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.
