“The Stones of Rome,” is an enactment of Marc Antony’s famous speech at the Roman Forum. Antony takes it to the people, delivers Caesar’s stirring requiem, and turns the tables on his assassins. Starring Sean Gregory Tansey as Marc Antony, and presenting the immortal text of William Shakespeare’s play, “The Tragedy of Julius Caesar.”
SEAN GREGORY TANSEY
Biography: Sean Gregory Tansey is an actor, director, and producer of theatre and film. His independent productions, “The Stones of Rome,” and “The Pathos of Hamlet,” have gained international attention and earned a multitude of awards and accolades from around the world. His portrayal of Marc Antony in “The Stones of Rome.” and as Hamlet in “The Pathos of Hamlet,” have received a plethora of spirited and gracious reviews. His work has been featured in Variety, The Hollywood Reporter, MovieMaker Magazine, and American Cinematographer. The Shakespeare Shorts Film Festival, organized by the Shakespeare Birthplace Trust in Stratford-upon Avon awarded “The Stones of Rome,” as a top three finalist. The prestigious Wild Filmmaker Magazine distinguished Sean as “Best Actor,” and “Best Indie Filmmaker” for their Special Event at the 81st Venice International Film Festival which was featured in Variety Magazine. Sean’s production company is Samizdat X Productions, and he is based in Los Angeles, California and Chania, Greece.
My name is Jesus Schettino. I was born and raised in Mexico City, and for as long as I can remember, I always wanted to be an artist—just like my great-great-grandfather, Quirino Mendoza y Cortés, the composer of the iconic song “Cielito Lindo.” I believe that’s where I inherited my talent. I often say that I didn’t choose acting—acting chose me. My mother loves to remind me that when I was four years old, she bought me a guitar. I used to sit at the entrance of our home, singing and pretending to play. The funny thing is… I’m still trying to figure out how to play it correctly. I moved to the United States at nineteen, searching for an opportunity to one day contribute something meaningful to this industry. Even though I started out washing dishes, with no papers and no money, I always believed anything was possible. “Yes we can”—because I’m a Mexican, not a Mexican’t.
Do you remember the exact moment you fell in love with cinema?
Yes. There’s a whole story behind it. As a child watching television, I used to wonder, “How do this people get inside the TV?” In the beginning that curiosity was my dream, which is why my career started in acting. But eventually, I grew tired of waiting for the right opportunity. So, I asked myself, “What if I create my own opportunities? What if I write my own stories? and to be honest I got tires of waiting for an opportunity, so I started thinking… What if I start doing my own productions, what if I write my own stories? What if I direct?” That’s when I started paying real attention to films. The moment I watched “Amores Perros” By Alejandro Gonzales Iñarritu, I truly fell in love with cinema. I knew instantly: This is what I want to do for the rest of my life.
Tell us about your projects?
In 2019 I wrote and produced the horror short film TAMARA, which become an official selection at the Hollywood Reel Independent Film Festival. On 2020 I produced and directed the drama short film “ESPERÁNDOTE” This project has received numerous awards and recognitions across international film festivals. To name a few: three awards for Best Firs Time Director and two awards for Best Short Film, two awards for Best Drama, Best Innovate Concept, a Lifetime Achievement Award, and the prestigious Satyajit Ray film award among many others. Also in 2020, I co-produced and wrote the original concept for the film Clown & Out. Currently, in 2025, I’m producing and directing two new short films: “TAILLIGHTS” a horror mystery project and co-producing with Paralipsis Academy and Luz Cenital Teatro “BEHIND THE WALLS” a drama centered on the realities and struggles of immigration.
Which director inspires you the most?
The director who inspires most right now is Guillermo Del Toro, I truly admire him-not only for his incredible talent and creativity, but also for his authenticity and humility. Honestly…wow I think I really love this guy.
What do you dislike about the world, and what would you change?
There are many things in this world a dislike but, I’ll mention a few. Starting off with war, the loss of innocent lives caused by power and territorial conflict, moving forward into… I dislike racism because a believe that as human beings, we are the same. I dislike seeing the rich become richer while the poor become poorer. I hate how we are destroying our mother earth. And lastly… I hate how artificial intelligence is increasingly replacing human labor. If I could change the world, I would unify all cultures, end war, eliminate weaponry, and redirecting those resources to end world hunger.
How do you Imagine cinema in 100 years?
I’m honestly afraid for the future of cinema. I deeply respect what Guillermo Del Toro expressed regarding the Frankenstein movie when he said, “I rather die then use AI in my projects” He wants people working, creating, and building from scratch, because he believes that creativity is everything. SAG and AFTRA, along with many actors and industry leaders, have also voiced strong opposition to AI replacing human performers-especially after the controversy surrounding the AI-generated character Tilly Nortwood. I share that fear. Cinema must remain human, creative, emotional, and real.
What is the impression of WILD FILMMAKER?
I believe this community of independent filmmakers and producers is a highly respected, well-established, and prestigious organization, it serves as an incredible platform for filmmakers like me to gain visibility with the industry, connect with others, and hopefully one day produce and direct major, impactful projects. I want to thank WILD FILMMAKER for the honor of inviting me to his interview. It is truly a privilege to be part of such a magnificent project. I hope to one day officially join the wonderful organization-the sooner, the better.
MR. SMITH GOES TO WASHINGTON (2025) Jefferson Jackson Smith is a small-town Illinois prosecutor and volunteer firefighter whose life changes in one brutal instant. During a historic 1000-year flood he rescues three children and their mother from a collapsing bridge nearly drowning in the process. Overnight he becomes a state hero.At the ceremony meant to honor him the governor blindsides everyone by appointing Jeff to fill the U.S. Senate seat left vacant by the sudden death of Senator John Drebin. Jeff never asked for this never trained for it and definitely never planned for it. His wife Debbie is wary. His son Rickie thinks it’s the coolest thing that’s ever happened. Jeff can barely tie his tie.Once in Washington Jeff is swept into the machinery of power before he can catch his breath. The President courts him. The Party showers him with gifts. A luxury apartment materializes out of thin air. His Senate office is mysteriously staffed furnished and surveilled before he even steps inside. Everyone insists they’re “helping.” No one explains why.Jeff soon learns what they actually want: his vote on HR 66 a radical bill that would let a president remove and replace a Supreme Court justice every term bypassing the Senate. Drebin had been blocking it. Now he’s gone and Jeff is the easiest vote to flip.Senator Sara Shimón one of the only genuinely decent people he meets warns him that nothing about this push makes sense. The bill is dangerous. The alliances behind it are unnatural. And Jeff’s sudden rise may not be an accident.Before she can tell him more her SUV is hit by a semi-truck in what looks less like an accident and more like a message.Jeff finds himself caught between a White House that expects obedience a party machine that already owns pieces of his life and the last fragments of his own conscience. He came to Washington by mistake. Now he has to decide what kind of senator he is going to be — and whether he’s willing to take on a system that has no intention of letting him think for himself.The story becomes a political thriller about an ordinary man dropped into extraordinary power surrounded by people who will test whether his better nature can survive the pressure the manipulation and the cost of choosing what’s right.
I was born in 1977 to a Guatemalan immigrant mother and a blue-collar Texan father who were both divorced and met at a singles party in Twin Peaks, San Francisco. I grew up in the rural hills near Napa, California, leaving at the age of 18 to earn a bachelor’s degree from Claremont McKenna College, and then a law degree from Harvard and a master’s degree in real estate from NYU. After taking the typical route of joining big law for a decade, I hung up my shingle and worked out of my own ship for another 12 years.
I was quite secure that would be the end of this bio until one very late night philosophical debate, some heavy IOS Notes scribbling and an introduction to Final Draft later, GOOD was born, and my 22-year legal career seems to have abruptly, universally and unexpectedly (my hand’s up too) come to an end.
I could not be happier.
We would also like to tell you that Monte’s family produces delicious olive oil, he is a husband and father of two beautiful boys and summers in the Hamptons.
Colombano & the 21st Slice weaves together multiple themes held together by a fantasy–comedy–detective storyline. A shady character, Lucifer, hires two petty criminals he knows to steal from the church museum an object that hides something unimaginable. Meanwhile, the guests at a dinner—famous historical figures beyond any suspicion, including Columbanus and his faithful Attala—let themselves be carried away by historical and non-historical reflections, while remaining grounded in the harsh reality of the suffering brought about by war. A dialogue between Jesus and Columbanus invites reflection on the spirit of humankind—blind, unwilling to see—and the scene in Piazza Duomo in Bobbio underscores this tendency to pretend not to notice the world’s suffering. Their thoughts are then interrupted by the theft of the mysterious object, and Columbanus and Attala set off in pursuit of the thieves, resolving the matter in a decidedly unconventional way. The ending is hopeful, with the villains’ repentance and thoughts about the future yet to come.
Paolo Pier Luigi Guglielmetti began his career as a photographer in 1980, gaining experience in industrial, advertising, reportage, and entertainment photography. From 1980 onward, he spent two years documenting major progressive rock and jazz concerts in Milan. Since 2012, he has been working as the producer and director of his popular series Fette di salame, with 33 episodes released to date and more planned through 2023. He also leads film workshops on mental health for middle school students. Guglielmetti has received more than 200 awards for his 15 short films and for works submitted to independent film festivals.
AMERICA BOXED IN explores the impact of the intermodal container industry on the political, economic, and strategic landscape of the 21st Century. From the dispersion of global power to the incredible divisions in political systems to the meteoric rise of China, this simple steel box is dramatically changing every aspect of our globalized world.The film delves into the profound impact of the freight container on global dynamics. This unassuming metal box has not only revolutionized international trade by transforming distant nations into next-door neighbors but has also ushered in unparalleled economic prosperity. However, this interconnectedness brings significant challenges, including power shifts from governments to non-state actors, political system divisions, and the transfer of wealth and influence from Western to Eastern states.The film critically examines these pivotal issues, shedding light on the complex consequences of globalization in our contemporary world.
Casey Williams is the President of Paradigm Motion Picture Company and is a noted screenwriter, producer, and director. His films have earned numerous international awards. It was in his hometown theater, during Saturday matinees, that he first fell in love with movies and knew that he had to be a part of the film business. Casey holds a BS degree from Brigham Young University in Psychology and an MA in Film from the University of Utah. He began his career as a consultant to Lucasfilm, NBC, and a variety of film companies seeking permission to film in China. He was a founding member of the Utah Film Front, served as the Associate Director of the Utah Film and Video Center for several years, and established the UFVC Outdoor Cinema Series. He is a member of the Artist Resource Center for the Utah Arts Council, Screenwriting and Media Arts Workshops, and serves on the Utah Arts Council Artist Grant Board. He was on location in Beijing, Shanghai, Shenzhen, and Hong Kong, filming AMERICA BOXED IN, which has garnered numerous international honors in the festival circuit and was Academy Award-eligible. Casey’s next project is GROWING UP IN THE LAND OF KRYPTONITE.
He is uniquely prepared to tell the story of the international human toll of the people deemed expendable during the quest for nuclear superiority, who suffered unbelievable agony from exposure to ionizing radiation. He is the sole survivor of a family that perished from radiation exposure and is himself a cancer survivor. His mission is to raise public awareness of the human toll and to secure justice for a forgotten people.
Ian Williams is an acclaimed writer, producer, and director of documentary films and multimedia events. Ian began his film career by following his father with a film camera and assisting him in the production of his award-winning films. It was in the school of practical experience that he learned the art and language of cinema. Determined not to ride his father’s coattails, Ian went on to study film and communications. Ian became fascinated by advances in digital film production and immersed himself in emerging technologies. From motion graphics and compositing to 3D applications, he has proven a talent at each and is currently pioneering new techniques for presenting archival photographs in documentary filmmaking.
The Shadows Factory and Wild Filmmaker are proud to announce that Samantha Casella’s new film, Tetélestai, is currently in production, with release planned for 2026.
The third and final chapter of the Trilogy of the Subconscious—which began with Santa Guerra and continued with Katabasis—Tetélestai explores the hidden landscapes of the human psyche, blending horror, poetry, and dreamlike imagery to bring Casella’s vision to full expression.
The story follows two women, portrayed by Samantha Casella and newcomer Gina Rose Pieri, bound by an intense and almost morbid relationship. Casella plays an ambiguous and disturbing woman, taking on the form of a modern, female Nosferatu. Pieri, in her feature debut, brings a luminous vulnerability that conceals hidden depths, creating a striking contrast with Casella and transforming their bond into a whirlwind of desire, obsession, and psychological complexity.
The film also marks the return of Italian cinema icon Laura Trotter after thirty years, inspired to rejoin the screen after seeing Katabasis in theaters. Trotter is celebrated for her work in the films of Dino Risi, Marco Ferreri, Damiano Damiani, and Tinto Brass, as well as for her unforgettable appearance in Umberto Lenzi’s cult horror Nightmare City.
Filming is underway across evocative locations in Italy and France, including Faenza, Meldola, Sarsina, Riolo Terme, and Deauville, with a talented ensemble cast featuring Bruno Bilotta, Francesca Rettondini, Angela Tuccia, Vanessa Marini, Barbara Bovoli, Vincenzo Amoruso, Roberto Rizzoni, Rossella Ambrosini, Massimiliano Nocco and Michael Dallender.
Bruno Bilotta, an actor of remarkable versatility, is known for his work alongside international stars such as Denzel Washington, Anthony Hopkins, Ben Kingsley, and Stanley Tucci, bringing a commanding presence to the screen.
Francesca Rettondini, a familiar face on Italian television and an actress of great emotional depth and impact, further enriches the film’s intense psychological atmosphere.
In the coming months, new actors and actresses will join the cast, expanding the immersive and symbolic world of Tetélestai.
A strong visual dimension is added through original sculptures and artworks, prominently featuring young talent Cristian Cimatti, alongside pieces by Giovanni Scardovi, Federico Severino, Martino Neri, Domenico Baccarini and reproductions of masterpieces by Holbein, Magritte, Schiele and Böcklin executed by Claudia Drei, enriching the film’s dreamlike, symbolic universe.
The mystical and spiritually sensitive score is composed by Kim Allen Kluge and Kathryn Kluge, known for their work on Martin Scorsese’s Silence, perfectly complementing Casella’s poetic cinematic world.
With Tetèlestai, Samantha Casella puts a mark on the completion of her Trilogy of the Subconscious — a visionary exploration of the human psyche that confirms her singular presence in contemporary indie cinema.
I am an independent filmmaker who wants to focus on emotions and humanity through films and fiction in general. I have had the chance to release an album and a novel. That is why writing is my favourite part in the making process of a film! Everything can be said with words (or with no words, it works better sometimes).
I am also a French teacher for adults who have recently arrived in France and want to learn the language. I meet a lot of interesting people from which I can learn. I must confess that some of them are my inspirations when I want to create a character for a story.
Do you remember the exact moment you fell in love with cinema?
I remember watching a lot of teen movies about high school and the process of growing up.
Those films are quite easy to relate to because they usually focus on the characters. I do believe that one cannot make a good film without a good script but the characters make the story credible and true. Somehow, the script is the brain and the characters the heart of the film.
Tell us about your project “Nous deux (The two of us)”.
I thought about this project during the spring of 2020. I heard on the news that domestic violence was increasing because of the lockdown due to the coronavirus. I was lucky enough to live in the countryside at that time and I could only imagine what it would be like to be stuck into your own house with a man who beats you. This is what I wanted to say in the film. But I quickly faced two problems for which I found a solution: first, I had never witnessed any kind of domestic violence around me, so I created the character of Gerald, the visitor, with that in mind: what are the signs of violence? How can one react when they see violence for the first time? How can one be sure that it is domestic violence? The second problem was that domestic violence is a topic that has been talked about and showed in many fictions again and again, so I wanted the film to be slightly different. That is why I decided to focus on the character of Gerald. It is he who witnesses the violence and chooses to react one way or the other.
Which Director inspires you the most?
Of course, many directors are absolutely fantastic when it comes to directing and filming but I would like to mention three here: Xavier Dolan, Wes Anderson and Park Chan-Wook. They have a very distinguished style though I must say I am not a great fan of every film they made. But what is special about them is that they all write and direct their films, and they stand by their style, whether you like it or not!
More recently, Luca Guadagnino made what I consider one of the best films of the last decade: Call me by your name. Both the story and the filming are fantastic (not to forget the actors and actresses…). Finally, I also have to speak about Gregg Araki and his film Mysterious Skin. A dark teen drama away from the stereotypes of the genre, depicting how child traumas have an influence when growing up.
What do you dislike about the world and what would you change?
I simply hate any kind of injustice. We are all equal facing the law. It is not just me saying this, believe me, it is written somewhere! I also cannot stand intolerance. It is a great shame that people are not free to be what they are and live the way they want to. Why is there always someone who has to say something offensive and hurtful?
That is why I think fiction should play a role in making a change. Films and series are accessible to everyone, they are the best way to make people think and reconsider what they are convinced of.
How do you imagine cinema in 100 years?
A difficult question… I want to say that things are changing but the truth is: it is hard to find money! We are all sure that our next film is going to be the best ever made but many of us won’t even have the chance to prove it to the rest of the world… In France, it is almost impossible to have any funds from anyone: if you want a grant from a producer, then you must get one from another producing company before and it goes on and on… Producing companies want films that people will like, so they put money into “easy” projects. Films that will speak to everyone. I am not planning on writing “easy” films, I want to make films that make people think and react. I want people to say “Woah, that was something!”
So, as you may understand, I am not very optimistic about the future of cinema. I believe that filmmakers will be more and more attracted to independent producing companies, which is a good thing because then, cinema will become more open and it will truthfully represent every aspect of our society.
What is your impression of WILD FILMMAKER?
Wild Filmmaker gives a chance for everyone to be heard. It is the kind of initiative that means something because wo do feel understood. I have to say, it is easy to be demotivated when you want to work in cinema, but people like you are trying to make a difference and that means a lot to me.
I am very grateful and honoured to be able to write a few words here knowing that we share the same passion and will to make a difference both in cinema and in our way to consider the world of tomorrow.
I hope to find and work more jobs related to film in 2026 and use my artistic skills to help others.
– What projects are you currently working on?
Not much at the moment. I recently helped a disabled learning artist at Venture Art create unique photo slideshow video collections using his photographs and motto. The themes included food and pets such as cats and dogs, with handwritten captions added in Premiere Pro. I also cleaned up the caption backgrounds using Photoshop.
– What would you ask event organizers in the film industry to do in order to support the creativity of highly talented independent artists like yourself?
I would encourage event organizers in the film industry to increase funding schemes for new filmmakers. This support should extend not only to local artists, but also to international creators and recent graduates who often struggle to obtain the support they need to develop their projects.
I also believe there should be more film industry networking events and job fairs, not only in London but in cities like Manchester as well. This would give emerging filmmakers better opportunities to gain exposure and connect with professionals in the field.
Providing more free online platforms would also greatly benefit new filmmakers. These platforms could help them showcase their work, promote themselves, find job opportunities, and build valuable networks with others in the industry.
Additionally, organizing practical workshops for newcomers—such as trainees and entry-level creatives—would help them develop essential skills, gain hands-on experience, and increase their visibility within the film community.
Finally, I hope to see more job opportunities made available across various areas of filmmaking. This would support anyone seeking work in the industry, especially those who need accessible pathways to begin their careers.
– What vision or desire currently guides your artistic choices?
My artistic vision is guided by a desire to use documentary filmmaking to share people’s stories and support communities in needs. I aim to work on local projects, learn about people’s needs and aspirations, and help them express their uniqueness by promoting their stories at low cost.
I also hope to discover meaningful stories and showcase them through social media and other free online platforms so that everyone can benefit and have their voices heard.
Additionally, I want to continue developing my filmmaking skills—both in shooting and editing—so I can create more independent projects with greater confidence and impact.
I feel that 2026 is approaching like a tide — steady, inevitable, and carrying new possibilities. For years, Cassandra Venice has grown in the shadows: from mythic whispers in the canals of Venice to award-winning visions worldwide. Now the project stands on the threshold of its next incarnation. I expect 2026 to be the year where the universe expands — not merely in scale, but in depth.
My hope is to meet the people who understand the soul of this project: the mythology, the climate urgency, the fragile beauty of a city that mirrors our own fears. I see 2026 as a year of movement: Venice, Marbella, Los Angeles, Berlin — creative currents flowing between places where art and risk still matter. And within that movement, I expect clarity to form: the moment when the feature film or limited series finally steps out of the mist and begins its true journey.
What projects are you currently working on?
Cassandra Venice remains at the center of my creative universe. The new 17-minute film, “When Cassandra Venice Speaks,” is more than a short — it is a seed. A proof of concept that carries within it the emotional code of the larger story. Navina, the child with the paper boat, became the light in the labyrinth; the Hybrid Vision brought myth into dialogue with technology; and now this film becomes the compass for everything that will follow.
But creation never moves in one line. While Cassandra’s world grows, a second project is quietly taking shape — a minimalist, radical meditation on artificial intelligence. Its working titles, “A.I.²,” “A.I.³,” “A.I.⁴,” hint at exponential change, at the idea that intelligence doesn’t grow — it multiplies. This story is still searching for its protagonist, the one figure who can shoulder its philosophical weight. When that person appears, the film will ignite. This is the first time I speak of it publicly.
And waiting patiently in its own corner is a third creation: an ART installation concept for Marbella. A project written completely, then carefully stored away when Cassandra Venice demanded front-stage attention. It is a work that requires a specific painter — someone who understands silence, texture, and emotional resonance. Once that collaborator is found, the project can be awakened almost instantly.
So my current work exists like a constellation: films, visions, and hybrid forms orbiting one central idea — that cinema is not merely seen, but felt.
What would you ask event organizers to do to support independent artists like yourself?
I would ask for courage. Courage to give space to the filmmakers who refuse to fit into predictable boxes. Courage to programme works that challenge structure, form, and comfort. Independent artists thrive when festivals choose soul over symmetry, vision over trend.
I would ask for encounters — genuine ones. Curated conversations where filmmakers, producers and dreamers can meet without the noise of spectacle. Rooms where ideas are exchanged before business cards. Creativity is born in moments of recognition, not competition.
And finally, I would ask for radical openness toward new cinematic languages: hybrid forms, A.I.-assisted imagery, myth-driven storytelling, climate allegory. The independent world is not a smaller version of the industry; it is its laboratory. Support the laboratory, and the future of cinema becomes richer.
What vision or desire currently guides your artistic choices?
I am guided by a desire to create work that feels ancient and urgent at the same time — stories that speak with the voice of myth yet look directly at the world we are shaping today. I want to make films that breathe: images that linger, silences that reveal, characters who carry truths people would rather not hear.
My choices follow a simple compass: beauty, fragility, authenticity. If a project does not touch those three, it does not belong to me. Cassandra Venice taught me that the most powerful stories rise from places on the edge — cities balancing between water and sky, people balancing between hope and denial.
Ultimately, my vision is to craft cinematic experiences that echo long after the final frame. Films that do not close, but continue living inside the viewer. Films that ask questions quietly, like tides beneath sleeping cities.
Born and bred in Sydney, Australia to European/Middle Eastern parents, I danced from a young age. After joining a Youth Theater at age 16 as a stage actor, I finished my training in London, where I performed in both period and contemporary plays. I am an award-winning actress, with an established career in Europe. I was a lead on a hugely successful sitcom in Turkey for four years. After accruing a huge following and success on Turkish TV for several years, I moved to Los Angeles to pursue a more international career. Since then I have enjoyed roles on _Ray Donovan_, _Scandal_, _Entourage_, and other series, while also performing in several plays, including most recently Darren Bousman’s (SAW II, III, IV & Spiral) _Theatre Macabre_. My latest venture, _The Surprise Visit, _is one I both star in and produced. This is my first time producing a film. _The Surprise Visit _story belongs to Nathan Cowles and myself, and is based on a true story that took place on the historical Virginia estate it was filmed on.
-Do you remember the exact moment you fell in love with cinema?
Yes I do. I was raised by a single mom who worked 3 jobs trying to do so. The only outings I had with my mom were a very special time for me & usually involved a movie theater & some popcorn. It was like being transported to a magical universe. And other times were when I was sick staying home from school & was allowed to watch old classics on TV. Because I loved dance they were usually a Fred Astaire, Gene Kelly, Ginger Roberts, Rita Hayworth film. And that was also a fun time (so much so I’d forget I was home with a cold).
-Tell us about your project “The Surprise Visit”.
During the pandemic we drove from LA to Virginia where my- then boyfriend/now husband is from. We originally had another script we wanted to shoot on the historical estate his family live. It was a horror film that had kids in it. We quickly figured out it was going to be impossible to shoot a movie with kids during a pandemic without getting people sick & we couldn’t risk that. So we scrapped that idea & tried coming up with other ideas for a script, that we could feasibly shoot during the pandemic. My starting point was The Strangers – the film had 3 people in it (the rest are in masks- how perfect for a pandemic film!) on a single location. And my husband kept telling me about this story of how the groundskeeper’s drug addict son & daughter in law robbed the property when his family were away – and that is how we came up with the story of ’The Surprise Visit’ – it is based on a true story. We just changed the ending. And we got to shoot it on the property where the events took place. I produced the film, I’m in it. I helped cast it. I hired pretty much everyone on set with the help of our director Nick Lyon. We wanted to keep the cast & crew small (this was before COVID vaccinations- it was a scary time) So we shot it in 2 weeks with a crew of 10 people. So we all wore a lot of hats. Vertical distributed it. We got a limited theatrical release & are now on Amazon Prime & almost all VOD platforms. We won a few awards at indie film festivals. We landed on Amazon Prime Video’s Top 10 the week it came out & went viral again a year later & made the Top 10 again. The Surprise Visit is a solid indie thriller that just goes to show you, you can make a decent film with a smaller budget & it’s an endeavor i’m proud of.
-Which Director inspires you the most?
Oh my gosh I have a list. I can’t name one!!! Lars Von Trier is probably at the top. Alejandro Gonzalez Inarritu is up there with Guillermo Del Toro. David Fincher. Paul Thomas Anderson.
-What do you dislike about the world and what would you change?
Greed. I think greed is the root of most evil. I’d like to Imagine a World that John Lennon Imagine’d. I’d like to Imagine a World where all children are safe from wars, illnesses, guns, trafficking, starvation & all the suffering that is going on in the world right now.
-How do you imagine cinema in 100 years?
I’d still like to imagine cinema as it was intended to be seen- in a movie theater. It is a collective experience. It is a collective experience making a film. And watching it. I’m sure a more futuristic/high tech experience will be explored but I do hope movie theaters are here to stay.
-What is your impression of WILD FILMMAKER?
Fantastic, I love reading your articles & learning about talented people in our industry. There are just so many talented artists everywhere in the world & I have so much respect for anyone who is out there, trying to ‘create’. I’m so inspired by creativity. And we just won the ‘Best International Thriller’ Award at the Brooklyn Pizza Film Festival. So that’s awesome. Thank you so much.
