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-Which writer inspires you the most?

Mel Brooks and Gene Wilder.

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

I have the ability to remember everything I do and have seen. So I take those experiences and make my films.

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

Actually no, I do them and when it’s time to edit the film, I do that as well.

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

I have 3 pending productions I wrote. We are looking for funding on Sheldon Mashugana Returns to the Future for 2025.

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

Mel Brooks on the improv and laughter he makes. A lot of Yiddish jokes and words are always funny. The only problem is that a lot of people don’t understand it, So I’m working on a way in the screenplay to adjust for that.

-Which writer inspires you the most?

That is a very difficult question to answer. It is almost impossible to narrow my preferences down to one name because there are so many distinct literary areas and forms of writing – so many different reasons for choosing text as a form of expression, particularly for an experimental visual artist.

Having said this, there are authors whose work has left an indelible mark on my perspective of the human condition. Kurt Vonnegut is an excellent example. His ability to treat challenging situations facing an individual as a metaphor for social situations and problems that go well beyond the situations in question, always fascinated me. His fragmented, non-linear narratives seemed highly relevant to my understanding of the world and had an impact on both the still images and films I have made over the years. In works like Slaughterhouse Five, Cat’s Cradle or Breakfast of Champions his treatment of truth as something subjective and his position that the way in which we approach and understand a story depends on our personal baggage and perspective, always rang true to me. I would characterize his influence on me as both psychological and sociological in perspective.

I would be amiss if I did not also mention the impact that Hermann Hesse’s writings had on me, particularly during my younger days at university and the years following my graduation. The Glass Bead Game, Steppenwolf and Siddhartha were transformative works for me dealing with the lives of persons that for different reasons found themselves on the margin of their societies, forever reminding us of the ambiguity of daily life and twists and turns that define it. In an essay entitled “Why They Read Hesse”, Kurt Vonnegut wrote of Hesse that he had a profound understanding of the notion of homesickness (and therefore in my view by association, of homelessness) – both the positive and negative aspects. It is something profound. The wandering of his characters is a quest for hope.

Perhaps it is not a coincidence that I chose these two authors.

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

Many of my experimental video works do not involve the use of text in the form of dialogue, instead employing short inspirational phrases in storyboard style as a guide to voice-overs, as well as to the nature of visual content. Often some form of contemporary musical exploration also serves as an inspiration for the visuals of a piece. When I turn to text as a tool, it is for a very specific purpose. Normally, my decision to use text is based on one of two possible (and sometimes inter-related) motivations:

• to create confusion and misunderstanding such as in my video “Can’t figure It Out” or
• to delve more deeply into more philosophical aspects of what is happening visually, such as in “Déjà Vu on the Ledge”, an award winner in this year’s Best Screenwriter of the Year event.

Clearly, the challenges involved in each of these options are different.

In works like “Déjà Vu on the Ledge”, the main challenge was to explore in depth the various philosophical and psychological aspects of a particular aspect of the subject matter from various different perspectives, while at the same time maintaining “an edge” – that is, creating curiosity and stimulating reflection on the topic in question in a provocative manner. Too much clarity can kill the excitement of exploration. It is often a fine line. Visually, the piece deals in a symbolic manner with the difficulty and precarity of navigating challenging everyday conflictual situations between two persons. The text, on the other hand, takes the position that it is the very fact of being in a precarious conflictual situation that constitutes the most essential life lesson and that this is far more important than exploring an eventual solution or resolution of the situation as the visuals suggest. We learn from our presence in the conflict not from any eventual resolution of it. The text plays the role of agent provocateur, teasing and leading us on. In films like this, striking a balance between the message of the image and the apparent conflicting message of the text is a delicate exercise.

 
-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 fact, no there isn’t. Writing for the type of independent experimental filmmaking I create has more in common with painting or sculpture than it does with more traditional filmmaking. A shorthand script is sometimes a point of departure for a project that sets in motion the creation of images and at other times, is a reaction to finished images that were created based on other references far removed from the domain of the written word. I normally work alone and therefore I alone decide the methodology and processes employed in the creation of the final work. 

Of course, as always, there are some exceptions. For example, I am currently working on a project that involves my choosing 5 or 6 artists from different countries around the world charged with interviewing persons they select to respond to a series of questions I have formulated that deal with their personal frustrations with their daily lives. In such a context, collective reasoning and exchange play a role. Entitled “The Choir of Discontent”, it deals with the message noise created online by the simultaneity of millions of frustrations voiced every minute of every day around the world on social media platforms. The message is simple: nobody is listening … nobody really cares.

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

In addition to the ongoing project that I described above, I am also working on a screenplay for a sequel to my experimental short film “Can’t Figure It Out”. Tentatively entitled “All the Time … Anywhere”, the film is a portrait of a man trying unsuccessfully to formulate a call to action to deal with an undisclosed situation. The portrait shot of him speaking is interrupted by scenes of the sea with an infinite horizon. His awkward inability to clearly articulate his intentions is a metaphor for our inability to accurately articulate our thoughts and feelings in a clear, honest manner even to those with whom we are intimate.

At the end of the film our protagonist, dejected, looks into the camera as it slowly zooms in for a close-up and says:

“Perhaps it is all an illusion … a state of apparent awareness potentially riddled with errors.

I am … even if I simply pretend to act.

Perhaps that simply has to suffice …”

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

Fragmented / Ambiguous / Provocative

-Which writer inspires you the most?

The late Sue Grafton who wrote the famous Alphabet Series of Detective Kinsey Millhone and of course many of the classics like those of Agatha Christie spur true story telling while carrying on a specific character from book to book. Terry Goodkind and his Sword Of Truth series is another favorite. Janet Evanovich is another prolific series writer. Stories inspire! I want a story with a reason, not a story with an agenda. Agendas are a dime a dozen. A good story is priceless.

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

I have so many stories and beginnings in my head I am forced to make notes constantly to remember them all for possible screenplays, pilots etc in the future. Often knowing which to focus on is as easy as waking after having a dream that touches a certain story or even a new one. I have learned that you can just walk away from a script when you’re stuck and allow it to percolate for a while in your head. Do something else other than writing and then suddenly, you find your way in the story. It works for me, but not always. 

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

When I first started my writing, late at the age of 50, I had a mentor. John Herman Shaner taught and supported my goals and we spoke on the same level. That is important. He never spoke down or told me what I needed to write. He would read my completed script and make notes throughout and final notes on the back page. We would then meet at his home with his martini and pen and spend several hours discussing what I wrote. Because my genres are wide spread, he always enjoyed seeing what I had written.

He would note punctuation, formatting and places that he may not understand the meaning or if something was repetitive or just not needed for forward the story. We would discuss goals of the story as well as fulfillment of the story line. In FIRE FLIES he loved the story. He noted that he was captivated from the first page until page 70 and then it dropped off. There was nothing that held his interest. He told me to go home and “let it percolate” in my head and figure out what’s missing. He never told me what I needed to write or any type of story suggestions. I sat at home that night and rewrote the end and gave it back to him the next day with the new ending. His eyes were wide open that I had done the rewrite overnight but when we got together to discuss the changes he said with surprise, “You gave me a fucking chase scene. You made it all work as one.”

That is how I learned to keep the story moving forward even if it means removing scenes that I love. He gave me the inspiration of what to look for, not what’s needed to be written. That second pair of eyes is important. Sadly the world lost Mr Shaner several years ago but his thought process stays with me always.

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

I have currently been working on several and more recently sequels to my FIRE FLIES SERIES such as THE DRAGON’S TOMB & THE RETURN OF THE RED DRAGON.

FIRE FLIES is part one and FIRE FLIES: THE GOLDEN DRAGON is part three and are both completed. I have since had an epiphany of FIRE FLIES: THE DRAGON’S TOMB which is part two and is currently 50% completed. FIRE FLIES: THE RETURN OF THE RED DRAGON is part 4 and started.

As you can see, my writing is an ongoing creation and learning process. I thought I had done well until I had a dream that I needed to do a part two. Go figure but never close out a thought train. As in FIRE FLIES all the characters are dual roles covering Current Times and Mystical Times ala The Wizard Of Oz. This continues throughout the series because it is young Gerald’s coping mechanism in life, transferring into his fantasy world on paper in his art.

I have also just completed transcribing book 5, SAUTE’D SAPPHIRE: (A Detective Gabrielle Laxx Mystery) into a long form 2 full act TV Film script that is two feature film episodes. I am editing as we speak.

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

DRIVEN, EXCITED, THOUGHTFUL.

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Searching for Camelot

BEST INTERNATIONAL EXECUTIVE PRODUCER & BEST ORIGINAL INDIE DIRECTOR

Alta California

BEST INTERNATIONAL SCREENWRITER (Category: Feature Script)

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

BEST INTERNATIONAL PILOT TV & BEST ORIGINAL IDEA

Once There Were Stories

BEST AMERICAN FEATURE SCRIPT OF THE YEAR

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

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Routine

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Non temere

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Not Without Gloves

BEST BLACK & WHITE CINEMATOGRAPHY, BEST EXPERIMENTAL PRODUCER & BEST EUROPEAN ORIGINAL PROJECT

Prison With Open Dors

BEST ORIGINAL IDEA (Category: Documentary Short) & BEST ARTHOUSE FILMMAKER

Dragul and Forbes

BEST ORIGINAL SCREENWRITER (Category: Indie Feature Script)

The Stones of Rome

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The Pathos of Hamlet

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The Dead Ringer

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Ye Ole Glorya

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Big Momma Earth

BEST COMEDY OF THE YEAR

Michel Steiner 64 agendas

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

Amen-Amen-Amen: A Story of Our Times

BEST ARTHOUSE DOCUMENTARY FEATURE & BEST CAMERA OPERATOR

4 Estações

BEST POETRY SHORT FILM OF YEAR, BEST ARTHOUSE CINEMATOGRAPHY & BEST INDIE DIRECTOR (Category: Narrative Short)

Whispers of Love

BEST ROMANCE SCRIPT OF THE YEAR

Luzinete

BEST DRAMA SHORT OF THE YEAR & BEST INDIE SCREENPLAY SHORT

In a Whole New Way

BES EDUCATIONAL PROJECT

Changes

BEST ORIGINAL SCREENWRITER (Category: Narrative Short) & BEST INDIE AMERICAN NARRATIVE SHORT

The Sea of Hope

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THE BLANKET -Die schwarze Decke

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Asherah’s Colors

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Antiquarius

BEST ORIGINAL DRAMA SHORT

It’s the Gravy

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Waldemar Cordeiro

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Voyeur

BEST ORIGINAL SCREENPLAY

Waiting On Love

BEST PRODUCER & BEST CINEMATOGRAPHER (Category: International Super Short Film)

See Me Once More，My Dear Kid

BEST INDIE FILMMAKER & BEST ARTHOUSE EDITING

The Quest for Camelot

BEST ORIGINAL PRODUCER & BEST ARTHOUSE DIRECTOR

Effata

BEST ARTHOUSE MUSIC VIDEO & BEST INTERNATIONAL SINGER

Idiopathy

BEST INTERNATIONAL FEATURE SCRIPT

Remnant

BEST ORIGINAL NARRATIVE FEATURE, BEST DIRECTOR, BEST SCREENWRITER, BEST CINEMATOGRAPHY (Category: Narrative Feature) & BEST ARTHOUSE PRODUCTION COMPANY

The Girl Made of Earth and Water

BEST INTERNATIONAL SUPER SHORT FILM

The Call Center

BEST INTERNATIONAL PILOT TV

Fire Flies

BEST ORIGINAL FEATURE SCRIPT OF THE YEAR

Darker Realities

BEST INDIE WRITER OF THE YEAR

Artists and Aliens

BEST ORIGINAL SCORE & BEST INTERNATIONAL SCI/FI FILM

Brothers of Babylon

BEST AMERICAN SCREENWRITER OF THE YEAR & BEST INDIE FEATURE SCRIPT

Dinner with Dante

BEST INTERNATIONAL SHORT SCRIPT

Because We Are Too Many

BEST INTERNATIONAL NARRATIVE FEATURE & BEST DIRECTOR (Category: Narrative Feature)

Sitting in a Dream – Golden Hair

BEST INTERNATIONAL DIRECTOR (Category: Music Video)

Thankful

BEST ARHOUSE FEATURE SCRIPT & BEST ORIGINAL IDEA

Teddy

BEST MOBILE FILM & BEST EXPERIMENTAL CINEMATOGRAPHY

Dojo

BEST ARTHOUSE NARRATIVE SHORT FILM, BEST ACTION MOVIE, BEST CINEMATOGRAPHY & BEST ACTING

The Stones of Rome

BEST INTERNATIONAL ARTHOUSE SHORT FILM & BEST AMERICAN ACTOR

The Pathos of Hamlet

BEST ORIGINAL INDIE SHORT FILM & BEST ORIGINAL EDITING

Pirandello’s Wife

BEST AMERICAN WRITER OF THE YEAR

The Mongrel

BEST INTERNATIONAL TELEVISION SCRIPT

Eye of the Storm

BEST ORIGINAL DOCUMENTARY FEATURE & BEST AMERICAN DIRECTOR

Sheldon’s Cat

BEST INTERNATIONAL COMEDY

Sheldon Mashugana gets stooged

BEST AMERICAN DIRECTOR (Category: Comedy) & BEST SCREENPLAY (Category: Comedy)

Hot Afternoons Have Been in Montana

BEST VIDEO POETRY & BEST ORIGINAL ARTHOUSE FILMMAKER

An impossible secret

BEST ORIGINAL SCORE & BEST ORIGINAL IDEA

Asherah’s Colors

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In a Whole New Way

BEST ARTHOUSE EDUCATIONAL FILM & BEST INTERNATIONAL SOCIAL CINEMATIC PROJECT

The Order

BEST EXPERIMENTAL SHORT FILM & BEST INTERNATIONAL ARTHOUSE FILMMAKER

The Priory of Sion

BEST EUROPEAN FEATURE SCRIPT & BEST ORIGINAL WRITER

Whispers of Love

BEST AMERICAN FEATURE SCRIPT & BEST ROMANCE SCRIPT

An Ever After Drama

BEST INTERNATIONAL ACTRESS OF THE YEAR & BEST DIRECTOR (Category: Original Narrative Short Film)

Secrets of Montmartre 2

BEST INTERNATIONAL SCRIPT

The Silver Slipper Club

BEST INTERNATIONAL ARTHOUSE WRITER

Giulietta e Romeo?

BEST INTERNATIONAL YOUNG DIRECTOR & BEST ORIGINAL STORY

The Demon

BEST ORIGINAL ACTOR & BEST EUROPEAN SCREENPLAY SHORT

THE BLANKET – Die schwarze Decke

BEST ANIMATION & BEST INTERNATIONAL DIRECTOR (Category: Animated Short Film)

Nossos Caminhos (Our Paths)

BEST INDIE SCREENWRITER

Sonia and Connor

BEST HUMAN RIGHTS SCRIPT

Lacrime di Vento

BEST POETRY SHORT FILM & BEST ORIGINAL EDITING

Non temere

BEST EUROPEAN SONG WRITER, BEST HUMAN RIGHTS SONG & BEST INDIE MUSIC VIDEO

Not Without Gloves

BEST ARTHOUSE DIRECTOR, BEST CINEMATOGRAPHY, BEST EUROPEAN SHORT FILM & BEST EXPERIMENTAL EDITING

The Esteemed Priority

BEST ARTHOUSE ANIMATED SHORT FILM & BEST INDIE PRODUCER

Michelangelo and Me + Da Vinci and Me opener

BEST INTERNATIONAL ARTHOUSE SCREENPLAY

Monument to Love

BEST PRODUCTION COMPANY, BEST ORIGINAL INDIE FILMMAKER, BEST EDITING & BEST INTERNATIONAL DOCUMENTARY FEATURE

Routine

BEST AMERICAN NARRATIVE SHORT, BEST PRODUCER & BEST FILMMAKER

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

BEST ORIGINAL DIRECTOR & BEST EDITING

L’amour es temps de reflets

BEST EUROPEAN INDIE NARRATIVE SHORT

Everland

BEST INTERNATIONAL INDIE SCREENWRITER & BEST ORIGINAL ARTHOUSE FEATURE SCRIPT

Nostalgia

BEST INTERNATIONAL DIRECTOR (Category: Narrative Short Film)

2020: life and death of a virus

BEST EUROPEAN EXPERIMENTAL DIRECTOR & BEST INTERNATIONAL INSPIRATIONAL SHORT FILM

Anything You Lose

BEST INDIE FILMMAKER (Category: Documentary Feature)

The Face of the Faceless

BEST FIRST TIME DIRECTOR

Eye of the Storm

BEST ACTOR (Academy Award Winning Robin Williams), BEST BIOGRAPHICAL DOCUMENTARY & BEST ORIGINAL AMERICAN DIRECTOR (Category: Documentary Feature)

Remnant

BEST ORIGINAL NARRATIVE FEATURE, BEST CAST, BEST INTERNATIONAL SCREENPLAY & BEST DIRECTOR (Category: Narrative Feature)

The Esteemed Priority

BEST INTERNATIONAL ANIMATED SHORT FILM & BEST ORIGINAL DIRECTOR

What If

BEST INDIE FILMMAKER, BEST ARTHOUSE EDITING & BEST EUROPEAN EDUCATIONAL SHORT FILM

Virulence

BEST INTERNATIONAL WRITER & BEST ORIGINAL FEATURE SCRIPT

In a Whole New Way

BEST HUMAN RIGHTS PROJECT, BEST INTERNATIONAL INDIE PRODUCER & BEST EDUCATIONAL FILM

Hot Afternoons Have Been in Montana

BEST ORIGINAL INTERNATIONAL DIRECTOR, BEST CINEMATOGRAPHER & BEST VIDEO POETRY

Ye Ole Glorya

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Big Momma Earth

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Over Exposed

BEST EDITING & BEST CAST (Category: Comedy)

Tony N’ Tina’s Wedding

BEST AMERICAN FEATURE SCRIPT

The Quest for Camelot

BEST ARTHOUSE PRODUCER & BEST INTERNATIONAL DIRECTOR

Thankful

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Artists and Aliens

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Marzipan

BEST INDIE FEATURE SCRIPT

Picture me this

BEST ORIGINAL SILENT COMEDY & BEST FILMMAKER

Sheldon’s Cat

BEST PRODUCER (Category: Comedy) & BEST ARTHOUSE AMERICAN SCREENPLAY

Alta California

BEST INTERNATIONAL FEATURE SCRIPT & BEST INDIE WRITER

Pirandello’s Wife

BEST FEATURE SCRIPT based on a True Story

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

BEST INTERNATIONAL TELEVISION SCRIPT

Monument to Love

BEST INTERNATIONAL DOCUMENTARY FEATURE, BEST DIRECTOR, BEST CINEMATOGRAPHY & BEST CAMERA OPERATOR

Balkan Jazz

BEST INDIE DOCUMENTARY & BEST ARTHOUSE PRODUCTION COMPANY

Aneyshia

BEST INTERNATIONAL MUSIC VIDEO, BEST ORIGINAL SONG & BEST SOUND DESIGN

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

Dojo

BEST ORIGINAL SHORT FILM, BEST ACTION MOVIE, BEST THRILLER, BEST EXECUTIVE PRODUCER BEST CASTING DIRECTOR

Late for Work

BEST INTERNATIONAL ORIGINAL SCORE

The Stones of Rome

BEST AMERICAN NARRATIVE SHORT & BEST ORIGINAL DIRECTOR

The Pathos of Hamlet

BEST INDIE PRODUCER & BEST INTERNATIONAL INSPIRATIONAL SHORT FILM

Koorts(fever)

BEST FEATURE SCRIPT

Platinum Corpse: A Detective Gabrielle Lax Mystery Book One

BEST TELEVISION SCRIPT

Because We Are Too Manu

BEST INTERNATIONAL NARRATIVE FEATURE

Not Without Gloves

BEST INTERNATIONAL EXPERIMENTAL SHORT FILM, BEST ARTHOUSE CINEMATOGRAPHY & BEST POETIC SHORT FILM

The Brawl

BEST INTERNATIONAL DRAMA SHORT, BEST SCREENPLAY SHORT & BEST EUROPEAN FILMMAKER

THE BLANKET – Die schwarze Decke

BEST SUPER SHORT FILM, BEST EDITING & BEST ARTHOUSE ORIGINAL FILMMAKER

Atlas of Uncertainty

BEST INTERNATIONAL SOUND DESIGNER & BEST EUROPEAN ORIGINAL SHORT FILM

The Order

BEST EXPERIMENTAL DIRECTOR & BEST INSPIRATIONAL SHORT FILM

The Priory of Sion

BEST EUROPEAN WRITER & BEST ARTHOUSE FEATURE SCRIPT

The Demon

BEST EUROPEAN ACTOR & BEST YOUNG SCREENWRITER

Your Worst Enemy

BEST NARRATIVE SHORT, BEST ORIGINAL DIRECTOR & BEST CAST

Out of State-A Gothic Romance

BEST PICTURE & BEST INTERNATIONAL FILM

Soul Work

BEST INDIE FEATURE FILM

Omnipotent Resolution

BEST INTERNATIONAL DANCE FILM, BEST ORIGINAL DIRECTOR (Category: Music Video), BEST CHOREOGRAPHY & BEST INSPIRATIONAL DIRECTOR

Connor and Sonia

BEST ORIGINAL FEATURE SCRIPT

Luzinete

BEST ORIGINAL SCREENPLAY SHORT & BEST INDIE FILMMAKER

In Search of A P-I-G

BEST ARTHOUSE NARRATIVE FEATURE & BEST PRODUCTION COMPANY

The Second Coming

BEST ORIGINAL SHORT & BEST CINEMATOGRAPHY