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!