-When you plan the realization of a film project, what are your objectives?
My objectives as a director with interpreting a movie script and creating a vision for a film is to focus on a storyline that shares knowledge, encourages humanity, and helps people to overcome obstacles in every area of life to succeed.
-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?
I prefer to use the creative ideas inside of my spirit that transfers images and tells a story from a human perspective instead of creating a film with AI.
I enjoy the creative process of forming thoughts to create a film in my mind to seeing my thoughts turn into reality through the human process.
I can feel the difference in a AI movie and a movie created by a person. I prefer a human interaction from one human to another with my films. An AI generated film can’t replicate the human spirit. The human spirit flows out of a movie and can be felt. The tangible connection from human to human is my focus.
-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.
I would like to have my film distributed in movie theaters globally and on streaming platforms globally. Connecting to independent movie distribution companies to help me reach my vision for global film distribution is a desire that I have. Distributing my films on Christian networks,Netflix, Hallmark, and Amazon Prime are networks platforms that are on my list.
-WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing. Do you think we are doing a good job?
WILD FILMMAKER supported my ethical beliefs, values, and mission to bring my film into film festivals and creating opportunities for me to share my story with the world of cinema globally. I’m pleased and happy to be supported by WILD FILMMAKER as an independent filmmaker.
When you plan the realization of a film project, what are your objectives?
A I am a visual artist, so while I love the process of fitting together the puzzles of a thrilling plot and giving human, interesting dialogue to my characters – as I write I am visualising the worlds I am building, these scenes are alive in my imagination. In many cases, they are images I’ve never seen onscreen before… so my endgame is seeing a creative rendering of what my imagination has created.
With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?
When cinema transitioned from silent to sound in the 1920s – just like when black & white evolved into colour – the over-riding fear with “this is the end of the movies!” It didn’t quite work out like that. AI has been present in our lives since last century; it offers a range of valuable and fast-evolving tools for good film-makers and a lazy short-cut for the minority. It cannot replace writers, actors, composers, visual effects artists… but it can help them all, as part of their toolkit.
Which production or distribution company would you like to propose your new project? Give us a profile, including some examples.
A Fractures In Time is a science fiction thriller, and in scope it has some ambitious visual set pieces… but at its heart it is a very human story. I would love to talk to some independent film-makers who bring their own vision to it – with Source Code, Looper, Minority Report as precedents. But in scale it could be a massive budget blockbuster, so I would welcome conversations with Disney or Amblin or Lionsgate!
When you plan the realization of a film project, what are your objectives?
When I begin a film project, my first objective is to identify the emotional core of the story. Before thinking about production scale or visual choices, I focus on what feeling and what trace the film will leave in the audience after it ends.
A film should not only be watched; it should remain in the viewer after the final frame.
For me, cinema is not only about telling an event; it is about constructing an atmosphere where silence, rhythm, gesture, and visual tension naturally become part of the narrative language.
The international awards received by my latest film also confirmed once again that audiences today pay attention not only to the story itself, but also to how that story is built, to its rhythm, and to its cinematic approach. For this reason, in every new project I give even more importance to creating narratives that preserve their local identity while remaining emotionally accessible across different cultures.
A film should belong to its own geography, but emotionally it must remain open to the world.
My main objective is always to create work that carries cinematic identity rather than simply delivering information.
With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?
Artificial Intelligence is becoming an important creative tool, but I do not believe it can replace artistic intuition.
Technology can accelerate cinema, but meaning still comes from human vision.
It can accelerate technical processes, expand visual possibilities, and make a significant contribution during preparation stages. It also offers strong advantages in production planning, pre-visualization, time management, and in making creative processes more efficient for teams.
As an extension of this perspective, I recently founded Motto Meta AI, a company focused on exploring how AI can be used more effectively in cinema and creative production. Our goal is to reduce time loss during production, make certain stages more predictable, and ease the technical burden on creative teams.
For me, AI can be a strong assistant, but not a creative subject.
The real issue is not simply adapting to technology, but preserving human narrative power while using new tools intelligently. I believe AI should remain on the side that supports human production capacity rather than replacing it.
To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.
For me, what matters is working with structures that understand a strong directorial perspective and believe that local stories can resonate internationally.
On one side, companies such as A24, mk2 Films, and MUBI stand out because they protect directorial language and value narrative identity. On the other side, companies such as Netflix, Sony Pictures Classics, and Searchlight Pictures also play an important role today by combining global reach with the ability to support strong artistic projects.
The ideal partner is not only financially powerful, but also editorially courageous — a company able to evaluate a film not merely as content, but through its cinematic identity.
Today, it is no longer enough simply to produce a film; what matters is bringing it to the right structure and connecting it with the right audience in the world.
WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing. Do you think we are doing a good job?
In today’s cinema landscape, spaces where independent filmmakers can express themselves without being filtered only through market priorities are becoming increasingly valuable.
Independent cinema needs platforms that still speak about films before speaking about numbers.
In recent years, WILD FILMMAKER’s approach — giving visibility to directors, opening space for independent cinema, and keeping the film itself at the center — has become particularly noticeable. It is not easy today to create a voice outside major industry structures, which is why platforms like this matter.
What remains essential is maintaining editorial credibility and long-term seriousness while creating visibility.
If this approach continues with the work of art genuinely at its center, WILD FILMMAKER can become not only a media platform, but also a meaningful international cultural space for independent cinema.
Walter Maduro is a Panamanian hotel entrepreneur and creative producer best known for founding and operating Nitro City Action Sports Resort for 8 years, a unique collaboration with Nitro Circus and Travis Pastrana. When the resort was forced to close during the global lockdown, Walter seized the unexpected pause to pursue a long-held creative vision, the development of his original anime saga, Godhood.
After completing the full narrative outline, Walter traveled to Anime Expo in Tokyo, where he met Mr. Junichi Kawamura, former Head of R&D at Bandai Namco and a key creative behind major franchises such as Tekken and Soul Calibur. Mr. Kawamura has since become Walter’s mentor in Japan’s media arts industry, guiding the production network of Godhood.
Driven by his passion for storytelling, philosophy, and cinematic world building, Walter continues to bridge Panamanian creativity with Japan’s anime legacy, bringing Godhood one step closer to reality.
-Do you remember the exact moment you fell in love with cinema?
Two distinct experiences shaped my creative DNA. The first was at age 13, when my father introduced me to the silent, black-and-white masterpiece Nosferatu. I was struck by how a silent stare in a monochromatic film could create such an intense atmosphere of vulnerability. It was a lesson in suspense, proving that the most impactful stories are often the most focused in it’s presence.
The second pivotal moment was in 1999, watching The Matrix at a local cinema here in Panama. I left the theater feeling a rare combination of hope and intellectual hunger to understand the architecture of storytelling. It was the first time I realized that cinema could be a philosophical playground as much as a visual one. That day sparked a lifelong commitment to researching the craft and, eventually, building my own world.
-Tell us about your project “Godhood”.
Godhood is an anime epic saga that fuses mythology, science, and existential horror into an emotional and visually striking story about identity, fear, and creation.
The series follows Raiko, a God among humans, burdened by how others see him as a freak of nature due to his wooden skin. For centuries, the Gods have been absent, leaving mankind to evolve freely. But now, as humans reach unprecedented power, the Gods return to discover a civilization that has grown far beyond their control, threatening a cosmic balance no one on Earth fully understands.
After surviving a brutal clash between other Gods visiting Earth, Raiko forms an uneasy alliance with Dr. Jessie Higgs, a brilliant scientist whose skepticism complicates her trust. Together, they uncover the truth of humanity’s rapid evolution, it was never natural. It is the result of a secret experiment, a symbiosis of souls between Gods and men, were their survival depends solely on our existence.
Our heroes will commit mortal mistakes, while villains are much more merciful than one could expect. Grey characters that explore the human heart and the conflict with itself. Raiko is further tested by Enlil, his manipulative mentor, who guides while deceiving him, and by allies whose motives are never certain.
The primary antagonist is the Lord of Fear, Hurukan. He threatens to unleash judgment upon mankind, forcing Raiko to choose between obedience to his kind or compassion for humanity. Yet Hurukan’s reverence for knowledge draws him to Higgs, making her an important asset that earns his respect. Their conflicts balances philosophical depth with fast-paced supernatural action, political tension among Gods, and the personal cost of knowledge. It becomes a meditation on creation, purpose, and the fear of the unknown.
-Which Director inspires you the most?
My north star has always been Katsuhiro Otomo, specifically for his work on Akira. In 1988, Otomo set a benchmark for technical fidelity that, in many ways, remains the industry’s impossible challenge. Beyond the staggering detail density of his urban landscapes, the pioneering use of custom color palettes, and his commitment to a fluid 24 frames per second, what inspires me most is his mastery of adaptation.
Distilling a sprawling, six volume manga epic into a single feature film required an incredible sense of narrative economy. He managed to capture the philosophical essence of the source material while elevating the vibe through an iconic, haunting soundtrack. For me, Otomo is the architect of modern sci-fi aesthetics.
-What do you dislike about the world and what would you change?
I was fortunate to grow up in a family that respected different beliefs. I experienced religious prayer, atheistic reasoning, and spiritual metaphors for a better way of life. From that, I learned that every faith and theory can serve as a personal path toward inner peace.
But I also witnessed the danger of blind faith, the harm that comes when belief is used to control instead of enlighten. Because of that, I believe in questioning tradition. Aditionally, we stand at a defining turning point in human evolution where technology and artificial intelligence are reshaping our understanding of consciousness and purpose. Like my characters, we are beginning to confront our own makers, ourselves.
Therefore, through Raiko, I explore the myth of “the chosen one” and examine how individuals and institutions use the promise of absolute answers to manipulate others. My story stands where belief and science meet in conversation, not conflict.
-How do you imagine cinema in 100 years?
As the technical barriers to entry for fantasy and sci-fi continue to dissolve, the value of the production pipeline will shift. I believe storytellers with refined taste and a distinct creative eye will become the most valuable assets in the industry. We are moving toward a transition as profound as the jump from theatre to film.
We will see a dual reality: Fast Cinema that allows users to prompt their own stories in real-time, and event cinema that mirrors the theatre and theme parks. Cinemas will become specialized environments as an independent horror sanctuary or a curated Disney venue, these spaces will provide a full sensory experience, with rotating decor, artisanal food, and custom clothing that changes with every premiere. Cinema will go beyond just a screen you look at, it will be an environment you inhabit.
-What is your impression of WILD FILMMAKER?
WILD FILMMAKER serves as a necessary disruptor in an industry that often feels gate kept by traditional, rigid structures. I value efficiency and the courage to spotlight projects based on their raw vision rather than just their studio backing.
To me, your platform feels like a home for the cinematic vanguard. I’m focused on high fidelity storytelling and creating immersive worlds. You provide a global stage for creators who are more interested in the museum grade integrity of their art than in following a safe, corporate formula.
It’s about visibility for the unconventional. As someone currently bridging the gap between Latin American narratives and international animation pipelines specifically working with partners in Japan I appreciate a space that recognizes the wild nature of independent creation.
-When you plan the realization of a film project, what are your objectives?
I work completely alone, “one-man band”, style. When I make a documentary or a work of fiction, or an animated short, my goals are different. When it comes to documentaries, I try to create an arthouse film that is connected to the story of the author portrayed, like “The Way of Mizoguchi,” for example. When it comes to a fiction film based on my own script and screenplay, it’s much more demanding because as said before, I always work alone, and in this case I try to achieve a highly original result or at least something that has never been done before. For example, for my latest short film, “Your Father, who sees in secret,” I had to do extensive research on that type of narrative to ensure it included elements that would surprise the viewer, as well as very profound discussions on the subject, with philosophical and mythological reflections on femininity, creation, and spirituality. For my animated works such as “Forevermore”, I had to resort to very in-depth research on the figure of the American chapelan Anton Boisen, and on the cultural and historical contextualization of the man, so as to create a sort of parallel universe where the characters I created, and drawn by hand, with pencil, could express themselves in a manner appropriate to a dramatic story. The story is inspired by the clinical case of Anton Boisen, in particular about his reflections on the role of his family as he attempted to write a treatise about his faith during his mental illness.
-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?
I completely agree. It was possible for me to create stories set in Japan, for example, without the exorbitant production costs, as with “Zone” and “Your Father, Who Sees in Secret.” Artificial intelligence programs have always been helpful for the transition between key drawings to animation. Working on animated films alone is a tough job, so you’d need at least ten people, but as said I’m one-man band. Because I’m forced to write the storyboard in pencil, from the script to the screenplay, which is very time-consuming.
-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.
There’s a project called “Cette Vie Nouvelle” that I’m still working on, which is difficult to produce. It’s a feature film for which I wrote the story and developed the main characters. The screenplay is ready, but there are other complex steps to explain. The goal for now is to first make a short film to gauge audiences, and then move on to a feature film. I’ve been working on it for many years, and it’s a huge challenge. I hope it will attract the world’s major streaming platforms like Netflix or Amazon Prime. I’m also looking for producers. It’s a thriller movie with an interesting story. Here there’s a synopsys : “Cette Vie Nouvelle” follows Frank Penn, a talented but disillusioned photographer whose personal and professional lives spiral into chaos after he becomes entangled with a mysterious young photographer, Meredith, and a dark underground network known as the One Shot Club. The story begins with Frank’s ordinary life: his complicated relationship with his girlfriend Fabienne, his loving family, and his young sister Annabel, a ballet student. When Frank meets Meredith at a fashion shoot, they form a creative and romantic bond. However, Meredith introduces him to the One Shot Club — an exclusive and disturbing photography circle that pushes artistic limits through voyeurism and exploitation. As Frank learns more, he discovers that the club is connected to violent crimes and the disappearance of young women. Meredith herself becomes a victim, apparently murdered, leaving Frank devastated and descending into alcoholism. Later, he learns she is alive and that the club operates as a front for human trafficking and snuff imagery. Tragedy strikes again when Frank’s girlfriend Fabienne is murdered and Annabel is kidnapped by the same criminals. It’s a dark psychological thriller blending noir aesthetics, emotional drama, and moral introspection, exploring obsession, art, and the blurred boundary between creation and corruption.
-WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing.
Do you think we are doing a good job?
It was a brilliant idea; Wild Filmmaker is revolutionizing everything, making “filmmaking” not something exclusive to a select few, but rather allowing for the creation of works that can capture the audience’s interest. This is possible thanks to its creator, Michele Diomà, who had the foresight to see this revolution unfold. Participating in major festivals is certainly a great privilege that Wild Filmmaker is promoting. Everyone should be grateful for what they’re doing. I’m really glad to be a part of this community.
When you plan the realization of a film project, what are your objectives?
My objective is to create work that resonates on both an emotional and psychological level- something that lingers with the audience after the experience ends. I approach filmmaking through three core pillars:
Emotional truth — characters that feel authentic, flawed, and human Psychological depth — stories driven by internal conflict rather than surface-level plot Cinematic identity — a visual and structural approach that enhances the narrative rather than conforms to it.
With Pretty Little Lucy, the goal was to explore the psychological cost of digital intimacy and how connection, when filtered through technology, can distort reality, identity, and self-worth. I’m not interested in simply telling a story. I want the audience to feel it, question it, and carry it with them.
With Artificial Intelligence transforming cinema, what is your opinion on this shift?
Artificial Intelligence isn’t replacing storytelling, but it’s redefining the tools we use to tell stories. Much like the transition from silent films to sound, this moment is forcing creators to clarify what makes their voice unique. AI can assist with structure, iteration, and efficiency, but it cannot replicate lived experience, emotional contradiction, or human vulnerability. In my work, I use AI as a creative amplifier, not a replacement. It allows me to explore ideas more rapidly and experiment with form, but the foundation of the story must remain human. The future of cinema isn’t AI-driven storytelling. It’s human storytelling enhanced by intelligent systems.
To which production or distribution company would you propose your new project?
I see Pretty Little Lucy aligning with companies that understand character-driven psychological storytelling and elevated genre work:
Blumhouse Productions — for grounded, commercially viable psychological thrillers A24 — for emotionally complex, elevated narratives NEON — for bold, unconventional storytelling and strong curatorial identity
Annapurna Pictures — for visually distinct, character-driven films. I’m also paying close attention to newer studio initiatives like Clockwork under Warner Bros., particularly those shaped by leadership with independent film backgrounds. That intersection between studio infrastructure and independent sensibility feels like the most natural home for a project like Pretty Little Lucy.
What is your approach to production and distribution in today’s landscape?
We’re in a moment where traditional pathways are no longer the only way forward. My approach blends:
festival strategy digital audience-building data-driven visibility
Pretty Little Lucy has been developed not just as a screenplay, but as a living transmedia experience, supported by analytics, audience engagement, and layered storytelling across platforms. I believe the future of distribution lies in creators who understand both: storytelling how audiences discover and engage with that story. The goal is not just to make a film, it’s to build momentum around it.
WILD FILMMAKER positions itself as a global cultural movement. Do you think it is doing a good job?
WILD FILMMAKER has built something valuable in terms of accessibility and global reach. For independent creators, visibility is often the first barrier and platforms that help break that barrier serve an important role. At the same time, the long-term value of the platform depends on how effectively it connects artists to real opportunities with development, production, and distribution. Creating exposure is important. Creating pathways is what ultimately defines impact. If that evolution continues, it can become a meaningful bridge between emerging creators and the broader industry.
Final Thoughts.
My work focuses on the psychological cost of connection in the digital age- where intimacy is immediate, but authenticity is uncertain. Pretty Little Lucy is designed to challenge the audience’s perception of reality, identity, and emotional truth, while remaining grounded in a deeply human experience. I believe the future of cinema belongs to creators who are willing to take risks- not just in story, but in structure, perspective, and how they engage with the audience
-When you plan the realization of a film project, what are your objectives?
I would like people, when watching my films, to ask themselves questions and perhaps discover within themselves aspects they may never have considered before. I realize this is a very high aspiration, but hasn’t this always been the true purpose of art?
-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?
A surgeon can use a scalpel to operate on a patient and save their life, or they can use the same instrument to commit a crime. It’s all a matter of measure and common sense. Technology shouldn’t frighten us but inspire us to create things that are even more interesting and expressive. Relying entirely on machines, in any field, could be very dangerous.
-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.
I would simply like to have no constraints and to maintain full control over my work. I would hardly accept conditions that limit what I want to express.
-WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing. Do you think we are doing a good job?
I have always thought that your commitment, dedication, and respect toward content creators are truly commendable. I respect everyone who promotes creativity and beauty, and I hope that you will continue to be a constant point of reference for all of us.
When you plan the creation of a new musical piece, what are your goals?
When I plan a new musical piece, my main goal is that every listener can feel good and at peace while listening to my work; the primary intention is to communicate peace and serenity, as well as universal values such as peace and brotherhood. Of course, also Christian values that help us live our lives well, with mutual respect and in union with God.
With Artificial Intelligence, cinema and music are undergoing a phase of metamorphosis. What is your opinion on this?
My opinion is that artificial intelligence can be a valuable aid, but there is a very high risk: that it becomes a shortcut at the expense of human ingenuity and personal effort. Personally, I do not like artificial intelligence, especially when applied to music. Perhaps it could be useful in cinema, given the many special effects used in some films, but I believe that in music, in many cases, it can become a replacement for human work, which remains unique and original.
Therefore, in my musical experience, I will never make use of artificial intelligence, because I have always tried to be as faithful and original as possible, even with some mistakes. However, it is important to remain human. That is the beauty of being original individuals. As Saint Carlo Acutis said: “All are born as originals, but many die as photocopies.”
Do you think that music can truly be a way to break down barriers and bring people closer together?
Music has always been a universal language, so I firmly believe that it is a valuable opportunity to bring people together and to communicate important values; music is an incredibly powerful tool for conveying strong and clear messages, especially for the purpose of peace.
WILD FILMMAKER can now ‘sit at the table of the greats’ alongside The Hollywood Reporter and Variety during the Cannes Film Festival, yet we have chosen to continue being a Global Cultural Movement with an ethical mission: bringing democracy to cinema, placing the Work of Art at the center of our project rather than marketing. Do you think we are doing a good job?
I believe you are doing an excellent job in bringing democracy to cinema, especially by giving space and resources to independent creators. I hope you will continue to provide your valuable contribution to cinema, always safeguarding important and universal values such as peace, love, and brotherhood among peoples.
Having started his filmmaking career in screenwriting with Killing Moses in 2017, the award-winning American author, filmmaker, and photographer Ricardo M Fleshman completed his first documentary in 2019 entitled Hope’s City. The Blackest Lens (2026), Fleshman’s second documentary captures the fillmmaker’s experience making the collection of black and white portraits that depicts the sexuality of black people.
Ricardo is an avid reader, travels extensively with favorite destinations in the United States South and international locations in South America and Europe. He is a fan of sci-fi, detective, and horror genres, classical art and jazz music, and pairing fine wines with his cooking based on international cuisine. He resides in Northern Virginia with his family where he continues to write and make independent documentary films.
-Do you remember the exact moment you fell in love with cinema?
I fell in love with cinema when I first saw The Maltese Falcon (1941) with Humphrey Bogart, Mary Astor, Sydney Greenstreet, Peter Lorre, directed by John Houston and based upon Dashiell Hammet’s novel. I was captivated by the acting, the emotion, the nuance of character portrayals as related to the concepts of greed, good and evil, and human nature. It has shaped my works and how I play with human desire, character building and the relationships of those characters to each other.
-Tell us about your project "The Blackest Lens".
The Blackest Lens, Fleshman’s current project, is a compelling documentary that details his journey creating a thought-provoking artistic collection by the same name that explores black sexuality using a unique blend of photography and storytelling. The Blackest Lens documentary and photographs have both received multiple awards from international film festivals including Best Short Screenplay, Best Photography and Best Original Song.
-Which Director inspires you the most?
I am inspired by actor and director Michael B Jordan, who as a young black man continues to chart a course from acting to directing using that vehicle to tell the most captivating and interesting stories of black people.
-What do you dislike about the world and what would you change?
I am unsatisfied with the emphasis people place on politics, material possessions and how instead of establishing true and real connections with each other, they use social media to manipulate and berate others. Changing that would mean changing behaviors and having people focus on the things that matter, like genuine lasting relationships, finding the beauty in art and nature, and allowing themselves to create and contribute in a way that is conducive the the human experience.
-How do you imagine cinema in 100 years?
In 100 years, I see cinema as evolved into more intimate, yet diverse storytelling as the proliferation of micro-budget and smaller budget productions continue to drive the viewer experience and where streaming services (that are slowing replacing big budget studio productions and movie theaters) incorporate more independent works into their offerings.
-What is your impression of WILD FILMMAKER?
I love how Wild Filmmaker has incorporated cinema and the experiences of film lovers into its DNA. It offers diverse, thoughtful looks into the world of cinema creatives and promotes the introduction to artists worldwide.
Justin Charles Gizzi is a writer and musician from Pittsburgh, PA. His screenplays “The Soft Core”, and “Tomorrow’s Dream”, have been selected for numerous film festivals, winning several awards nationally. He is also the bass player in heavy metal bands Urns, and Demoralizing.
-Do you remember the exact moment you fell in love with cinema?
Not the exact moment, but at a young age I found films to be magical. I liked a lot of fantasy and adventure films, comedies. As I was getting to my early teen years I leaned more into sci-fi and horror. Shortly thereafter I watched The Godfather for the first time, and realized that there was a whole other level to the story-telling and production of a film. I feel like that opened up a whole other world for me.
-Tell us about your project “The Soft Core”.
The Soft Core follows Charles Coxe, a once promising writer/director/actor of the stage, who years later finds his career stagnated in the world of erotic late night cable TV features. He’s balancing work with placating his Emmy-award winning actress ex-wife, spending time with his 11 year old daughter, and being intertwined with his closely knit group of co-stars.
-Which Director inspires you the most?
It’s impossible to pick one. I love the look of Michael Mann’s films. The rawness of Friedkin. The imagination of Lynch. The style of Scorcese.
-What do you dislike about the world and what would you change?
Conflict. I still work as a Doorman and I find there are very few situations that can’t be resolved peacefully. Nothing but peaceful resolutions, that’s the change I would want to see.
-How do you imagine cinema in 100 years?
That’s a good question, I had to think on it for a moment. I suppose my hope is for a vibrant and celebrated cinema culture. Where the artists are still the creative force.
-What is your impression of WILD FILMMAKER?
Any organization that champions artists gets a thumbs up right away from me. But I’ve really enjoyed how Wild Filmmaker gets inside the minds of the artists and brings out the heart in their work.
