Category: Senza categoria

-Who is Sergio Nazzaro?

A curious person who now has more doubts than certainties. The only antidote to doubt is continuous study, research. An antidote that fortunately does not work, and so doubt remains alive and fuels curiosity. I am wary of those who possess any kind of variety and envy those who have certainty, doubt is like the sea, it is constantly moving, deep, fascinating but also overwhelming. Writing reflects this state of mind whether it is analysis, investigation or storytelling.

-What inspired you to become a writer?

Foreword, I do not consider myself a writer. I have read too many books to think of myself as a writer.

If I think of my favorite authors, no n can even remotely imagine me near shelf or bookstore. by now everyone writes, even one book and talks about it for decades. We get the picture from the contract on, as an imperishable testimony to nothingness. It’s not for me. I am fortunate enough to have been the voice of compelling, public interest stories. Listening is more interesting than writing. Writing is a duty to give voice to those who don’t have one and especially to give voice to those who cannot be heard. Today it is a bad habit not only to steal the story, the voice, but even people’s lives. Writers, journalists whose lives are miserable and who usurp the lives of others as if they had lived them, instead of staying in the background as the true masters of reportage teach. But it is the endless age of selfies and everything becomes a 15-second show.  

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

Absolutely, like any artistic action and production. And I think this is a daily action. Every day we are surrounded by artistic stimuli. The real problem lies in its production. Always so complex, exhausting. Even after a long process, you always have to convince a producer, a publisher, a gallery owner of the goodness of your idea. I also agree that one always has to fight for one’s ideas, for one’s productions, but it is also tiring to always have to convince someone, while then always running after the new social phenomenon. There is no longer a time for slow production, for details. It’s a constant grind for an inattentive audience, or at least it seems to me that’s what you want. Quality takes time, and you can’t waste it convincing but working on the project itself.

-What would you change in the world?

This is a wonderful question. You only ask it to children now, instead of asking it also and especially to adults, to those who at the end of the day have a chance to be able to really change things. I would change the desire to change the world, change by trying to teach the small but plural steps. Small steps of millions, hundreds of millions together change the world. Yet we live in world that has yet to defend the rights of women, the Lgbtq+ community and so on. This is shocking, we are all citizens of the right to live and to exist, to live, to love, and yet even after a pandemic we stand there warring and suppressing minority. This questions me, how do you change the world, if the worst ones start wars and oppressions and they are a minority, what do the majority of people do? Does it remain silent?  

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

I’m not an expert, I’ve written a few things for film and TV, such as a series on the Nigerian mafia, but it’s still stopped. I hope and speak for the Italian world, I repeat I am not an expert, but I have the privilege of knowing and being friends with many young filmmakers, who may have the space to be able to make their ideas true. We see too much nonsense, trivial film or TV series productions, why don’t we give space to what is just beautiful? And here we come back to the critical point, that having to convince those who are in the position to decide. And that seems to me to be a very good parallel to those who wage wars and oppression, a few in the wrong positions.

-Who is Kevin Foster?

That’s a tough question to answer. I’d say… “A Dreamer who gets the job done by turning his dreams into realities, because as we all know, ‘Dreaming is a Serious Business.'” More about me can be found at… Kevin-Foster.com.

-What inspired you to become a producer?

I’ve been in the business of show now for 60 years, in all capacities… Broadway and Film actor, writer, producer, Guinness World Record Holder (New York Subway)… I even rode a bicycle for 12 years (winning the 1990 Cyclist of the Year) and had more fame and fortune in that than I did in the theatre / film business. Upon my retirement in 1998 as an Adventure Cyclist, I continued with my philanthropic work and in 2004, I was given the opportunity to Produce, Write and Star in my first feature film, YESTERDAY’S DREAMS, about a middle aged man who yearns to meet a good woman to settle down with and raise a family.

From there, I produced a friend’s feature documentary called, HOLLYWOOD ON FIRE, about the Christian influence in the film industry, as well as a friend’s music CD called SABER BYTES that reach #1 on college radio in the Summer of 2009 in North America. I was also involved (as an investor) with a short documentary that won that 2008 Academy Award (Oscar) called SMILE PINKI.

In 2019, my own life story, AGAINST THE WALL, came out as a Documentary Short and the worldwide response was incredible, qualifying us for the 2020 Academy Awards. Our latest Documentary Short, A PERFECT LOVE, about a Kentucky, USA family who adopted six children with special needs from China over the span of eight years, is just having unbelievable success on the festival circuit. In the first 10 weeks of 2023, the film has been selected into 21 film festivals, winning 10 of them and qualifying for the 2024 Academy Awards. People have been very drawn to the story.

I have found over the years that I enjoy Producing than the other fields of acting and writing (and hopefully soon, will be able to Direct a film) as Producers are the ones who build the ship and do the hiring to guide and bring that ship into port. Once the film is complete, I then lay out a strategy on how to guide the film to it’s greatest potential.

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

I grew up in the Theatre, so that’s my background, but the same principles hold true for film and any other medium (music, painting, writing)… stories have the power to change society for the good or the bad, depending on what the storyteller’s goals are. Man has been telling stories for thousands of years and will continue to do so in whatever new and creative mediums are out there. Cinema has been changing society for over a hundred years, one film at a time.

-What would you change in the world?

Since Cain slew Abel some 6000 years ago, the world has never known peace. We’re long overdue for a cleansing and a rest.

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

I don’t even see society, with the way it’s currently going, to last another hundred years, so it is with the film industry. Society wants, demands, FREE content and we, as artists, have to figure out how to give the public what they want and still survive. There’s so much content out there now, most of it is junk… how can we shock an audience more? How long can we assault an audience’s senses? Studios today want to get 100% of the public, but that impossible, and because of that mindset, there’s a lot of wasted effort and money. We need to return back to the old ways and really get back to telling compelling stories and stop with the checklists (okay, let’s make sure we have all the different diverse groups, etc…). Filmmaker’s you are not going to get every group. Not even God can do that, so don’t bother. Just zero in on the group you’re going for and tell your story in such a way that the audience will want to see it and be happy to pay for the experience.

by Michele Diomà

Working as a producer, I am lucky to discover new filmmakers and screenwriters from all over the world every day. It is always a joy to see that human being has boundless creativity and imagination! Since I began working as a producer, it was the first time I saw a movie written by Artificial Intelligence founded by Elon Musk.

‘Connie Lynn’ is directed by English director and actor Lee Westwick. The movie was listed in the Official Selection of the Sundance Film Festival and won the 8 & Halfilm Awards.

Following: my chat with Lee…

– Who is Lee Westwick?

Lee Westwick is an Actor and Director from England.

-What inspired you to become a filmmaker?

As an Actor portraying various characters I am inspired by Thomas Brodie Sangster, Dylan O’Brien and Cole Sprouse. As a director I am inspired by James Cameron. I wanted to instead of having peoples stories chosen which is still good as I get to research different topics, I truly wanted to be able to give more people a platform to have their stories told. The creating is truly amazing. 

With the movie Connie Lynn we decided to create a movie using Elon Musk and Sam Altman’s Artificial Intelligence GPT. At the time we did not even know if this was possible as it turns out it was. We worked with the Artificial Intelligence and within 2 hours GPT had produced a full script. Recently the use of Artificial Intelligence in film making has raised some concerns especially with the WGA (Writers Guild of America) however I agree with Elon Musk, yes Artificial Intelligence can be dangerous however it does not have to be that way. A.I did not take over we worked with it, alongside it, creating with it.

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

I asked my co Actor Kate Hargrave from the movie Connie Lynn her thoughts on this question and I have to agree with her “The most powerful movies show new perspectives and broaden the minds of the views. A society filled with open minded empathetic people can only be good.

-What would you change in the world?

I would make a law in place preventing artificial intelligence being used for harm and wrong doing. 

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

At the moment I am seeing a lot of doubt about technology used in film however I strongly believe we can not fight against what we are creating. I believe we should be working with technology and specifically Artificial Intelligence to create more magic, and interactive experiences for the audiences and I see the film industry doing just that.

-Who is Indri Shiroka?

I am half Italian and one hundred percent Albanian. I would describe myself as an obstinate, incorrigible stubborn young man. I strongly believe our life is a unique, unspeakable gift and it’s a shame not to fully commit ourself on it. I believe in God, in emotional intelligence, I believe in Love and I believe in the power of Beauty. Hard work and count on your strength is the key, hard work allowed me, among the other films, to play in Lionel Baier’s “Au Sud”, by which I had the opportunity to go to Cannes as the film was part of the official selection of the Quinzaine des Réalisateurs 2022.

-What inspired you to become an actor?

Bit of my Ego, bit of the need to make my grandfather (one of the greatest actors of Albanian history) proud of me, bit of my need to exorcise my shyness and generally speaking the idea that I can ensure myself and my family a wealthy life through this job. Ultimately being a filmmaker is a means to an end, through it I can leave something tangible to this world.

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

Not just a change, a revolution! I will say more: the Cinema has the duty to bring a change, whether large or small, because it is a form of art that has the unmeasurable power to engage the senses more than any other equal artform.

–What would you change in the world?

The Mediocrity, the erroneous idea that our earthly life is eternal and above all the end of season of “Game of Thrones”.

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

I have no idea. What I know for sure is that film industry will always be there, raising our spirits, maybe changed, according to the mutations of the society (Covid-19 Pandemic docet), but still there.

-Who is Simon Bang?

Simon Bang has created three documentaries, but works primarily as a painter. He grew up in a family of artists and painted and drew landscapes as a young boy. He was born in 1960 in Denmark and lives in his studio in Copenhagen, and over a number of years has also designed book sleves, record covers, posters and drawn storyboards for feature films, documentaries and TV series all over most of the world. He is self-taught both as far as the film and the painting are concerned.

-What inspired you to become a filmmaker?

Right from childhood I was given free opportunities to play and build whatever I wanted. I built scale model ships and harbors in the backyard. Soapbox cars, airplanes, knights’ castles and when I had seen a film, for example by John Ford or other good filmmakers, I often drew the action again, but added my own drama. Often my stories were recreated in the localities I lived in the middle of. I entered the film world because I was good at drawing the storyboards that the renowned directors needed. Over time, I wanted to create my own films and my own stories. It wasn’t because I aspired to become a director, but mostly to try out new visual storytelling techniques and tell stories that others didn’t.

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

Yes, of course the cinema can change the world. It happens all the time. But we must be aware of not only creating political and moral films that will educate the audience in a certain political agenda. I think more and more the cinema have lost the free form of expression. The artistic film has become a rarity and it is not often that they are supported and get the attention they should.

-What would you change in the world?

Do we have room for such a big question? Would like that now that it is actually possible to create films with all our latest technology, that the films created by non-commercial filmmakers had better access in our everyday life, i.e. on TV and SoMe and elsewhere. If we are to stay in the world of film, I would like all archive footage that exists in the world to be digitized in high resolution and made available to filmmakers and audiences all over the world.

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

I cannot see 100 years into the future, but if we look at the cinema today, it is still alive, but we treat it mostly as a commercial product. In a way, we have almost lost understanding of the adventure and magic in the film. We will soon create movies in 8K, but we will only watch them on small devices the size of a credit card. We see it on the way to work, on the train, in the car and on the plane, where the surroundings are noisy and we scroll forward to the highlights and cut off the credits and we are using it as candy and dessert, without any real respect for the enormous work that lies behind it. If it continues like this, I have my doubts as to whether the medium has a credible future.

–Who is Fernanda Peviani?

I am a Brazilian actor and voice-over artist. In my teens, I fell in love with art and took acting and music courses. During my trajectory, I got involved with many bands, firstly as a keyboardist and then as a lead singer, from reggae to jazz and rock bands. 

As an actor, my foundation course was theatre at Fundação das Artes, em São Caetano do Sul, a place that gave me all my base in acting. I starred in a few short films, and in 2011 it was my debut in a feature film, a horror mockumentary directed by David Schürmann. 

I worked for many years as a model and did many TV commercials in Brazil. A few years later, my acting career was slow, I felt unmotivated, and I received an invitation to participate in the feature film Elis, which tells the story of the Brazilian singer Elis Regina, directed by Hugo Prata. The role was small, but it was enough to motivate me again and see that I belonged there. In the meantime, I started working with voice-over, one of my passions, because I always liked working with my voice. A few years passed, and in 2019 I fulfilled an old dream of coming to live in England. Upon arriving here, I faced the difficulties of adapting and also of the language. I came across a massive cinema industry and starred in a short film a few months after arriving from Brazil. Then we had the pandemic, and during that difficult time, I had the opportunity to play the lead role in Luzinete, a film directed by Carla Di Bonito in which I won two awards as best actress by the 8 & Halfilm Awards and by the Naples Film Awards.

– What inspired you to become an actress?

I love films since I was little, and I wanted to be inside them as if the story were real. At that time, having access to films was restricted. I would rewatch the same movie many times, and it would take me to another world. I always said I wanted to be an actor, and at age twelve, I participated in my first short film, Um Jeca em Atibaia, directed by Sergio Concílio. This short film was essential to making me passionate about making cinema. Today I still feel the same passion as when I was a kid.

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

Absolutely. Films bring questions, points of view, imagination, and inspiration and can change many lives, make people relate to that story, heal emotional problems, and bring moments of fun and relaxation. Movies inspire society, and society inspires movies, in a cycle that never ends. The magic of cinema, of make-believe, in which we all connect, is unique.

-What would you change in the world?

I think money disturbs society, and everything revolves around it. We end up hurting each other because of this race for money and power. We also have a very shallow relationship with nature and natural resources, and we damage it immensely without measuring the consequences; also, the information about it is scarce because there is a lot of money involved in exploitation. Having said that, if I could change, I would take money and power out of existence. We need a less selfish society with more empathy and love.

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

I don’t have a clue, but I am sure it will be much better than my imagination can think. I never imagined as a child having streaming platforms, for example, and that was an evolution for the whole area, but I am sure it will get better. Who would have thought 100 years ago that we would have made it this far? It was so difficult to make movies, and extremely expensive, and yet they managed to make loads of them. Today we have advanced a lot, we have changed the whole way of making films, and ways of acting, and we have a thousand technologies. Those who make movies do it for love, to leave something that will stay in history forever, and this is beautiful!

There are works in the career of a human being that change his life forever. Those works mark a before and an after. Marlon Brando was no longer just an actor after being Colonel Kurtz in Apocalypse Now in 1979. His image became immortal, like a character in a painting by Caravaggio.

We can say the same thing about Muhammad Ali, who entered history with the title “The Rumble in the Jungle” after the match held on October 30th, 1974, in Kinshasa, Zaire (now known as the Democratic Republic of the Congo). That night Ali became a legend.

It was no different for Sofia Loren when she won the Oscar for her starring role in ‘La Ciociara’ directed by Vittorio De Sica, in 1962. From that day, she was no longer an actress but the symbol of a historical era trying to redeem itself after the sufferings of World War II.

I wanted to remember the story of these great personalities because February 2023 was a month that could definitely change independent cinema forever.

The 8 & Halfilm Awards and the special Event in Dubai reached a milestone unthinkable until a few years ago. It confirms that cinema can be an art form even if produced outside the Studios or the big Major Companies. With a Community of over 10,000 Filmmakers, Screenwriters, Actors, Cinematographers, Producers, etc. The 8 & Halfilm Awards has become one of the world leading independent film festivals.

The credit of this success goes to the enthusiasm of the team that in 2017 designed a festival dedicated to Federico Fellini. But the real protagonists of this victory are the artists who have believed in us.

After the success in Dubai we are pleased to announce that we will soon bring your work to Berlin in a new Special Event of the 8 & Halfilm Awards.

A Long live the imagination and the artists who express it freely.

Thank you so much:

Whitney Hamilton

Terry Podnar

Theo Eifrig

Jan Schmicker

Silvano Perozic

 Michael John Chase

 Andrew Winegarner

Camille DeBiase

Michelle Lynn

 Mark Stas

 Artie Romero

 Edward Holub

 Kathleen Renee Krenitsky

 Russell Emanuel

Jaymz Bee

Aleš Urbanczik

Grzegorz Oleksa

Matthew Toffolo

Pamela Perry Goulardt

Rosie Malek-Yonan

Monica Malek-Yonan

Abraham Lopez

Shihyun Wang

Bruce Robert Notman

Michael B. MacDonald

 Joe Boi

Dan Burle

Zsolt Pozsgai

Eissa Annam

Milind R Lanjewar

Andrea Jean Plamondon

Merli V. Guerra

Ryan Chong-Huang

James Matthew Storm

Jim Norman

Giacomo Giammatteo

Jamie Sutliff

Phil Kwarta

Rich Henkels

Paul Schwartz

Irénée Rostan

Harold L. Brown

John Michael Castagna

Nicolas Maffre

Joseph Stephen Meadows

Joe Territo

Kostiantyn Mishchenko

Matt Elliott

John Alden

Ryosuke Handa

Eugene E~NRG

Rock Wilk

Mark Gould

Gina Cunningham

Walid Salhab

Nick Muhlbach

Troubadour Films

Carla Di Bonito

Fernanda Peviani

Simon James Blackburn

Robert Arnold Coles

Bartley McSwine

Bruce Hickey

Casey Mensing

Ken Kimmelman

Mick Carlon

Jay Pennington

Gerry Olert

Katy Chance

Dylan Brody

Marwah Ghazi

Jacek Krawczyk

Jeremy Stork

Zeff Lawless

Andrew Kopacz

Miguel Raymond

Aaron J Falvey

Tony Villani

Alessandro Della Villa

 Alessandro Moscatt

Atsuhiko Watanabe

Moreno Fuentes

Colin Denhart

Negash Abdurahman

Andrew Cahill-Lloyd

Alain Rimbert

James Thomas

Danny Manor –

Takaaki Watanabe

Brian Whisenant

Joe Starzyk

Paula Rossman

Jean-François Boydens

Frank Lehmann

Emilie Nyman

Ola Wallinder

Laura Burnett

María Yolanda Brown Melián

Kevin Ramos Fernández

Gary Beeber

Michael Lasoff

David Adamko

A.P. Gonzalez

Mireille Fiévet

Damian Matyasik

Urszula Nawrot

Patricia Coates

Avery Fane

Thomas Ma

Laurence Fortin Gagnon

Pat Mitchell

Tatiana Edel

Shamil Yaveroghlu Aliyev

Tom S Taylor

Joergen Erik Assentoft

John Handem Piette

Laurent Combaz

Slawek Zalewski

Jeffrey Richards

Joseph Anthony Francis

Charlotte Brown

Lara St John

Nils Agdler

Vasco Diogo

Daniel Patrick Basso Quinn

Rosa Coutinho Cabral

Henk Pringels

Peter Gartner 

Johnny Vonneumann

Tom Gruenberg

Frances Barth

Jose Domingo

Emiliano Leone

Brandon Bruce Olivaux

Haris Samar

Emma Balcazar

Courtney Adkisson

Daniel Vossen

Kathy Moore

Tyler Waters

Shelley Brzak

 Rupal Ginoya

Lisa Gray

Isaac Lawrence

Silvano Plank

Marty Roberts

Jimmy Womble

Stefan Teofilovic

Cat White

Phoebe Torrance

-Who is Henk Pringels?

I studied languages and theatre sciences at the Gent University in Flanders. I was a theatre critic for the Belgian Broadcasting Company for some years, before I started writing theatre plays myself. In the meantime, I continued doing what I had been doing since I first saw the daylight: drawing (and painting). In another meantime, I started my ‘singing career’; educated as a classic singer, I sang with a lot of ensembles in Belgium. Some time ago I added my fascination for jazz and close harmony singing (with my band “The Great Petenders”, haha).

So, drawing, painting, singing, theatre. And apart from that: dancing tango, traveling, italophily…

-What inspired you to become a filmmaker?

Some years ago, I met a woman who had just finished a short animated clip. I was preparing – as a theatre director – the scenography for a music theatre production and I had been thinking of using an animation film for that purpose. The woman somehow introduced me in the wonderful world of animation. Then came Covid. Just before the premiere of an opera production, the world locked down. Everything went silent. I took my pencils and started drawing. I followed animation classes in an academy in Gent (when sanity regulations permitted so). My purpose was to make an animated short film and I estimated that 3 minutes would be a nice goal… ‘Fortunately’, the lockdown period was extended, and so were my goals with this film.

“Cinema is (still) very much a social activity. People like to spend a night in those (comfy red) seats, together with all the other spectators. And when they leave the venue, they gather in the streets or in a café to discuss the principal items of what they have just seen, they wonder at the performances of the actors, they question the director’s interventions, the beauty of the scenery, the wonderful music, the costumes, the stunts, the jokes, the horrible scenes… and they imagine making a film themselves, maybe by making a lot of drawings and mounting them to create something awesome? Will cinema in this form survive? Of course, techniques to make films will change/improve. Maybe, within a few decades, man will be able to upload films to his brain directly and project them to a virtual screen… But man will look for ways to share the emotions caused by cinematic beauty. That’s what I hope, at least.” is in an way an animated (theatre) play. I think animation is really a very strong medium of (artistic) suggestion, not in the least because – apart from the technical aspect – there are no boundaries to the imagination. Therefore, it serves the poetic mind…

And what is more inspiring than to see a line – drawn with a simple pencil – develop into a moving and ‘living’ creature?

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

Good, but difficult question. But I think it can. Maybe it should. It’s an old question in the field of arts: should arts be ‘political’? Mere illustration or socially driven comment, or both? Personally, world affairs do have a direct impact on my life, my thinking, and yes, on what I create. I sometimes feel very deeply touched by what happens to our globe. Lately, I have been thinking that at the centre of (artistic) creation, there’s a need to create an alternative universe by the process of decomposing and recomposing the world. Or inventing other worlds, for that matter. Which makes that art, intrinsically, is some sort of a political statement. And a possible game changer?

-What would you change in the world?

“Man in a Can” deals – amongst other aspects – with our human needs. We all realize that needs and their fulfillment can be extremely different, depending on which ‘corner’ of this globe we find ourselves in. This is not a new issue, of course, but it has probably never been as acute as it is now. Our needs have brought humankind to the verge… (going for a war is an ultimate expression of a need, also). With “Man in a Can” I definitely wanted to present – directly and indirectly – some ‘hot’ aspects of our (current) problematical human condition. And of course, I would like to see our world change for the better. Some critics believe that our condition is not as bad as we sometimes like to claim/pretend. We just so much like to be informed of whatever is happening, even at the outskirts of this globe. In this way, film and cinema are part of this chain of (over)communication. On the other hand, the worldwide spreading of (artistic) beauty and elegance can hardly be looked upon as redundant, can it?

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

Cinema is (still) very much a social activity. People like to spend a night in those (comfy red) seats, together with all the other spectators. And when they leave the venue, they gather in the streets or in a café to discuss the principal items of what they have just seen, they wonder at the performances of the actors, they question the director’s interventions, the beauty of the scenery, the wonderful music, the costumes, the stunts, the jokes, the horrible scenes… and they imagine making a film themselves, maybe by making a lot of drawings and mounting them to create something awesome? Will cinema in this form survive? Of course, techniques to make films will change/improve. Maybe, within a few decades, man will be able to upload films to his brain directly and project them to a virtual screen… But man will look for ways to share the emotions caused by cinematic beauty. That’s what I hope, at least.

https://henkpringels.com/

-Who is Gairah Praskovia?

I am a set of atoms and molecules who was born in the 1995, in Ferrol at The North West Spanish coast, the Atlantic ocean by her side. I do whatever I can to do a produce what I wants. Was working in the sex industry only to follow her dreams: work as a free worker inside the illustration animation world. ¿They never asked you what you would be willing to do to achieve your goals? It never was easy, but, there is a old Spanish quote that says: <<“Aquí, quien no corre, vuela” >>. A possibility to translate might be: <<You snooze, you lose.>> That’s a common saying they use to say you better get on it and get to that opportunity quickly, otherwise you will miss out.

-What inspired you to become a filmmaker?

Sincerely, first my bravery to grow up as animator (even I was expelled from the animation school. That is a funny story in my career). And also to give live to my illustrations, because I started as illustrator and worked as it for some years. I have some mental issues that is so difficult to explain with words, so since years I drew them and now I animate them. Right now I am working on a very deeply and hard animation film to show how people with these issues suffer in them inner world.

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

Yes, cinema can change the vision of the world of a generation, which is perhaps why, and in my opinion, more political cinema should be made. Films can make marginalized and stigmatized sectors feel included. Talking about other realities, giving opportunities to people who practically have no voice in film culture. Bet on independent productions, put aside the giant Hollywood and see what other people, other cultures, other dissidents have to say.

-What would you change in the world?

Just one thing or several? No one person would be illegal and equal rights to everyone. And in this I think it is better that I do not say much more, since I just stepping on my country flag, Spain, I now have criminal record as a terrorist. Although it sounds utopian, I would like a slight change to be made in the primary and compulsory education systems where, in my opinion, they should teach emotional management, learning to identify the feelings of oneself and others. Perhaps the most basic thing to be able to have the tools and know how to take care of ownself and heal ownself from a traumatic moment, as they teach us to heal a physical wound without having too much knowledge in medicine.

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

I guess cinema little by little and as we can already see in large fiction productions, is the link with new technologies. Being able to develop unimaginable worlds thanks to software and people who work on its programming and Artificial Intelligence and Virtual or Augmented Realities. Some of the big streaming platforms can be found in the Metaverse with the Oculus glasses. From my greatest ignorance, since I have had these glasses for a short time and I use them only to draw, if there are or were 360º films to leave the flat screen and be able to be part of the film’s history, almost like a video game.

What is the future?

Surely, the future is not a philosophical concept but an instinct.

Also, animals have their interpretation of the future, which is often crucial for their survival.

For many writers and filmmakers, the future has always represented something fascinating to tell.

I am a cinephile and when I hear the word “future” I immediately think about  Georges Méliès…

I’m here today in front of the Museum of the Future in Dubai trying to understand if what I’ve been thinking about the connection between Cinema and the Future is true or not.

There is no other form of art that has the same connection as cinema has with the Future.

That’s why since cinema started looking at the past has stopped being the protagonist of art and communication. Today, cinema copies itself too often.

And why should I watch a remake of a movie made more than 70 years ago by Orson Welles, but without Orson Welles?

Perhaps one day they will invent a creativity pill for directors.

Directors will take it before writing a script and will forget all the movies they once loved. When this pill will exist it will be a new beginning in the history of cinema, which will return to dance to the sound of the future.