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

When I start planning a new film project, it almost always begins spontaneously.There isn’t usually one clear, predefined objective at the very beginning. It can be triggered by a deeply personal experience I’ve lived through, or by an unexpected spark of inspiration  –  after reading a book or stumbling upon some surprising news that instantly creates a poem and a vivid visual image in my mind.The creative process unfolds in a very organic way: first a poem appears, then a certain sound or melody emerges. When I listen to that music, it helps me clearly understand the exact emotion or message I want to convey through the sequence of visual frames that follow.Ultimately, my main objective is to share my personal vision with the audience and to transmit as authentically as possible the feelings I experience myself. Of course, I hope the viewer will understand what I’m trying to say  –  even if my work doesn’t resonate with everyone, especially when I touch on sensitive or sharp topics.

-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 believe we are indeed witnessing a transformation in cinema that is even more profound than the shift from silent films to sound in the 1920s.The reactions to artificial intelligence are deeply divided. Many people  –  particularly those working in the industry  –  feel genuine fear for their careers, convinced that AI will simply replace them. At the same time, others see it as something extraordinarily beautiful and liberating: a door into a completely new world that allows us to express what we previously couldn’t even imagine.In my view, those who fear AI are not really afraid of the technology itself. They are afraid of not being able to fully express themselves anymore, perceiving AI as a stronger competitor. But I see competition differently. It is precisely this kind of challenge that pushes us to discover our best version and unlock abilities we never knew we had. It’s like suddenly having a “second life”  –  an enormous surge of energy and potential we didn’t even suspect existed.This reminds me of a story I once read about twins in their mother’s womb. They lived in perfect warmth and comfort, hearing the gentle rhythm of their mother’s heartbeat, and wanted to stay there forever. When the moment of birth came, they were overcome with terror. They didn’t understand what was happening. To them, being pushed into the unknown felt like death. In reality, it was the beginning of life  –  the start of something vast and beautiful they could never have imagined.I think we are experiencing something very similar right now. People are afraid of the unknown, and we tend to assume that the unknown is dangerous. Yet I see AI not as a threat, but as a mirror. It reflects our own creativity and allows us to reach places in our souls we could never touch with traditional tools of filmmaking. Thanks to AI, we can discover emotions, images, and stories hidden even from ourselves. For me, this is not the end of cinema  –  it is the beginning of a much deeper, more authentic chapter.

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

To be completely honest, I am only now seriously beginning to explore production and distribution companies for my film projects.Until recently, my focus was mainly on creating, and I have very limited experience with film distribution.Previously, I handled the distribution of my music through DistroKid, which also allows video clips. However, I understand that this platform is primarily music-oriented and not the most suitable for full cinematic works.A few months ago I started receiving emails suggesting I submit my films to FilmHub. I didn’t have time to research the platform properly before, but recently I decided it was the right moment to take action. I have already uploaded several of my works there, including my short film Ballad of the Millennial Dream, which is currently under review. It has been almost a month, and I’m still waiting to hear back  –  I don’t have a premium subscription, so I’m not sure how the selection process works exactly.I’m not yet familiar with FilmHub in depth, nor with other major production or distribution companies in the film industry. That’s why I now see this as one of my priority tasks: to properly research and understand which partners would be the best fit for my artistic vision  –  companies that value poetic, personal, and emotionally deep cinema.I’m genuinely excited about this next step and open to discovering the right opportunities that will help bring my new projects to a wider audience.

-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?

Yes, I believe you are doing an outstanding job  –  and I say this with genuine admiration.For me, true art has no limits. It is a living bird that cannot be put in a cage  –  even if that cage is made of gold. A golden statue of a bird might look impressive and attract many eyes, but after a while it becomes boring. You stop looking at it. It no longer brings joy. The real bird, even if it is not in a golden cage, sings with full voice, radiates life and energy. Once trapped, it slowly becomes disabled and loses its song.The big players  –  The Hollywood Reporter, Variety and the entire mainstream machine  –  can beautifully promote a film and bring it to a huge audience. But there is always a price. That price is freedom. Freedom to create without frames, without templates, without someone telling you what your film “should” be like.I would always choose freedom. Even if fewer people see my work, it will remain truly mine  –  alive and authentic. That is why I deeply support the path that WILD FILMMAKER has chosen. By putting the Work of Art at the center instead of marketing, by fighting for democracy in cinema, you are protecting exactly what makes cinema magical. You are keeping the bird free. And that, for me, is the most important thing.