires you to write your projects?
Inspiration is an interesting concept. Does it come from life experiences, world events, media events, relationships, books you’ve read, music or even dreams? It is all, yet none. I’m inspired by all of the above yet my own mind’s imagination is prevalent. An example is one of my most popular scripts, FIRE FLIES. I had seen the film GLADIATOR then downloaded the sound track by Hans Zimmer and it set my soul on fire. Every note and measure of the music created visions in my head leading to creating the story of a young boy coping with the divorce of his parents by creating a world of dragons where he is King and the events in his life parallel between current and Mystical Times. This inspiration has led to three sequel scripts, FIRE FLIES: THE DRAGON’S TOMB, FIRE FLIES: THE GOLDEN DRAGON and FIRE FLIES: THE RETURN OF THE RED DRAGON. These all came from the same inspiring Hans Zimmer soundtrack. My THE TASTE OF RAIN came from sitting one rainy day up in the local mountains listening to Michael Bublé, Tony Bennett and many other fabulous singers. The music combined with the rain and smells started me thinking about an established singer of their level that has a mental breakdown, casting him into the depths of being a failing lounge singer and his return to mental stability and stardom. Inspirations can come from anything, any place or the combination. It’s your mind that runs with it to make the story pop out and become the script that is compelling. See a flower in a pot on the windowsill of a red brick dilapidated building on the corner and you may wonder who put the pot there and why or who else lived in that building. And yes, it can be of any genre. The building could be haunted. The building could be a portal like in Stephen King’s THE DARK TOWER. It could be the apartment building in I REMEMBER MAMA in San Fransisco or in a parallel universe and time. The mind can be inspired by virtually anything. I wasn’t inspired by any single person but I was supported by people who supported what I was doing with my writing. They can be critical but not condescending. As Liza Minnelli said, “I don’t hang around people I don’t like.” That is important. I may have missed some opportunities in that but it has kept me sane and focused on my writing.
-Do you think Artificial Intelligence is a threat to screenwriters or a useful support?
AI . . . what a concept. While it can be fun in animation and creative art, I find it extremely lazy in writing. Why bother? The whole point of writing, in my view, is to utilize your brain and express your ideas and stories on paper, not someone else’s stories or stories created by a mixture of other people’s ideas from a hard drive. That’s not writing. That’s waiting for the printer to stop printing words you aren’t even aware of until you read it. It’s lazy.
-When did your writing journey begin?
I started writing very late in my life. I was 50. I guess the time wasn’t right until then. I started with a novel, TIN BOX, and discovered many things. I finally was able to put my story thoughts down on paper. To begin with, I didn’t even know if I could write dialogue for a screenplay. I volunteered in Malibu, CA at a small theatre for a premiere play, FELLOW TRAVELER, written by John Herman Shaner. It was a small theatre with a large affect on my life as a writer. I met two of the most important people in my life, the stage manager, Elizabeth, and the playwright John Herman Shaner. Elizabeth is still a close friend and John Herman became my trusted mentor in writing. It was working with him that clarified my work and vindicated my writing skills. He was also my second pair of eyes which is important. He treated me as an equal in intelligence and never ridiculed my work or told me what I needed to write. It was definitely the right time for me to start my writing.
-What new script are you working on?
I am working on several things at once, which is commonplace with me as my mind will shift and seems to never shut off. I am working on my autobiography as well as screenplays like STUDIOLISCIOUS, a romp through the mind of a studio worker who has a tendency to step across a time line into the sets of 1940’s & 1950’s movie musicals to cope with his life today and PARALLEL ENTRY: THE FIRST UNIVERSE, a sci-fi story that takes a pair of detectives who fall through a tear in space/time into a parallel universe who eventually discovers there are many more universes and each very different. PARALLEL ENTRY is targeted with many sequels, each one a different universe experience. That said, I could easily start something else as the inspiration hits me or a vivid dream that sweeps me to another story.
-Do you think WILD FILMMAKER is doing a good job supporting independent cinema, and what do you think we can improve?
Wild Filmmaker has been a strong influence on me entering film festivals because the entry fees are manageable and you support your community. You have created that community and many of us support each other through social media. Your interviews and Variety ad postings of laurels of many who entered, adds to The Indie Community getting noticed, getting their names out there and propagating new works from new and existing writers.
A tiny man wandering through an endless world. Someone who has never fully accepted adulthood, who uses images and words to find his bearings, to avoid getting completely lost — someone who holds a blind and absolute faith in the power of words and images to occasionally shed light on existence. Not just his own.
-Do you remember the exact moment you fell in love with cinema?
I remember it perfectly. I was just under 10 years old when I saw a film on TV that completely hypnotized me, even though I couldn’t quite understand what I was watching. The film was Picnic at Hanging Rock by Peter Weir. For the first time, I saw — and this I could understand — a film that didn’t follow rules, that felt like a dream, where the freedom to imagine was the most important thing. At that moment I thought: how wonderful — so it’s possible to dream even without going to sleep!
-Tell us about your short screenplay “JAGO I NTO THE WHITE”.
JAGO INTO THE WHITE was a fascinating and complex challenge. I’ve always been deeply drawn to the theme of talent, and the relationship between inspiration and expression. That’s why one of the things I love most is making documentaries about artists. Film ing and telling the story of the creative act — a mysterious, powerful, almost messianic act — is something I find beautiful. That’s exactly why I decided to make this film, and from the very beginning — since the first notes I jotted down — I had one clear goal: I didn’t want to make just a documentary, I wanted to make a film. No interviews, just a real – life character followed in h is daily life, and a post – production process typical of narrative cinema: an original soundtrack, sound design reconstructed by a foley artist, meticulous work on color grading and the final mix. After all, I’m not a documentarian — I see myself as a director and a writer, and I use different genres and languages to tell the stories that matter most to me.
–Which Director inspires you the most?
I have a sacred trilogy. Antonioni, Bergman, and Fellini — in that order. Antonioni is perhaps the director I feel most connected to. He taught me how to use silence and space. Light and camera movements. Bergman, on the other hand, taught me how to use words. And to understand that there are no limits — you have to say everything, even the unspeakable. Fellini is a genius, and 8½ is the most beautiful film in the history of cinema. I think that says it all.
-What do you dislike about the world and what would you change?
Since your question is long and complex, I can only give you a long and complex answer: I’ve realized there are a lot of things I don’t love. A lot of things I’ll never love. I don’t love Elon Musk or Steve Jobs. I don’t love those who worship them as idols. I don’t love bosses. I don’t love entrepreneurs who don’t know how to do anything, the captains of industry, the ones who play the stock market with daddy’s money, the ones who start trading at 19 and think they’re brokers, the ones who believe in easy money, who believe money is an end and not a means. I don’t love content creators who have nothing to say, the ones who self – publish a book and then write “official profile” on social media, the ones who say they’re open to collaborations. I don’t love food bloggers who go around telling you what they like as if it were the truth about taste. I don’t love girls who sell their videos on OnlyFans and then explain that this too is a form of female revolution. I don’t love the female revolution, or the male revolution for that matter; I don’t love marches, sweat, slogans, or flags. I don’t love anxiety. I don’t love the kids who spend thousands of hours on TikTok watching other kids who, like them, spend thousands of hours on TikTok, until one of them — luckier or more skilled or who knows what — sets a foot beyond the swamp of anonymity and starts dreaming o f becoming Elon Musk or Steve Jobs. I don’t love vertical videos, fast videos, stupid transitions, or inaccurate subtitles. But I also don’t love the small – minded bourgeois who don’t even try to understand and have already decided everything is shit — who say this stuff sucks just because they’re left out, old, out of sync with the present, living inside a dull, self – consoling no stalgia that elevates their own time into an absolute myth, when even in their time the world was full of brainless idiots. I don’t love those who live locked in their shitty little world, who use fear to navigate life, who know nothing beyond themselves, who confuse selfishness with self – love and vice versa, and when they say they need to take care of themselves — now, they need to take care of themselves — it just means they’re about to screw you over. I don’t love the anxiety of screwing people over, the fear of loving, the shame of shamelessness, forced exhibitionism, the shyness of failure. I don’t love what it means to succeed, and I don’t love what it means to fail. I don’t love Napoli Bene — because no one has ever shown me where the good is. I don’t love happy hours that inevitably turn into painful melancholy, I don’t love fruity cocktails, people who drink bitters with ice, people who eat thin pizza, those who don’t crumble under the weight of memories and try hard to believe in the future, those who speak loudly about their lives, those who scream in rage over bullshit and then bow their heads in defeat in front of real injustice, I don’t love Juventus fans, southerners who vote for the Lega, I don’t love that in summer it’s too hot, even though heat is beautiful in one specific way, I don’t love arrogant thirty – somethings, disillusioned forty – somethings, crazy fifty – somethings, or twenty – somethings who are arrogant, disillusioned, and crazy all at once. I don’t love people who prefer winter over summer, people who wait for the rain, people who don’t drink coffee in the morning, decaf coffee. I don’t love the fate of all the memories I’ve stopped remembering, all those moments I thought would last forever, all the right promises made to the wrong people and all the wrong things I did to the right ones. I don’t love those who have never spent a night sleeping on a beach, who have never skinny – dipped, who have never once been moved thinking about how shitty life can be — and then been moved again realizing that, either way, it’s far too short. I don’t love writers — the clever ones, the ones who calculate everything, who are obsessed with their place in the world, neat writers, who never step outside the lines, who live on constant compromise, who want to tell us a little story (fuck your little stories), who are afraid to get their soul dirty, afraid to mess with power, who shake hands with everyone, who read nothing, who lost their original spark — the one that, at sixteen, lit them up and told them literature, true literature, could lead to some kind of truth. I don’t love writers trapped in the turning point, the cliffhanger, the three – act structure, the noir guys, the crime guys, all those who lean on easy news headlines, who recycle the same plots, the same ideas, the same characters, I don’t love the nonsense – spinners who care only about the rankings, who survive off simple plots, instant words, pages that reek of hand sanitizer. I don’t love bitter poets, poets with no poetry, extinct poets, the soul – bankrupt, the incontinent ones who turn their misery and failures into fake grand inner epics. I don’t love those who pretend to live, the arrogant, the touchy, the irritable, the gloomy for no reason, I don’t love all those men full of money who, despite it all, live miserable lives. The ego show – offs, the narcissists in love with the idea of themselves, I don’t love friends who don’t answer the phone or messages anymore, and then pop back up when they need something, I don’t love those who don’t value friendship. In truth, I don’t love anyone who goes silent after a call or a message because they don’t know what to say or because they lied and don’t know how to get out of it. The slick ones living off tricks, who crumble in embarrassment when caught, I don’t love the rudeness that masks cowardice, I don’t love people who don’t keep their word, who are not men of honor — because honor is sacred, and it’s not true that it’s gone out of fashion. I don’t love those who don’t cultivate illusions, those who never give up, those who give up, those who have already surrendered, those who refuse to surrender, those who blast our ears with motivational quotes about never giving up, I don’t love life coaches, I don’t love people who meditate to find their path and then lack the courage to walk it. I don’t love those who delude themselves into thinking they’re empathetic, I don’t love resilience (actually, I hate it), I don’t love inner strength when used as a marketing slogan, I don’t love those who waste their lives in front of the TV, those who waste it in betting shops, those who waste it in endless arguments, in the absence of calm, in neurosis. I don’t love those who don’t give themselves, once in a while, a flash of useless happiness.
-How do you imagine cinema in 100 years?
Potentially, cinema — understood as the projection of a film inside a large, increasingly comfortable theater, with magnificent, immersive, hypnotic audio – video systems — has a bright future ahead of it. Television as we know it today is destined to disappear, and what will remain will be, on the one hand, fragmented and miniature viewing experiences, and on the other, the great Magic of the cinema.
Because watching a Film in a theater is a Unique experience. But this is just a hope. The truth is that in 100 years, cinema will follow the same path as every other artistic language — just look at what literature has become in the world today. We are living in a historical moment in which everything that produces emotion and reflection is under attack and threatened.
We are living in a horrible time, dominated by minds that cannot see beyond their own egos, in a reality where Beauty and Art are increasingly irrelevant, replaced by entertainment and spectacle. Entertainment and spectacle are perfect industrial tools: th ey flatten differences, inhibit individuality, and suppress dreams. Either we are reborn with a true Renaissance, or we will succumb — because human beings without Beauty and Art are nothing more than imperfect automatons.
–What is your impression of WILD FILMMAKER?
All experiences of exchange, dialogue, and analysis must be encouraged — everything that celebrates the Beauty of cinema. So long live Wild Filmmaker! And besides, the word “wild” is absolutely beautiful!
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Emergency Musical Response: Part 1 – Journey to Netherworld
Hakan Ünal is an award-winning Turkish screenwriter and director, recognized for his psychologically complex narratives and visually immersive storytelling. His work delves into themes of memory, identity, and suppressed emotions, often exploring the fine line between reality and perception. He began his career by writing short stories before transitioning into screenwriting. His first feature screenplay, Metamorphosis, was shortlisted for the Toronto IFF Talent Development Program in 2019. His short scripts have garnered international acclaim, with The Shell winning First Prize for Best International Screenplay at Flickers’ Rhode Island IFF (Oscar & BAFTA Qualifier) in 2020, and Purgatorio receiving the Grand Prize for Best International Screenplay at the same festival in 2022. Purgatorio also won Best Short Screenplay at the Garden State Film Festival (23rd edition).
Ünal has directed several short films, including Crack in the Wall (2018), Allegoria (2020), and The Shell (2025), each showcasing his distinct ability to craft emotionally resonant and thematically intricate stories. Currently, he is preparing for his feature film HIDDEN-SAKLI, a layered drama that examines hidden desires, family secrets, and the psychological consequences of repression. With a strong foundation in both cinema and literature, Ünal continues to push narrative boundaries, creating thought-provoking films that captivate audiences worldwide.
–Do you remember the exact moment you fell in love with cinema?
“I don’t know if there was a single defining moment, but I do remember the first-time cinema truly captivated me. I was a child, sitting in a dark theatre, completely immersed in a world that felt more real than reality itself. It wasn’t just about watching a story unfold—it was about feeling it, living inside it. I was mesmerized by how images, sounds, and emotions could be woven together to create something so powerful.
As I grew older, I found myself drawn not just to watching films, but to understanding how they were made—how directors crafted atmosphere, how screenwriters structured narratives, how actors embodied their characters. That curiosity led me to storytelling, first through short stories and later through screenwriting and directing.
Cinema, for me, is more than an art form; it’s a way of understanding the world, of exploring the unspoken and the unseen. That fascination has only deepened over time.”
–Tell us about your short screenplay “Purgatorio”
Purgatorio is a psychological drama that explores themes of guilt, redemption, and the weight of unresolved pasts. The story follows a man trapped in a mysterious, liminal space—neither alive nor dead—where he is forced to confront the choices that led him there. As he navigates this purgatorial realm, he encounters figures from his past, each interaction unravelling layers of his psyche and the deep-seated regrets that haunt him.
The story was heavily inspired by Dante Alighieri’s Purgatorio, the second canticle of The Divine Comedy. I was fascinated by Dante’s depiction of purgatory—not just as a place of suffering, but as a journey of self-discovery and transformation. I wanted to reinterpret that concept in a modern, psychological framework, where purgatory becomes a deeply personal space, shaped by the protagonist’s own guilt and subconscious fears.
In Purgatorio, the characters are not just physical beings; they represent different facets of the protagonist’s psyche, as well as the weight of his past actions. The main character finds himself in a purgatorial space, encountering individuals who embody the moral and psychological consequences of his decisions. These figures are symbolic representations of guilt, denial, and regret, each one playing a role in forcing the protagonist to confront the personal demons that brought him to this place.
The connection to Dante’s Purgatorio lies in the structure of the narrative itself. Just as in Dante’s work, where souls undergo a process of purification, my protagonist is forced to face the consequences of his actions in order to move forward. The characters he encounters mirror the various layers of sin and redemption, but the key difference is that they are not static figures. Each character, while representing certain aspects of his past, evolves throughout the story, symbolizing the possibility of change, understanding, and ultimately, redemption.
–Which Director inspires you the most?
There are several directors who have inspired me, but if I had to choose one, it would be Ingmar Bergman. His mastery of psychological depth, minimalist storytelling, and exploration of the human condition resonates deeply with my own approach to filmmaking. Bergman’s ability to craft intimate, complex narratives while delving into existential themes is something I strive for in my own work. Films like Persona and The Seventh Seal have had a profound impact on how I approach character development and visual storytelling.
Another key influence for me is Andrei Tarkovsky, whose films like Stalker and Mirror explore memory, time, and the metaphysical in ways that continue to inspire my work. His unique approach to pacing, symbolism, and the relationship between the inner and outer worlds pushes me to think more deeply about how to convey emotions and themes visually.
These directors, each in their own way, have shaped my understanding of cinema and continue to inspire my journey as a filmmaker.
–What do you dislike about the world and what would you change?
What I dislike most about the world is the persistence of inequality, division, and a lack of empathy. The way people are often reduced to labels or judged based on superficial traits like their background, race, or socioeconomic status, rather than being understood as complex individuals, is something that deeply concerns me. The world often seems to prioritize profit, power, and superficial success over genuine human connection and the well-being of others.
If I could change one thing, it would be to foster a greater sense of empathy and understanding among people. I would aim for a world where people take the time to listen, to truly understand one another’s experiences, and to work toward collective betterment rather than division. In my work, I hope to contribute to this shift by telling stories that challenge assumptions, encourage deeper reflection, and inspire audiences to question the world around them. I believe that cinema has the power to bring people closer together, to break down barriers, and to spark change.
–How do you imagine cinema in 100 years?
In 100 years, I imagine cinema will have evolved in ways we can’t fully predict, but I believe the essence of storytelling will remain constant. Technological advancements will likely continue to reshape the way we experience films—whether through fully immersive virtual reality, holographic projections, or even neural interfaces that allow us to interact with films in real-time. The boundaries between the viewer and the film could become increasingly blurred, creating entirely new forms of interactive and sensory experiences.
However, despite these advances, the core of cinema—the ability to tell stories that connect with people emotionally and intellectually—will remain. I believe the power of human connection and the ability to share our experiences through stories will transcend any technology. In 100 years, filmmakers will likely use new tools and mediums to tell stories, but the need for authentic, compelling narratives will persist.
Cinema could also become more global and inclusive, with diverse voices from all over the world contributing to a more interconnected cinematic landscape. The diversity of experiences and perspectives will enrich the medium and continue to challenge societal norms, much like it does today.
Ultimately, I imagine cinema will continue to push boundaries, to question societal structures, and to reflect on the human condition, regardless of how it’s delivered.
–What is your impression of WILD FILMMAKER?
I find Wild Filmmaker to be a fascinating and timely exploration of where cinema is headed in the post-cinematographic era. It represents a shift in how stories are told and who gets to tell them. In a world where nearly every person with a smartphone has the ability to capture and share stories through images, the boundaries of cinema are expanding in ways we couldn’t have imagined a few decades ago.
I believe that Wild Filmmaker embraces the democratization of storytelling, where the audience no longer just consumes content but becomes a creator of content. With the power of the internet, these stories can go viral and reach audiences on a universal scale, changing the very fabric of what we consider ‘cinema’.
I also appreciate how Wild Filmmaker acknowledges the evolution of art and audience awareness. Just as we once saw the circus as entertainment, only to evolve into a more compassionate understanding of animals’ rights, cinema too is undergoing a transformation. It’s becoming a more inclusive space where everyone can contribute and engage in conversations about social change, representation, and human experience.
The respect for cinema’s rich history, from the works of Stanley Kubrick to Federico Fellini, while also acknowledging new ways of storytelling, resonates with me deeply. It shows a balance of honouring the past while embracing the future. As a filmmaker, I appreciate this forward-thinking approach and look forward to seeing how this evolution will make cinema more accessible, diverse, and meaningful.
Sheldon Woodson is a USN Veteran who served in the military for 24 years and a former realty specialist with the Federal Government who served for 8 years. He’s earned an honorary doctorate in filmmaking, a master’s degree in business management, and a bachelor’s degree in business marketing. He’s a writer, producer, director, editor, and everything else in between when it comes to filmmaking. He’s published three fiction novels and one self-help book. His will to achieve the highest levels of his endeavors is his greatest asset. He started Woodson’s World Studios to make films for various distribution formats to educate via entertainment.
-Do you remember the exact moment you fell in love with cinema?
Coming from a strict religious family, I couldn’t go to movies. It was considered “worldly.” I graduated at 17, left home for college, and decided I would go to hell by seeing a film at the theater. I was blown away. Right then, I decided I wanted to write books that would become screenplays, and eventually films.
-Tell us about your project “The Model, The Mannequin, and Me”.
The MM&M is about a group of fashion designers who are supposed to be working as a team to achieve a big commission from an investor to design clothes. The designers slowly go missing due to simply coming in contact with a misplaced military mannequin developed by the Chinese as an experiment.
-Which Director inspires you the most?
If I’m being honest, it would be John Carpenter’s early work, with movies like “They Live,” “The Thing,” and “Assault on Precinct 13.” However, based on the film business, I admire Steven Spielberg, James Cameron, and Tyler Perry. Quentin Tarantino, Martin Scorsese, Spike Lee, Robert Rodriguez, and John Woo represent the art of film. There are so many more, but these are my top.
-What do you dislike about the world, and what would you change?
Clubism. The brightest light rarely gets seen due to suspension. The world has become a place where if you didn’t go to this school, belong to this club, or are a part of this race of people, you don’t get to be seen. This goes for nepotism, favoritism, religion, and political beliefs. What happened to working hard for something and being rewarded based on your labor? There’s a lot more to this, but I’ll stop here.
-How do you imagine cinema in 100 years?
Total immersion, somewhat like cosplay. You step into the theater, put on a device, and you’re in the film. You feel the wind, waves, and heat of an exploding building. You can join the side of the good or bad guy and live or die based on the direction of the script. i.e., no real harm will come to the viewer/participant. Those not going to the theater can experience the same thing with a built-in unit.
-What is your impression of WILD FILMMAKER?
WILD FILMMAKER offers opportunities to be seen, selected, and awarded by the best of the best in the film industry. It provides validation that you, as a filmmaker, are in the right place and time. And if you keep moving forward, the public will notice you, the gods of film will assist you, and the world will watch and be inspired by you.
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