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