-With this victory, you have achieved an important milestone and have become an authoritative voice in international independent cinema. What are your next projects?

Great question! In this time of flux, I do believe in the continuing power of original storytelling, and so, creatively speaking, my other projects on the EP!C slate like “NeverWere: a Lycan Love Story”, “Deadeye”, “LoveBeats” and “Shelter: No Place to Run” continue to be developed on an ongoing basis.

-Describe yourself with three adjectives that best reflect your vision of the world.

Original. Outstanding. Excellent.

-WILD FILMMAKER is, above all, a space for freedom of thought and sharing. Who would you most like to find yourself in front of, and what would you say to them? 

You may include figures from the present or the past, from Julius Caesarto Marilyn Monroe, just to give an example.I’d love to be in front of the people who are putting the business in front of the stories, and saying to them that we do not make widgets that are efficiently making money for them. Everybody from TV stations to Marvel has found out that widgetry and art are two different products. Original art is not scalable, hedgeable, refinable. Craft is, and professionalism is. But reducing art to content and calling them the same exhibits a profound lack of perception along with a distinct myopia and atmosphere of scarcity which, although great in the world of Warren Buffet et cie, achieves little of long term value in the cinema. Yes, ’twas always thus. But as we can all plainly see today, that paradigm must change or perish.

-Through the WILD FILMMAKER Community, we have succeeded in bringing independent filmmakers under the same spotlight as mainstream industrial cinema. How do you evaluate our work and activities?

Bringing an open and frank discourse into industry is always good. Data scraping in the name of efficiency is not always good. Industrial cinema has always been about the middle way. Nothing stand-out, everything catered to the tastes of the viewers (and their pocketbooks). That’s thankfully going away, leaving the independents to find their own way to economic viability outside of industrial norms, concepts, doctrine. This is a good thing, as we are seeing increasing evidence that the industrial business models of the Age of Industry and Information are sunsetting and giving way to the Age of Communication. And the WILD FILMMAKER Community is at the vanguard of a new direction, despite what the gate-keeper pundits would have us all believe.