-When you plan the realization of a film project, what are your objectives?

I see it first, an immediate, immersive vision where image, sound, and idea surge into being all at once before language, as something both sensed and known. It appears in its totality, not as a sequence but as something that I hold in my mind. From there, the process becomes one of translation: bringing that vision into form while humanizing what lives within each frame. The work unfolds as a conceptual passage rather than a fixed destination, a space where discovery moves, responds, and breathes into being. At the same time, I focus on building a collaborative environment grounded in trust and sensitivity. I want the people I work with to feel engaged in the process not just execution. Their contributions often reshape the work in ways I couldn’t have anticipated. Ultimately, my goal is to make films that invite contemplation rather than provide answers, works that exist somewhere between clarity and ambiguity, where viewers can project their own meanings and experiences.
I think ahead about editing, sound design, festivals, or platforms. The film’s life doesn’t end at shooting, it needs a path to reach an audience. Things change. So I try maintaining the film’s essence while adjusting to real-world limitations or unexpected opportunities. From there, the process becomes one of translation: bringing that vision into form while humanizing what lives within each frame.

-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 am scared and apprehensive of AI but I am sure we will be able to utilize technically.

-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

A2: Everything Everywhere All At Once, Moonlight, Uncut Gems, Marty Supreme, The Smashing Machine, Eternity. Element Pictures: Room,The Favourite,Normal People. Black Bear Pictures: The Imitation Game, I Care a Lot Oscilloscope Laboratories: We Need to Talk About Kevin, Kedi Sony Pictures Classics: Call Me by Your Name, Whiplash Roadside, Attractions: Manchester by the Sea, Judy

Troma Entertainment:  The Toxic Avenger

Miramax:  Pulp Fiction, The Gentlemen

Focus Features: Brokeback Mountain, Lost in Translation

NEON: Parasite, Titane

-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?

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