Interviews & Reviews

Colin Denhart is a prolific independent filmmaker in Indianapolis, Indiana, USA. His 2021 horror feature film Sister was a hit at several international independent film festivals, winning acting, directing, cinematography, and best picture awards. The 2024 follow-up Sister II has had similar success recently, including wins at the Hollywood Gold Awards, New York Film Awards, London Movie Awards, and Florence Film Awards this past summer. It is on track to be in more film festivals throughout 2025.

Tell us about Sister II... What is the film about?

Sister II picks up roughly a year after the events of the first Sister movie. In the first film, Sister Jowi (award-winning actress Vasudha Krishnamoorthy) is haunted by evil spirits, so she has to find the light within herself to overcome the external darkness. In the 2nd film, two new nuns, Sister Mariana (award-winning actress Andi Espinosa) and Sister Katharine (award-winning actress Gabrielle Bousum), find themselves as pawns in a battle between light and dark, start to experience supernatural occurrences at the church, including a mysterious white-cloaked nun and a dark angel (Katherine Reiling), and search for the now-missing Sister Jowi. Also joining the cast are Aime Selamo as the African priest Father Basil, Ophelia Grace as the choir girl Lindsey, and Seth Starks as the altar boy Tom. Returning cast members include Matthew Davis as the skeptical Father Matthew, Katie Harbridge as The Evil Spirit, and Jody Fedor as the kindly parishioner Don Smith. Jody died recently, so Sister II is the last film release in his lifetime.

What was it like working with the cast and crew of Sister II?

In the first film, we worked with a much smaller cast. When we were planning to make a sequel, star Vasudha Krishnamoorthy was preparing to go to India to film the movie Project C, which would make her mostly unavailable. I creatively worked around this issue by introducing new main characters and explaining her character’s absence. Keeping with the titles, the first film has one nun as the main character, and the 2nd film has two.

It was a pleasure to work with everyone on Sister II. I greatly enjoyed working with stars Andi and Gabby, especially. Andi and I had been friends for years, and I always wanted to make a film with her. I saw Sister II as a fantastic opportunity to collaborate. Andi delivers such strong emotions in her performance and always comes up with ideas for how scenes can play out more naturally or excitingly. She is destined to be the next big Hollywood star! Likewise, Gabby always gives a great performance and is always helpful on the set with coming up with better ways of doing the scene. It also is amazing in her performance as she has to play both a good and an evil version of her character, Sister Katharine. Aime Selamo, who joins the cast as Father Basil, was a coworker at a previous TV job I held several years ago, and we always talked about making a film together. It is amazing to see us achieve this dream by collaborating on Sister II! Selamo steals the show with the intensity of his performance as Father Basil and is one of the most talented actors I have ever worked with. Selamo’s contacts in Cameroon helped with filming the international scenes that take place there, so he was a valuable resource beyond just being an actor in the film. Seth Starks, who plays the altar boy Tom, starred as one of the main cast in a comedy pilot I developed in 2014 called Connor & AJ. In that project, he played the best friend of one of the main characters. It was cool to work with him again and bring things full circle!

Sister II features a very multicultural cast. Can you tell us more about that aspect of the film?

Yes, the cast of Sister II comes from multiple backgrounds. Most notably from India, the cast includes actress Vasudha Krishnamoorthy and pop star Anza, actress Andi Espinosa is from Ecuador, actor Aime Selamo is from Cameroon, and actress Katherine Reiling is from Iran. The diversity of the cast highlights how multicultural the city of Indianapolis is and how the spiritual themes of the film are universal and not limited to any particular race or nationality. 

How do you feel you have evolved as a filmmaker from making the first Sister movie to now the release of Sister II?

It’s been about 5 years since we started filming the first Sister film. A lot has changed in my life since then, and it is amazing to look back at all the cast, crew, and I have accomplished in that time. Filmmaking is a constant learning experience, so we always note what works and does not work and refine our style and approaches as we go along.

In terms of an evolution in style and approach, Sister is more focused on atmosphere and mystery, whereas Sister II is more on plot and characters. Using David Lynch’s filmography as a comparison (may he rest in peace), the first Sister is to Eraserhead as Sister II is to Twin Peaks. The overall scope is larger with a bigger cast and more locations and scenes. Sister II runs about 20 minutes longer than the first Sister film, as there are more stories and characters covered.

It’s amazing, too, how quickly innovations in independent film production are made. We used new audio technology that was not available to us in the making of the first Sister movie, which isolates and separates vocals from background noise, which helped a lot in the audio editing. It’s similar technology to what The Beatles used recently to add John Lennon’s vocals to their Grammy-winning song “Now And Then.” We also utilized advances in video editing technology, such as the use of Topaz Video AI. This software uses AI to make videos look like they were shot at a higher quality, allowing for better picture resolution than what was previously possible.

You mention David Lynch, who passed away recently; what influence has the filmmaker had on your work?

David Lynch has had a profound impact on my film career and spiritual development. I studied Lynch’s films in high school and college and incorporated a lot of similar themes and styles of his in my projects. Lynch also was one of the primary motivators for my interest to learn Transcendental Meditation after I read his book Catching the Big Fish.

My practice of Transcendental Meditation inspired the creative ideas that developed into the Sister films, so it is thanks to David Lynch and the TM program that I achieved such a higher level of consciousness-based creativity in my work. Every creative artist should consider learning Transcendental Meditation! I do not want anyone to think of me as the next “David Lynch” (like how for years everyone seemed to think of JJ Abrams as the next “Steven Spielberg”), but his cinematic style and approach to filmmaking have been highly influential, and I hope to carry on his legacy in my film career and practice of Transcendental Meditation.

What interesting edits or filming techniques did you use to make Sister II?

An interesting element of the production of Sister II is that some scenes feature characters interacting while their actors were never in the same room together. Vasudha and Andi never interacted with each other on set, but the scenes with their characters Sister Jowi and Sister Mariana are edited in such a way that it all feels like they were shot at the same time without the audience knowing. The same goes for the opening sequence, featuring an interaction between Vasudha and the pop star Anza; both actresses still have never met each other in real life.

We also did some subliminal shooting and editing to mess with the psychology of the viewers. For example, some shots feature Katherine Reiling as the Dark Angel looming in the background, which one can only notice if it is pointed out, creating the feeling of an unseen presence.

Also, continuing the tradition of the first film, we chose to film Sister II in places that have a real-life haunted history to increase the reality of the horror aspects. The dark realm sequences featuring Sister Katharine moving through a never-ending hallway were shot in the basement of the Knights of Pythias building in New Castle, Indiana. Professional ghosthunters have come to investigate the space in the past, and the basement evoked a haunting feeling when Gabby and I filmed there. We found dead rats on the floor and even heard unusual sounds at some points. The fear expressions on her face in those scenes were real!

What do you hope Sister II and this series as a whole will inspire in the audiences?

I hope these Sister films inspire audiences to become interested in religion and spirituality. This approach is similar to how movies such as Jurassic Park got people into dinosaurs, Indiana Jones into archaeology and world history, or Twister into tornadoes and storm chasing. If a film can move audiences to explore the themes and ideas presented, then it has done its job. I have a strong interest in theology/philosophy and the study of various religions and cultures, and the Sister films are my outlet to explore these themes on film and share them with others in an engaging and exciting way. I hope it serves as an example to other independent filmmakers to make more spiritually themed films without being too preachy or cheesy, as many films of similar genres and budgets tend to be, so hopefully, we, as this new era of indie filmmakers, can reverse that trend.

What is next for the Sister franchise and your film career?

We are currently in the post-production of Sister III: The Lesser Key, which will be the third film in the series. It was shot back-to-back with Sister II, with scenes for Sister III being shot the same day we finished filming Sister II. This third film continues directly after the events of Sister II and introduces new characters Father Vernon (played by veteran actor Karl Niemiec), a villainous priest looking to control the evil haunting the church, and Sister Rey (played by Instagram star/model Suzy Mu), a mysterious nun from Thailand whose namesake is a reference to the Velvet Underground song “Sister Ray.” I am excited for the release of that film and have some ideas for future Sister films in the planning stages. I also am in post-production on another Knightly Pictures film titled Frieda From Attica, featuring Sister series star Vasudha Krishnamoorthy in the title role alongside comedian Stratton Smith. The film is a comedy about a quirky small-town girl who dreams of being a big star.

I also recently finished assistant producing a new film written, produced, directed by, and starring Vasudha Krishnamoorthy titled The Return Arrow. The film is a sports drama about a professional archery champion who breaks her finger and must overcome a drug addiction to regain her former glory. This is the first feature film with Vasudha in the director’s chair, so it is exciting to see what is next for her filmmaking career since she already has proven to be one of the best rising actresses today. I eagerly await the next collaboration with her; she makes everything she strives for the best possible, and she will go far in the industry.

Norwegian writer, musician, and filmmaker with a background in art history, film studies, and film production from NTNU, as well as a PhD in participatory design. His work explores the intersection of film, music, and text, reflected in his requiem in memory of his parents, the award-winning Mimetic Desires, and the upcoming poetic short film Slow Motions. As a cinematographer, he has contributed to the documentaries A Punk Daydream and The Making of Memories for the Future, for which he also composed the music. He is currently developing a trilogy where the protagonist suddenly realizes he has mirrored his mother’s life down to the smallest detail. Driven by the desire to break this pattern, the films unfold across different life stages: from a PhD student who flees his own dissertation defense, to a statistics teacher in Bali battling both demons and arrogant colleagues, and finally, a possible messianic figure in a sect waging war against the IT industry.

When did you decide you wanted to be an actor/director/screenwriter?

I was seven when my mother gave me a film projector. She was an artist herself and had run a photography studio for a year when she was young. I remember how everything around me became a screen: the neighbor’s dog, the white cow that belonged to the farmer near my grandmother’s house. Everything that moved or crawled became projections of Warner Bros. cartoons. A filmic ontology had established itself—I no longer just saw the world; I saw its projection.

Later, my mother gave me a film camera. I discovered that by tampering with the microphone’s latch, I could take one frame at a time, so I started capturing drifting clouds. When the film was developed, they looked like surreal atomic explosions. It gave me a sense of catharsis—to control what I feared most as a young boy growing up during the Cold War.

How did your family react?

My mother encouraged me; she understood the need to create. My father supported me as well—he was the one who loved literature in our family. The last image I have of him is his proud expression as he sat in one of my mother’s Rococo chairs, reading a letter from a well-known writer who had responded to an inquiry I had sent.

Do you have a muse or a role model?

I am drawn to artists who challenge reality—Tarkovsky, Bergman, Antonioni. They show me that film is more than storytelling; it is a way of perceiving the world differently. I am currently writing a dissertation in film production on the concept of the figural. Deleuze’s ideas have been deeply influential to me—particularly his alternative to Hollywood’s action-oriented narrative. Strangely, Norway has chosen to follow Hollywood’s structure rather than drawing inspiration from the European and Russian pioneers.

Who's your biggest fan?

Perhaps someone I have never met. Someone who sees something in my work that even I haven’t fully realized yet.

What brings you inspiration the most?

Dreams. Fragments of conversations. Forgotten myths. The way light moves across a room as if it is trying to tell a story.

Which actor or director would you like to work with?

I want to continue working with my current collaborators. In the trilogy I am currently working on, I have begun with the music. Over the past four to five months, Peni Candra Rini—known for her collaborations with the Kronos Quartet and Garin Nugroho—and I have been developing the score and sound. Only when the right emotions emerge from this material will it be possible to write the scripts for the three films, all of which deal with how I have mirrored my mother’s life, down to the smallest detail. She warned me against it many times before she passed away far too young. In many ways, these films are an extension of a requiem I composed in my early twenties after my parents’ passing. But I feel that Peni Candra Rini’s vocal improvisations transcend the weight of that requiem, lifting it into something softer, lighter—something you can sit on and fly with, like the Garuda bird.

Have you ever seen a film that was better than the book?

Yes. Stalker by Tarkovsky. Roadside Picnic is fascinating, but the film transforms it into something much more profound.

What's the movie that taught you the most?

Maybe L’Avventura by Antonioni. Last year, I had to travel to Italy to revisit the places and atmospheres of this film—it left gaps in me, like missing sprocket holes in a reel.

About your artistic career, have you ever had the desire to quit everything?

Many forces have tried to distract my resolve, but it always returns. Perhaps I wouldn’t call it courage—rather, I am driven by a sense of disillusionment so overwhelming that it inevitably manifests as film, music, and literature.

I also feel that in the West, we have a problem—film, music, and words are almost forcibly separated at birth. Disciplines grow thinner, and we obsess over breaking things down into their smallest particles rather than seeing them as a whole. But for me, they are inseparable.

On set, what excites you the most?

The moment when it all suddenly makes sense.

And what scares you the most?

That the magic never happens. That everything remains flat, dead, uninspired.

What's your next project?

I am working on a film that mythologizes my mother’s role in my life, in a modern way. It’s part of a trilogy.

You can steal the career of an artist you really admire—who do you choose?

I don’t think I would. Every great artist’s path is shaped by struggles and choices I cannot replicate. But if I had to, maybe Tarkovsky.

An actor/director/screenwriter is made of…

Obsession, doubt, and the ability to see things that others overlook.

For you, cinema is…

A way of remembering things that never happened.

Do you think black-and-white movies have a powerful impact?

Yes. Stripping away color forces you to focus on form, light, and shadow. It creates a dreamlike distance. Cocky and self-assured reality is not welcome in my movies.

Originally from Hong Kong, I moved to Manchester three years ago. I hold a Bachelor’s degree in animation, with minors in photography, film, and television, studied in Hong Kong and the United States. Currently pursuing an MA in Filmmaking with a focus on documentaries, I’ve completed two shorts: Andrea’s Experience with Yoga Practice and The New Immigrants - Hong Kongers. I’m passionate about exploring diverse film styles to enhance my directing and technical skills while sharing my work with audiences.

When did you decide you wanted to be an actor/director/ screenplayer?

When I started taking film classes at university in my early 20s, I became very obsessed with filmmaking in general.

How did your family react?

They seem both excited and calm, and they are very supportive and accepting of what I love to do.

Do you have a Muse or a Role Model?

If I had to name someone who inspires me, it would be Michelle Yeoh. Her journey is remarkable—after a spinal injury ended her dream of becoming a dancer, she worked tirelessly to become a highly accomplished actress, constantly challenging herself. Her quote at Harvard Law School deeply resonates with me:

“Learning how to fall teaches you how to land. And learning to land gives you the courage to jump higher.” Her motto also inspires me: “Stay loose, know your limits, and find your people… And then leap, and leap again.” These words motivate me to strive for success and push my boundaries.

Who's your biggest fan?

A Japanese director named Shunji Iwai is someone I deeply admire, especially for his work Love Letter. It is the greatest Japanese poetic and narrative film I have ever watched in my entire life. I highly recommend this movie.

What brings you inspiration the most?

An inspiring movie.

Which actor or director would you like to work with?

Michelle Yeoh.

Have you ever seen a film that was better than the book?

No, I believe that a book can give you much more imagination than a film can. Many good books have been adapted into great movies, and a lot of movies are inspired by excellent books.

What's the movie that taught you the most?

Blade Runner.

About your artistic career, have you ever had the desire to quit everything?

Yes, I have thought of that before, especially when I’m stressed, trying to make things perfect, or working to meet goals or deadlines.

On set what excites you the most?

To see the chemistry and how the actors interact on set, with their surprising performances, is fascinating to me.

And what scares you the most ?

Becoming a failure—unable to do a good job directing, lacking confidence, and worrying about running out of time. I tend to worry too much about the details, especially when it comes to myself.

What's your next project?

I’m still working on what to do with my next project. I’m thinking of documenting local communities in UK. I am considering to create a documentary about pole dancing, fitness, and well-being in the UK, inspired by the Netflix film Strip Down, Rise Up. Another idea I have is to document the deaf community in Manchester. I am thinking of inviting a deaf friend named Helen to share her experiences and thoughts, telling her story as part of the documentary.

You can steal the career of an artist you really admire, who do you choose?Jennifer Lopez

An actor/director/screenplayer is made of....

joy, passion, love, and creativity. Most importantly, it’s about working with good people who can help bring your film to life while understanding and embracing your weaknesses. In the end, it’s all about great teamwork.

For you Cinema is.... about enjoying, entertaining, and imagining new creative ideas and sharing them with the crew to develop a great piece of work and ultimately present it to the audiences. 

Do you think Black and white movies have a powerful impact?

I believe so. I admire directors like Alfred Hitchcock, who developed and directed black-and-white films. I enjoy watching Vertigo, Rear Window, Citizen Kane, and Casablanca. Those are my favourites.

Have you ever dreamed of winning an Oscar?

Speak frankly, I haven’t thought of that before.

Do you think you're gonna win it?

I believe that when I have enough directing experience, the time to invest, and the support of talented and good people for my film, I will win an Oscar in the future.

Reinhard Steiner is a visionary filmmaker and storyteller, known for his deeply spiritual and emotionally resonant work. As the creator of What is Love?, Steiner explores the profound essence of human connection, delving into the universal themes of love, purpose, and the divine. With a background rooted in both artistic sensitivity and spiritual inquiry, Steiner’s films transcend traditional narratives, inviting audiences into a transformative experience that touches both heart and soul. His work reflects a commitment to authenticity and a belief in the power of cinema as a force for awakening and healing.

The biggest challenge of being an actor/director/screenwriter is…

The biggest challenge is surrendering to the process of creation while staying deeply connected to your truth. As the creator of What is Love?, I’ve learned that filmmaking is not just about telling a story; it’s about opening a sacred space for something greater to flow through you. Balancing the technical aspects with this spiritual openness is a constant dance of trust and intuition.

Choose an actor, choose an actress... and now choose a story you would like to direct or play with both of them.

If I could choose, I would work with Cate Blanchett and Javier Bardem. Their presence transcends the screen and reaches something timeless. I imagine a story about two souls who meet across lifetimes, seeking to heal an ancient wound through love, forgiveness, and surrender to the divine.

Who was the first artist that made you realize you wanted to be an actor/director/screenwriter?

It wasn’t a single artist but rather the way cinema itself felt like a portal to other realms. However, I remember the profound impact of Terrence Malick’s The Tree of Life. It made me realize that film could transcend entertainment and become a meditation on existence, love, and the divine.

What really excites you artistically or emotionally?

What excites me is the moment when a story reveals itself as something larger than what I had envisioned—when the creative process becomes a communion with spirit. Emotionally, I am moved by the raw vulnerability of human connection, especially in those moments when we see each other beyond fear and ego.

Marlon Brando said, “Never confuse the size of your paycheck with the size of your talent.” Do you agree?

Absolutely. The true measure of talent lies in its ability to touch souls, not in material success. In What is Love?, the intention was never to chase accolades or monetary gain but to serve as a vessel for something transformative. True artistry is sacred, and it’s not for sale.

Have you ever been discouraged by someone about your life/career choices?

Yes, there have been moments when others didn’t understand my path. But I’ve come to see these moments as invitations to strengthen my inner knowing. Creating What is Love? was an act of faith, and I’ve learned that as long as you align with your purpose, discouragement becomes irrelevant.

Do you think it is harder for a woman to be a filmmaker?

I believe that women, like the feminine energy itself, often face resistance in a world conditioned to value control over flow. But this is changing. We are reclaiming the space to tell stories that come from intuition, connection, and heart, which is deeply needed in this time of awakening.

Do you think fame and money could easily change your own vision as a filmmaker/actor/screenwriter?

Fame and money are temptations of the ego, but they are powerless against a grounded soul. As long as I remember that my work is in service to something higher, neither fame nor fortune can shift my vision.

Who’s the movie star that made you dream for the first time?

Audrey Hepburn’s grace and light touched me deeply. She embodied a kindness and presence that felt more like a prayer than a performance.

Make a wish about your career…

My wish is to continue creating films that invite people to reconnect with love—not just romantic love but the essence of divine love that unites us all.

Talking about cinema/showbusiness, how hard is it to remain completely honest to yourself as an artist?

It can be challenging in a world that often rewards compromise, but honesty is the foundation of meaningful art. Staying honest requires a daily practice of listening inward, even when the outer noise grows loud.

The film you have loved the most?

It’s impossible to choose just one, but Amadeus by Milos Foreman holds a special place in my heart. It’s a cinematic meditation, a profound reminder of the sacredness of life.

And now, don’t be shy… the one that annoyed you the most?

I believe every film has its purpose, even if it’s just to teach us what doesn’t resonate with our own truth.

Your biggest artistic goal is…

To create work that transcends entertainment and becomes a space for healing and awakening.

What profession other than your own would you like to attempt?

I would love to guide retreats or teach meditation—anything that holds space for transformation and connection to the divine.

How important is it to be rewarded as an artist?

Recognition is not about awards but about knowing that your work has touched someone’s heart. That is the greatest reward for any artist.

Do you have regrets?

No regrets—only lessons. Every step has been part of the journey, leading me closer to my purpose.

What’s the message you want to express through your art?

Love is not something we find; it is what we are. My art exists to remind people of this truth and to inspire them to live from a place of love, connection, and divine purpose.

Frances studied painting and also modern dance. She has shown her painting internationally since 1972 and she performed with Yvonne Rainer at Lincoln Center and the Billy Rose Theater in 1968-9, and with Joan Jonas in dance and video in 1970. During the past 16 years she has created two animations, two documentaries, and three short narrative films. Her films have shown in the US, Canada, Europe and South America and have won awards. Frances’ recent film Ginger Smith and Billy Gee, all shot in green screen, has just been released. Her previous short, Cock Robin, is a 33 minute comedy. Dreaming Tango premiered in New York through Anthology Film Archives in August 2020 and won Best Experimental Short at the Cannes Short Film Festival. Frances has studied film history, cinematography, editing and producing indy film at SVA and Film and TV at NYU in a certificate program.

What's the absolutely necessary ingredient to be a good actor/director/screenplayer?

Being an actor, perhaps that the actor needs to be truthfully in the moment and not go outside of the script to ‘act.’ Re: myself as the director I need to understand the screenplay and what drives all the action in it, be very organized with my shot lists so as not to waste the time of the actors or crew, and make the process good for all involved. Since I also write my own screenplays I’m very focused on every detail and how it serves the story.

First and last cinematographic crush?

My first was Gregory Peck in “On the Beach” 1959 when I was a teenager.

Then since first seeing Jeanne Moreau in Truffaut's “Jules and Jim” in 1962 that began my love for cinema from then on.

How old you were when you decided you wanted to be an actor/director/screenplayer?

When I was around 19 years old I performed with Yvonne Rainer in her early dance performances and then in one of her early films. I only started writing and directing my own animations and short Films when I was around 60.

For you a Film is...

Magic, unpredictable, emotionally moving and full of moments of revelation and joy.

What do you feel when you're acting/directing/writing?

I’m so focused, and in the moment of shooting, figuring out light, shots, how the actors are doing, how they are working with the script, etc. that I ‘m not really ‘feeling’ anything about myself.

You can go to the Movies with an actor/director/screenplayer that you love. What kind of movie do you choose and with who you're gonna whatch it?

My husband is a play director and actor, and we’ve been together for 43 years! He is the person I love going to movies with. We go to many kinds of movies: art movies, action, foreign films, biographies, documentaries, narratives, etc. He is more critical than I am when watching a movie; I’m less judgmental right when we are watching.

Audrey Hepburn used to say “Nothing is Impossible”, what do you think about it?

On one hand I think that is true, but then on another so many things in life either aid or thwart what is possible. If you want something enough you’ll try to make it happen.

Can you live just of your passion?

No—you have to have your passion, but there is also all the practical needs of life and if you are close with anyone, a husband, partner, parents, you need to find a way to have your passion and make room for them also.

What's more important talent or luck?

Not really a ‘binary’—talent, perseverance, passion, the will to make something.

You must go to a desert island but you can bring with you just one movie...

Fellini's "La strada".

Have you ever accepted a part/ a movie to direct/ a script to write even if you didn't like the project?

No

What's the best compliment you have received about your Job?

Not one specific compliment, but film awards and an understanding of how I keep going writing screenplays and directing short films.

Are you satisfied about your career?

Yes-but I don’t really think about it as a ‘career.’ It’s just my life.

Do you have a good luck charm? 

No, but I have a drawing of an octopus next to my editing station and I think of him as my mascot who protects me and when I might get angry he absorbs It for me.

Which is the worst moment on set ?

On one of my films we were all finished shooting for the day and waiting for one actor who was very important for the opening shot of the film. I called him and he said he was in a department store! I asked him why he didn’t make his call and he said he didn’t know if he would be comfortable enough! He asked if I could shoot it on another day. He was a SAG actor, a professional. Needless

to say I said no-and was lucky that the boom operator was also a SAG actor. He turned out to be terrific and was game to shoot the scene.

How do you feel when a job you've been part of is ending?

I’m lucky that it doesn’t end for me as I do all the post editing, video and audio, and work with other post editors. After all that, it’s time to release the film, so it’s an easier ending for me.

Have you ever lied to get a part/job?

No-I’m an independent filmmaker so I haven’t been in a situation like that.

If you should win an Oscar your first taught would go to…

Don’t know what this means. If I should ever win an Oscar I would certainly go to the Oscars.

As a musician, producer and song publisher, Erik Jacobsen spent a long, rewarding career finding and nurturing young unknown singer-songwriters. He published many hits including, “Do You Believe in Magic?”, “Summer in the City” by the Lovin’ Spoonful, “Spirit in the Sky” by Norman Greenbaum, “Hello Hello” by the Sopwith Camel, “Papa Don’t Preach” by Madonna, and “Wicked Game” by Chris Isaak. After 30 years of making hit records, he has since focused on producing short films about his extensive travels. What began as an effort to write an autobiography, blossomed into the full-blown creative pursuit of storytelling through video production.

The biggest challenge of being an actor\director\ Producer is…

Having good material

Choose an Actor, Choose an Actress...and now choose a story you would like to direct or play with both of them.

Humphrey Bogart and Ava Gardner. I direct a scene in which I play a roll. I’m on a dinner date with Ava. We’re on our second bottle of wine. Humphrey Bogart walks up to our table and asks to join us. Ava puts her hand on mine, smiles, and says “Three’s a crowd Bogie”.

Who’s the first Artist that let you understand you wanted to be an Actor\ director\screen player?

Anthony Bordain and Richard Attenborough

What excites you artistically or emotionally?

A whole steamed Branzino covered in Japanese herbs fresh out of John Wayne’s kitchen at his restaurant “King of the Roll”. Obviously, he’s not the actor John Wayne. 

Marlon Brando said “Never confuse the size of your Paycheck with the size of your talent”. Do you agree?

So true.

Have you ever been discouraged by someone about your life\career choices?

Yes. My wife wondered aloud why I would want to make a separate website for my travel videos.

Do you think is harder for a woman being a Filmmaker?

Yes

Do you think that Fame and money could easily change your own Vision as a Filmmaker\actor\screenplay?

Not at this point in my life.

Who’s the Movie star that made you dream for the first time?

Fay Wray in the 1933 version of King Kong!

Make a wish about your career...

To document, inform, and inspire.

Talking about cinema\Show business, how hard is to remain completely honest to yourself as an artist?

Pretty easy in my case.

The Film you have loved the most?

“Spinal Tap”

And now, don’t be shy…. the one that annoyed you the most?

A Touch of Evil, a potentially great film undermined by the flaccid and vacuous performance of Charlton Heston, as he sleepwalks his way through his part as the Mexican narcotics officer Ramon Miguel.

Your biggest artistic goal is…

Have people like my work.

What profession other than your own would you like to attempt?

None at this point.

How important is it to be rewarded as an Artist?

I love my film festival laurels.

Do you have regrets?

Never having flown on the Concord, when I had the chance.

What’s the message you want to express through your art?

Throw off the bowlines. “Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover.” Mark Twain

My name is Bryce Mackie and I've been making films for over 20 years. I graduated from Columbia College Chicago in 2013 with a major in Film Directing. I enjoy making films that have a positive social impact with the goal of improving the quality of people's lives. I've received over 400 international film festival awards/selections. One film, titled Eternal High, provided me the opportunity to give over 100 speeches nationally on the subject of mental illness as well as appearances on National Public Radio, Moving Pictures Magazine and receiving a national award by Eli Lilly Corporation for reducing the stigma of mental illness.

 Do you prefer Comedy or Drama?

Drama

Life imitates Art or Art imitates Life?

Life imitates Art

Which is the best Moment on set?

The best moment on set was filming a scene for my film “Lotus” while having an epiphany that my greatest partner in filmmaking is Brennan Collins. I truly realized how perfect we work together.

 Did anyone ever tell you weren't good enough?

 I have told myself I am not good enough more than anyone in my life. However, at age 36 I have learned to love myself. 

How can you stay focused on your goal?

Patience.

Have you ever had a breakdown because of your Job?

 More times than I can count.

Talent is a blessing or a curse?

A complete blessing.

What would you like to improve about yourself as an

actor/director/screenplayer?

I could never make a film again and be content. I have no regrets and feel I have nothing I want to improve. I say that knowing my films are not perfect. 

What's the worst critic you have received?

I wrote a 130 page screenplay when I was 17 and my mom hated it. She is an amazing mother however. 

If you weren't an actor/director/screenplayer what would you like to be?

 I would like to teach philosophy at a college.

If Cinema was a color what would it be?

Red.

A day without a movie is...

A day that could have been a lot more fun.

If someone offered you to play/direct/write in/a movie that you despice but  that for sure will make you rich and famous...would you accept the job?

 No.

What's your greatest ambition?

To continue to be grateful for all I have. 

What's your biggest fear?

My mental health.

Does music helps you to play/direct, write?

Classical music helps me write immensely. 

You have the chance to make a Silent movie, what's your message to the audience?

Family is everything.

Share your speech if you should win an Oscar.....

I would like to say one statement: Be kind to yourself. At the end of the day, you are all you really have. Thank you so much.

My name is Li Hao, and I am from Guangzhou, China. In 2015, I stumbled upon video shooting quite by chance. Without any formal training from professional schools, I relied entirely on my passion for videography to explore and develop my techniques. I eventually became a full-time videographer, starting with wedding videography. This experience taught me how to quickly adapt and capture significant moments even in unpredictable environments. Later, I ventured into shooting music videos, directing several of my own short films, and producing commercials. Over the years, as a full-time cinematographer, I have remained passionate about this profession. I am always striving to create work that satisfies me, and I will continue to pursue this goal with dedication.

What's the absolutely necessary ingredient to be a good actor/director/screenplayer?

To become an outstanding director, one must have professional knowledge in various areas. This includes understanding cinematography, lighting, settings, and acting. Without this foundational knowledge, it would be challenging to convey one's vision to the crew. Additionally, a deep understanding of the script and a clear mental image are crucial for effectively communicating ideas to the audience.

First and last cinematographic crush?

The first film I fell in love with was "Schindler's List."

How old you were when you decided you wanted to be an actor/director/screenplayer?

At about 8 years old, I was joking in front of my classmates during a lesson, and their enjoyment sparked my love for performing. This led to my initial dream of becoming an actor, but after discovering video production, my aspirations shifted toward becoming a successful director.

For you a Film is...

For me, cinema is a bridge of emotions, conveying the stories within to the audience. A successful film elicits emotions from viewers, allowing them to experience the joy, anger, sadness, or contemplation woven into the narrative.

What do you feel when you're acting/directing/writing?

When directing, I consider how to express my ideas to the audience. While conceptualizing the script, I deliberate whether to convey my message directly or leave room for interpretation, inviting the audience to ponder the story.

You can go to the Movies with an actor/director/screenplayer that you love. What kind of movie do you choose and with who you're gonna whatch it?

If possible, I would like to watch the war film "Saving Private Ryan" with Steven Spielberg.

Audrey Hepburn used to say “Nothing is Impossible”, what do you think about it?

The phrase "Nothing is Impossible" perfectly encapsulates cinema. In the film world, there are no limits to imagination, only endless possibilities. The beauty of cinema lies in its capacity for innovation and creation of unimaginable stories and visuals

Can you live just of your passion?

This is both a yes and no scenario. Often, passion generates drive, but sustaining that energy is contingent on reality. The best outco

What's more important talent or luck?

Talent and luck are both indispensable. Sometimes, immense talent goes unrecognized, or luck enables a smooth rise to fame, but without talent, success may fade as luck runs out.

You must go to a desert island but you can bring with you just one movie...

If I had to go to a deserted island, I'd bring the movie "Cast Away." At least it would teach me some survival skills, haha.

Have you ever accepted a part/ a movie to direct/ a script to write even if you didn't like the project?

Yes, I've worked on projects I didn't enjoy, including several commercial films, which aren't always to my liking.

What's the best compliment you have received about your Job?

he best compliment I received was when a bride was moved by a wedding video I created. It inspired me to make my own films and touch more people with my work.

Are you satisfied about your career?

I'm not entirely satisfied with my current career stage. I recognize my shortcomings and the need for further learning to elevate my profession and creations.

Do you have a good luck charm?

Yes, it's a string of Buddhist prayer beads gifted by my mother-in-law, haha.

Which is the worst moment on set ?

The worst times on set are when I clash with the producer or DP.

How do you feel when a job you've been part of it's ending?

When work ends, I usually feel a sense of relief, and then hunger sets in.

Have you ever lied to get a part/job?

No, if I cannot fulfill a job, I won't lie to secure it. In the film industry, such actions could tarnish one's reputation.

If you should win an Oscar your first taught would go to…

If I won an Oscar, I would think of my wife, grateful for her unwavering support and commitment.

Hailiang Duan is an artist whose mediums include photography, video and installation.His work explores the complex relationship between individuals and society, focusing on themes of loneliness, belonging, and detachment in modern urban life. Drawing from his experiences navigating rural and urban environments, Duan creates art that invites reflection on identity and the sense of place. His projects evoke an emotional response, encouraging viewers to reconsider their connections to their surroundings and explore the collective memory within contemporary settings. Duan aims to provoke deep engagement with space and self through his artistic practice.

When did you realised you wanted to be a Filmmaker\Actor\Writer? Do you remember your first time at the Movies? 

It was more like I was using the medium of video/film to create my art than becoming a filmmaker. During my college years, I did various art practices such as ceramics, lacquer, and painting. In 2024, I started a project about my hometown and utilize the mediums of photography and film in my documenting progress . I first saw movies when I was about 5 or 6 years old and watched a lot of movies every day on the movie channel on TV.

If you should change country where would you like to work?

I would like to experience different cultures and would probably like to work in Europe such as France and Germany.

Two films that have marked your life for better or for worse...

“Forrest Gump” & “To Live”.

What do you think about Acting/ filmmaking schools?

As I'm also a student at the University of the Arts, though not a film major. But I envy the students in the film program, they can work together in teams to make a movie, and they can get professional guidance and help from the teachers. At least I think the school for film majors is necessary, because in the school we can use limited resources to finish the movie. If one person is alone, problems such as the many technical problems and lack of manpower that I encountered during the shooting of this documentary would have been a big problem. The resources of a filmmaking school make up for this to a large extent.

Have you ever hated your ambition? 

Of course, from time to time, I doubt my own work and creative ability. It can also be confusing about the future. Questioning why you started on the art path and thinking about your ambitions. But I wouldn't be the person I am now if I hadn't been exposed to art and hadn't had these experiences.

Francois Truffaut used to think that “Film Lovers are sick people”... was he right? 

I can't comment on whether it's right or not. I can't say if it's right or not. Other people used to say that people who make art are crazy. At least it seems to me that the creator and the person who appreciates their work are in some way in sympathy. The creators are the ones who have the ability to observe and express themselves through the everyday and they are often on a path of discovery that is different from the norm, while the people who appreciate their work are naturally the ones who can feel something through it.

Close your eyes...if I say “Cinema” what do you see? 

The huge glowing screen and the dimly lit surroundings.

Who's the Director\Actor\Writer that taught you the most?

Jonas Mekas

About your job, tell us your biggest dream and your worst nightmare...

As a creator of self-expression, it's my dream to have the freedom to create my own work, find my own style and earn a steady income. My worst nightmare is the opposite: not being able to continue my creativity and not being able to realize my value by doing a job I don't like.

How important is to have a good Cinematographic Culture? 

It's very important to have a good environment where good works can be seen, and to be able to appreciate good works for a long time, it's also very important to improve the aesthetic sense of all the people and to form a virtuous circle.

What would you like to improve as a Filmmaker\Actor\Writer? 

Both my storytelling ability and the way of expression and filming are areas that need to be improved.

A big producer give you the chance to direct\to play (in) the remake of  one of your favorite black and white Movie (if you have one)... what film do you choose?

”The Family of Man, 1955”

Film Industry it's a tough place and sometimes is normal to feel lost and discouraged... who's the person that keeps you motivated?

My motivation comes from my grandparents and my own desire to express myself and create, I wanted to document their lives as much as possible before I started my project.

 Alfred Hitchcock said: “To make a good film you need 3 things: The script, the script and the script”.  Do you agree with him?

The script is important, but it doesn't seem to be so important for my subject matter and my way of working. My work is more important for me to simply document.

What's your most ambitious project for the future?

To keep making work that I am happy with and to publish it. And be able to be seen by more people.

Do you think that sadness or at least melancholy let be more creative?

In a way, yes. Mood swings are good for exploring yourself and thinking, and these are often inspiring.

What do you wish to yourself as a Filmmaker\Actor \Writer?

To produce work that satisfies you, that's all.

Brooke chased her dream of becoming a singer and actress to New York where she started in theater and later worked on “All My Children,” “Bones,” Disney’s “Enchanted” (on whose set she met her now husband), NBC’s “Good Girls” and other shows before re-dedicating to her musical goals and enrolling at Berklee. Brooke’s eclectic discography includes Sexy N’ Domesticated, a sexy, sassy, new wave flavored 2018 EP that earned her a Best Performer Award from American Tracks Music Awards and Best Video from Los Angeles CineFest, Western NY Film, Art, and Music Event (FAME), International Independent Film Awards and others.

Do you prefer Comedy or Drama? 

I like anything that I can truthfully connect with.

Life imitates Art or Art imitates Life?

Art imitates life for me. I’m inspired by my experiences or those of my friends and family.  I write what I know.

Which is the best Moment on set? 

Problem solving as a team, especially when limitations force us to be more creative.

Did anyone ever tell you weren't good enough?

 I’ve been intrigued since childhood by parents who brag about their kids and say how “proud they are” of their accomplishments because my parents never did that with my three brothers and I even when we succeeded because it was important to them that we stay humble and hungry to always be growing. I

was also raised in church where no one is ever “good enough” so I’ve gravitated towards mentors and people who are better than me or know more than I do so I can learn from them. I’ve lived my entire life with a growth mindset. So not being “good enough” has only fueled me to become a better version of myself.

How can you stay focused on your goal? 

When I have a goal, I create a one page “target” that I hang in my studio that includes every step I need in order to reach my goal. 

It’s so satisfying to check each step as I accomplish them.

Have you ever had a breakdown because of your Job? 

Hmmm. I haven’t had a breakdown, but I’ve had to grieve and let go when people I trusted turned out to be ill intended or emotionally unsafe.

Talent is a blessing or a curse? 

Talent is a gift to be revered. I was raised with the mindset “to whom much is given, much is required” so if you were born with a talent, it is your invitation to either make a diGerence in this lifetime with your blessing or allow it to become

a curse when you make the talent all about yourself and forget you did nothing to earn it.

What would you like to improve about yourself as an actor/singer?

I recently realized that I have trouble with eye contact. I have been burnt by people I trusted and it dawned on me the other day while I was in a new social setting in conversation with someone I just met that I have gotten into the habit of looking away while I’m speaking as a defense mechanism to protect myself from seeing the other person’s reaction to my vulnerability until I know for sure they are a safe person. It’s an area I need to work on in therapy for sure.

What's the worst critic you have received? 

A former A&R guy stopped me mid song on stage at a songwriters conference to tell me my song “Burning Journals” was “stupid” because “no one says ‘burning journals.’ It stung Iin the moment but after I released the song, it turned out to be a fan favorite and the inspiration for my song “No for an Answer”

that also became another fan favorite.

If you weren't an actor/director/screenplayer what would you like to be?

A psychologist. I enjoy reading about human behavior and psychology and have learned so much about ADHD over the past few years since my kids both have ADHD. I’m an empath and truly enjoy learning about the mind and helping others navigate through life.

If Cinema was a color what would it be? 

White because it is the combination of all colors in the spectrum.

A day without a movie is…

Living to inspire a movie.

If someone oFered you to play/direct/write in/a movie that you despise but that fosure will make you rich and famous...would you accept the job? 

No. My priorities changed when I became a mother.

What's your greatest ambition? 

Living my purpose in this life time free of anyone else’s projections or agendas.

What's your biggest fear? 

SuGocation. Physical and emotional suGocation terrify me.

Does music help you to play/direct, write? 

Music has always been my life raft but so has silence. I find that silent moments create space to process, purge and birth creativity. Alone time recharges me.

You have the chance to make a Silent movie, what's your message to the audience?

Human kind. I would spotlight the actions of human beings choosing to be kind to others outside of their culture, political, religious and socio economic heritage and showcase a compassionate world view where there is room for everyone.

Share your speech if you should win an Oscar..... 

I would begin by thanking God for my gifts and blessings, then my parents and family. Then I would be sure to thank all of my mentors, friends, and everyone involved in the project that was nominated then last but not least all of the people who said no or made life diGicult along the way because I wouldn’t

be the strong woman I am without them.

Louise Mason is the director, cinematographer, costume designer and lead actress of her award winning horror/drama/crime thriller feature film Sewing A Nightmare. Sewing A Nightmare has won the Best Poster and Best Crime film awards at the October 2024 Hollywood Blood Horror Festival. She is also a photographer and fashion designer. Her fashion, costume and lifestyle editorials have been published in and on the cover of many magazines including, Arttells Magazine, Marika Magazine, Le Desir Magazine and Unbound Magazine. Louise has also worked on many other feature films and in T.V. and is a graphic designer.

When did you decide you wanted to be an actor/director/ screenplayer?

I decided to be an actor/director after I became a cinematographer. I love movies and I wanted to be involved in the process in even more ways.

How did your family react?

At first they just sort of laughed and said oh yeah dream on but now I think they have come to realize that I am very serious about my career.

Do you have a Muse or a Role Model?

I have never had any role models and I don't have a muse. I find nature to be inspiring though.

Who's your biggest fan?

I don't know if I have a BIGGEST fan but I have a small following in New York, Los Angeles, Romania and Europe.

What brings you inspiration the most?

Vibrant colors

Which actor or director would you like to work with?

John Carpenter

Have you ever seen a film that was better than the book?

I'm a really tough critic when it comes to this but no I have never seen a movie adaptation that has beaten the original book.

What's the movie that taught you the most?

The movie that taught me the most, especially from a cinematography perspective, is The Red Shoes. There is so much drama and tragedy to it. 

About your artistic career, have you ever had the desire to quit everything?

No. Never.

On set what excites yuo the most?

Seeing the costumes come to life as they fit in with the set design and hearing all the dialogue. 

And what scares you the most ?

The idea of a project not being finished.

What's your next project?

Right now I'm brainstorming a neo-noir film, probably a short and I'll see where that goes. I am also continuing with my fashion and lifestyle photography.

You can steal the career of an artist you really admire, who do you choose?

I'm really happy with what I have going on. I'll take a pass. 

An actor/director/screenplayer is made of....

Ideas

For you Cinema is....

Thrilling

Doyou think Black and white movies have a powerful impact?

Yes. 

Have you ever dreamed of winning an Oscar?

Not particularly. 

Do you think you're gonna win it?

Now that you mention it I hope so. 

Anaya Kunst (Anaya Music) is a New Age Musi‪c composer and ‬MultiAwardWinning Recording Artist, ‪ (MSc, PhD, PostDoctor) ‬Filmmaker, Director, Producer and Author. Anaya is an Outstanding Keyboardist, her music has a Healing power and she is considered a Music Diva, passionate about elevating the human spirit through the power of music and visuals and the universal Vibration of Love and Peace. ‪She is a GRAMMY®, ASCAP and LIT Talent Awards voting member.‬ AnayaMusic, is a prolific New Age composer and filmmaker whose work has garnered international acclaim across all continents.

The biggest challenge of being an actor\director\ screenplayer is…

To translate your imagination into a movie

Choose an Actor, Choose an Actress...and now choose a story you would like to direct or play with both of them

Meryl Streep and Robert Pattinson.

Who’s the first Aritst that let you understand you wanted to be an Actor\ director\screenplayer?

Clark Gable and Grace Kelly.

What really excites you artistically or emotionally?

The whole creation process that can go on for months

Marlon Brando said “Never confuse the size of your Paycheck with the size of your talent”. Do you agree?

Yes

Have you ever been discouraged by someone about your life\career choices?

Yes but never was a problem for me because I always know what I want to do.

Do you think is harder for a woman being a Filmmaker?

Yes, we need to be 1000 times better!!!

Do you think that Fame and money could easily change your own Vision as a Filmmaker\actor\screenplaye?

No, if you learn how to deal with that , all is ok.

Who’s the Movie star that made you dream for the first time?

Twilight Saga.

Make a wish about your career...

To have more technical resources to make a movie and to have some musicians playing with me the movie soundtrack.

Talking about cinema\Showbusiness, how hard is to remain completly honest to yourself as an artist?

It is a question of maturity and be faithful to yourself and respectful with you.

The Film you have loved the most?

Twilight Saga and Avatar.

And now, don’t be shy….the one that annoyed you the most?

All movies has good part.

Your biggest artistic goal is… to touch people’s heart to elevate vibration in the universe.

What profession other than your own would you like to attempt?

Aircraft pilot 

How important is to be rewarded as an Artist?

Leave a legacy to help new artists

Do you have regrets?

No

What’s the messagge you wanna express through your art?

My art is my life and to live is an act  of love for the transcendence to elevate spiritual and human vibrations .

What's the absolutely necessary ingredient to be a good
actor/director/screenplayer?

It's not just about crafting a story, it's about crafting a story that's going to  make people laugh, cry, and maybe even want to question their entire existence. That’s one goal of mine. Another is to inspire people to live a better life. No one is required to stay in the circumstances they were born into. There is a whole world out there with unlimited possibilities. I think one of the greatest tragedies of mankind is wasted human potential. A good screenwriter is a storyteller, and a storyteller is a truth-teller. We're not just writing about what’s glamorous, we're writing about the human condition, and the human condition isn’t always glamorous. We're writing what’s real, about the struggles, the triumphs, the love, the loss, the things that make us feel things. Think about it.  The greatest screenwriters, the ones who've stood the test of time, they weren't just writing for the money. They were writing for the soul.  They were writing to connect with an audience, to make them feel something, to make them think. You also need a heart.  You need to be able to tap into that universal human experience, the one that transcends time and space. It’s the experiences that all humans share, no matter where they are or if they are rich , poor, or whatever religion or race  they are. And you need to be able to tell it in a way that's both entertaining and thought-provoking.  You need the heart, mind and soul trifecta working together. That’s the secret sauce.

First and last cinematographic crush?

Oh, Clint Eastwood. BOTH my first and last cinematographic crush. Absolutely. I mean, who else could pull off a poncho and a squint like that? It's like he was saying, "I don't need to see you clearly to know you're trouble." Maybe it’s the stoic masculinity, maybe because he liked to play an outsider who played by his own rules and I can relate to that. And isn't that what we all secretly want to be? Someone who can stand alone, face the world, and say, "Go ahead, make my day."

How old you were when you decided you wanted to be an
actor/director/screenplayer?

I knew I wanted to be a writer since I was a kid in elementary school. I went on my educational journey, community college, university, graduate school, collecting film courses like they were Pokémon. I was like, "Gotta catch 'em all!" Silent films, talkies, noirs, you name it. I studied them all, because if you're going to write for the screen, you better know where it all started. I started off loving Buster Keaton and silent films, and I admired Orson Welles very much. I never would have even discovered those films and filmmakers if I didn’t take those Film Appreciation classes.  I have never taken any screenwriting courses, but I’ve studied many scripts of all my favorite films.


For you a Film is...

Film is a mirror reflecting the human condition, philosophically speaking. Films show us who we are, who we want to be, and sometimes who we should never, ever become. Films can uplift our spirit, motivate us, and make us question ourselves. They can help us walk in another person’s shoes and help us feel empathy for people we previously did not feel empathy for. We can learn how people in other countries live. Remember Slumdog Millionaire? Or the immigrant experience in The House of Sand and Fog? They can show us other perspectives different than our own and help to breed tolerance and understanding. All of that while entertaining us at the same time!

What do you feel when you're acting/directing/writing?

Writing is like I’m dancing with my mind. I get to create worlds and characters, and then watch them come to life, or crash and burn, depending on what I’m trying to communicate. And whatever I’m going through in my life, I can kind of work it out through my characters and plots. In that way, it’s like free therapy.

You can go to the Movies with an actor/director/screenplayer that you
love. What kind of movie do you choose and with who you're gonna whatch it?

If I could go to the movies with Clint Eastwood, you better believe we'd be watching one of his classic spaghetti westerns. I mean, come on, how could I resist the chance to see "The Good, the Bad and the Ugly" with the man himself? I'd be like, "Clint, did you really eat all that dust?" Or “Clint, when you were out there in the desert filming, did you ever just want to say, 'F this, I'm going back to air conditioning and a cold kombucha'?" I actually have a million questions, and plenty of sarcastic comments as well. 

Audrey Hepburn used to say “Nothing is Impossible”, what do you think
about it?

Audrey was definitely on to something when it comes to the film. Throughout film history, we've seen the impossible happen time and time again. Remember when they said talkies would never replace silent films? Or when color was just a fad? Or when they thought Computer Generated Images were just a phase? The film industry thrives on turning the impossible into the possible. When it comes to people, if you say something is impossible, well, then it is. If you want to succeed in writing, you have to believe anything is possible.


Can you live just of your passion?

Absolutely, I can! Passion is the lifeblood of the film industry. I mean, look at all those indie filmmakers out there, surviving on ramen noodles and sheer determination, just to get their vision on screen. And film history? It's full of those stories like that. Without passion and determination, nothing would ever get made.

What's more important talent or luck?

Ideally, you want both. Talent is what gets you noticed. It's the reason we still talk about legends like Orson Wells, Buster Keaton and Greta Garbo. They had talent that transcended time. But then there's luck. Luck is the industry’s fairy dust that can turn an unknown into a star overnight. Luck is what gets you in the right place at the right time, like when Harrison Ford was just a carpenter and ended up as Han Solo. Or when Kelsey Grammer decided to accompany a friend to an audition and ended up the one being discovered. Talk about lucky breaks! You need talent to stay in the game, but a little luck never hurts to get your foot in the door, and your talent will keep your whole body in the door permanently.

You must go to a desert island but you can bring with you just one movie...

If I'm stuck on a desert island and can only bring one movie, "Life is Beautiful" is a my choice! I mean, if you're going to be stranded, you might as well have a film that reminds you of the beauty and resilience of the human spirit, right? Plus, it’s got Roberto Benigni, and who doesn’t love a little Italian charm to keep you company? Especially someone with the energy of Roberto!
“Life is Beautiful" is like a masterclass in finding joy amidst chaos. It's a reminder that even in the darkest times, laughter and love can light the way. From a film history perspective, this movie is a gem. It broke barriers, blending comedy and tragedy with grace and humor in a way that hadn’t been done before. That’s my wheelhouse, so I appreciate it. It’s a testament to the power of storytelling, showing us that even in the worst possible circumstances, beauty can be found. We can watch it and remember, no matter how isolated we ever feel, there’s always hope and laughter. And for a bonus we can watch a clip of Roberto Benigni accepting his Oscar and we can feel inspired and alive again!

Have you ever accepted a part/ a movie to direct/ a script to write even
if you didn't like the project?

In film history, many greats have taken on projects they weren’t initially thrilled about, only to create something iconic. It’s a reminder that sometimes stepping out of your comfort zone can lead to magic…or at least a decent paycheck. I was asked to pitch a horror, and I strongly dislike, okay, I HATE horrors. So, yes, I took on the script assignment, and while it wasn’t love at first sight, it was a chance to flex my creative muscles. And who knows? Maybe when I finally finish it, it will be my best script yet. It’s called “Shadows in the Park.”

What's the best compliment you have received about your Job?

A producer told me I was talented. When I got to my car, I cried. My whole life, I was told the opposite. In this industry, where rejection is common, a genuine compliment is a reminder that you’re doing something right. And who knows? Maybe one day, I’ll be the one giving out those compliments, telling the next generation of creatives that they’re passionate and gifted. Cheers to that!

Are you satisfied about your career?

As long as I’m writing, I’m satisfied.


Do you have a good luck charm?

My brain is my good luck charm (most of the time). I rely on my intellect, not luck. It’s gotten me this far, and we’ll see how far it gets me from here.

Which is the worst moment on set?

I haven’t been on a set yet, but I would imagine the worst moment would be when everyone realizes they’ve been filming for hours, and no one remembered to hit record. But seriously, the worst would be a toxic work environment where workers are not treated very well, especially the people we are supposed to be grateful for, like the assistants, set and food crew, and the only people who are treated with respect are the A listers.


How do you feel when a job you've been part of it's ending?

I feel a mix of gratitude and anxiety. Gratitude for the experience and anxiety about what's next. But that's the gig, right? You just keep going, hoping the next thing is even better…or at least pays the bills.


Have you ever lied to get a part/job?

Not yet. But most people in Hollywood have enhancement going on, whether it’s on their resume or the Botox on their forehead.

If you should win an Oscar your first taught would go to…

If I should win an Oscar, my first thought would go to all the people who said I couldn’t do it. I'd be standing there like, 'Well, are you laughing at me now?’ It's like the ultimate 'I told you so,' so I may even break out into my “I told you so dance.” I would have to give a big, loud 'thank you' to all the doubters, and an air kiss to the haters. Because without them, I wouldn’t have had the drive to hustle harder, dream bigger, and strut up on that stage like I own the place. And that’s the real Hollywood story, isn’t it? Turning all that doubt into your own blockbuster success!

Paolo Guglielmetti born in Cuneo - Italy on 22 June 1957, with the bass guitar at the age of 15, still playing Soul music, progressive, Rock, Blues. At the age of 22 he decided to become a photographer and videomaker, since 2012 his career has partly shifted towards filmmaking, he invented his own popular serial with actors of ordinary people with no acting experience, the serial is called Fette di Salame, on the portal https://www.youtube.com/@suruspoint/videos you can find all his videos made.

When did you realised you wanted to be a Filmmaker\Actor\Writer?

Around 2012, devising “Fette di salame” a popular serial that had people with no acting experience as actresses

Do you remember your first time at the Movies?



The Magnificent 7, on cinemascope screen

If you should change country where would you like to work?



I don't know for sure, maybe in Asian countries, Korea or Japan, they have a very strong sense of duty, but I have never been there, so working anywhere where the passion of cinema is respected and followed with love in every role, without conflicts of interest of money or power.

Two films that have marked your life for better or for worse…

Someone flew over the cuckoo's nest, it was devastating as well as sad, American school of cinema, Italian school Fellini without a doubt, all his films 

What do you think about Acting/ filmmaking schools?

I have no direct experience as a student, I think that knowing new things, studying, knowing, are good things and everything is useful

Have you ever hated your ambition?



Never

Francois Truffaut used to think that "Film Lovers are sick people”… was

he right?



The word sick is bad, it means to have a malign pathology, I see nothing malignant in the passion for cinema

Close your eyes…if I say “Cinema” what do you see?



I see but also feel....the taste of the emotions just before the clapperboard, the details to be brought out, listening and watching in the big-screen theatres that are pure magic, they absorb you into them and you are part of the film, you are pulled in when the film is done well

Who’s the Director\Actor\Writer that taught you the most?



Fellini, but many others, female and male actors, Papas, Anna Magnani the great American actors, Kevin Costner, English above all, Italians the legendary Vittorio Gassman, Mastroianni, Tognazzi

About your job, tell us your biggest dream and your worst nightmare…



I am slowly realising my dream, but I want to continue to make the workshop of cinema towards the working class, young people, and fragile people, a medium that is also therapy, teaching how to think and make a film can also be a school of life. My nightmare is to continue dealing with the sectarian mentality that even here in Italy, perhaps above all here in Italy, ruins free thought and freedom of expression

How important is to have a good Cinematographic Culture?



Very important, you never stop learning, the beauty in filmmaking is that you continue to have all-round knowledge and not only that, it forces you not to pretend, to always be sincere and to have human contact

What would you like to improve as a Filmmaker\Actor\Writer?



The ability to see my faults, correct them and learn more to be with people all.

A big producer give you the chance to direct\to play (in) the remake of

one of your favorite black and white Movie (if you have one)… what film

do you choose?



I don't know

Film Industry it’s a tough place and sometimes is normal to feel lost

and discouraged… who’s the person that keeps you motivated?

I'm not part of the cinema system in Italy, it doesn't belong to me, I go forward with the sole passion of making popular cinema, from the bottom up, that's enough for me.

Alfred Hitchcock said: "To make a good film you need 3 things: The

script, the script and the script".  Do you agree with him?



Of course, everything is there in the script, you just have to put things in the right doses and at the right pace

What’s your most ambitious project for the future?

Continue to use popular film workshops to make people aware of the positive things cinema can give us for the wellbeing of our souls

Do you think that sadness or at least melancholy let be more creative?

Sometimes when you are sad or dejected you are more sensitive to certain emotions, but not always, creativity to me comes from the hunger to do something, if I am immersed in an environment full of factious people who only think about money, I don't waste energy complaining about them, I use creativity to show them but above all to give me the strength to resist, that things can be done, even with little means at my disposal.

What do you wish to yourself as a Filmmaker\Actor \Writer? 

I always want to have creativity, honesty, open senses to listen, to observe the world around me and all the people who, with their life stories, are an inexhaustible source of creativity, I always say: just listen and observe what and who surrounds us to have something to tell, but to be able to do this you must never stop, you must continue to learn about new things and new people.

Jake Wieners is a passionate storyteller and filmmaker dedicated to exploring the intricacies of the human experience. Jake's work is characterized by a commitment to authenticity and connection, drawing inspiration from life’s nuances. Currently, he's developing projects like New Come Hollow, where he aims to captivate audiences with heartfelt narratives that resonate on a personal level. Guided by love and curiosity, Jake strives to share his truth with honesty, trusting that the results will speak for themselves.

When did you decide you wanted to be an actor/director/ screenplayer?

First I wanted to be an inventor, then an engineer, then a pilot, then I started editing video footage, then I got a camera. I loved the process of filmmaking and eventually found myself asking "What do I really like about this?" The answer was in the story. Watching it come to life-- bringing it to life: creating something. That dynamic process is what called to me. And so I thought directing was my passion-- until the day came when I watched Eternal Sunshine of the Spotless Mind for the first time and realized the power of the script. From then on, I knew I wanted to write. What exactly that means, I'm still not certain. I don't think it is as simple as saying "I want to be a screenwriter" but "screenwriting" at least gives the wobbly overarching compass of my life a passionate, definitive heading. And I wouldn't want it any other way, today.

How did your family react?

I remember my mom asking if I wanted to minor in aviation, too. And I was feeling a sensation of "If I'm going to do this, I should do it." Eventually my passion shone through, but there was certainly a period of unease amongst my family and myself. The good ole "oh okay-- good luck" type of thing. And then there was the "I know you'll be successful at whatever you do" -- and the instability remains today. But to me, it always felt like something deeper. Like something was pulling me down this path not just to "be a screenwriter" as I said earlier, but to explore the nature of my human condition of which, for as long as I can remember, I have been enamoured and allured by.

Do you have a Muse or a Role Model?

To bounce off my last answer, I believe my Muse is Life itself. It would not feel right to respond any other way. As for my Role Model, I would have to say Charlie Kaufman. His vulnerability and honesty in regards to the weight a screenwriter bears in the attempt at transmitting pure human story touched my heart in ways that few others have. I carry his spirit (for lack of a better word) with me every day and every time I sit down to work. Quotes from his lectures are tattooed on my wrist: "It must be spent" in regards to movies-- they move. Everything is changing. And a good first step as a writer is to acknowledge that you know nothing. This I learned from Charlie and will hold close forever. I hope to one day get the chance to thank him for his authenticity, which inspires me to lead with a similar step.  

Who's your biggest fan?

Gotta be my Mom. While, at the start she may have nudged me towards a back-up plan or safety net of sorts, as soon as she realized the passion in my heart she never doubted anything for a second. From when I dropped out of a four year college after my first year (having done great!) to go to New York Film Academy for an intensive year-long screenwriting certificate course-- she shared in my feeling that it was where I belonged. Second I must note is my Brother, who understands me like few ever will. He is always open to talking about my often outlandish ideas that many aren't very interested in and thus offers some much needed confidence and validation. My Girlfriend and her Family have been monumentally important to this pursuit of my passion. Through the financial unease of such a venture they offer priceless Love and support amid every up and down. And lastly, but essential, I, myself, am, I think-- indeed-- my biggest fan. My ideas get me so friggen excited I can hardly stand it. My heart starts pounding in my chest as things come together. I love my characters so much and the journey they take-- I take with them. In this way I think it's impossible not to be my own biggest fan. Especially when I am the only one who needs to be motivated in order to bring these stories to life.

What brings you inspiration the most?

Mmm... Life, surely. As my muse, she is constantly in the process of showing me areas of curiosity to explore. Constantly hinting at the subtle workings of the human mind between relationships/billboards/and passing interactions. She's always there to show me the unfailing strength of the mountains and clouds, to remind me that things take time and that change is inevitable. The sun is always there to remind me that I'm not alone on this journey of burning passion that few may immediately acknowledge. And it's Life who inspires me to lead with Love-- to be authentic-- each breath I take is a reminder to why I am on this path, and why it is important to stay true and honest. When all else fails to inspire me. Something in my chest, in response to something from my experience of life, is always there to pull me back onto my path.

Which actor or director would you like to work with?

I would love to work with Jim Carrey and Charlie Kaufman. Jim's recent existential-religious perspective, I personally think, taps into some much larger forces at play that I would love to explore alongside him. I honor his vulnerability as well as Kaufman's. Christopher Nolan of course would have much wisdom and insight to offer in his mastery of reaching final products from such a complex start-- which my stories are rarely "simple." Of course, the same could be said of Quentin, although I feel like we are already somewhat in the same boat in terms of "if you really love movies you can't help but make a good one" although, what I really love is Life and the exploration of that through the medium of film. Of course, there's so much to learn from everyone and I would be extremely ecstatic to work with anyone with more experience than I for that reason. 

Have you ever seen a film that was better than the book?

Not yet ;) -- I did just work on an adaptation that I think could fit that bill. A first time author wrote a book of his experiences moving his family to Ethiopia to start a sports ministry and, while it was moving in concept, the structure was a bit disorderly. I think the way I wove it all together might better communicate the deeper hard-to-explain stuff to the audience. And I would love to see Jim Carrey play that role as it directly relates to the teachings of God, Jesus, and Life-- through the lens he has been publicly expressing. Even though I know he said he retired from the industry, I see no harm in dreaming. 

What's the movie that taught you the most?

Eternal Sunshine of the Spotless Mind by Gondry, Spirited Away by Miyazaki or, if you would allow me to take a leap, the shows Attack on Titan by Hajime Isayama, and Watanabe's Cowboy Bebop taught me some extreme lessons. For Eternal Sunshine, it was a revelation to the power of the screenplay. Spirited Away I finished liking and awoke in the middle of my sleep that night LOVING. Something happened in my dreams that connected it all-- that impassable aspect of consciousness' effect is still something that fascinates me. Attack on Titan revealed to me the infinite potential of the "form" as well as structure and character/world arcs. And Cowboy Bebop (THE ORIGINAL, ALLOW ME TO STRESS THIS-- the remake broke my heart, in my humble opinion, it entirely missed the point) but the original Cowboy Bebop took me three attempts before I finally got to the end-- which, once I got there-- I was filled with so many feelings-- it's hard to explain. Through Bebop I began to understand the 'magic' of what lies beneath the visuals and dialogue. The flow of story and impact of character is something I will always be thinking about but it is not so simple as having an interesting story and putting a character there to deal with it or to reach a goal. It serves wonders to really understand the feelings and reasons behind the piece as a whole. And what it all aims to represent, not only for the characters, but for the one who creates it-- and I think that's the stuff that translates naturally-- unconsciously, even -- which revealed itself to me through Bebop (but is loudest to me in Miyazaki's work). 

About your artistic career, have you ever had the desire to quit everything?

It went more like this-- "Wouldn't it be easier to not?" but regardless of the answer, there's a deeper sensation in me that knows, whether it be for films or books or just my journal, I will be writing and exploring for the rest of my life. So I might as well put it to good use, give my all to making a career out of it in the hopes that I may share some of what I learn along the way, honestly, humbly, and with no intention beyond that. I am always open to being proven wrong as it expands my genuine understanding. And I prove myself wrong all the time-- especially when the kernel of "quitting" enters the framework. 

On set what excites you the most?

This is a loaded question! I love being on set. I have worked on a handful of movies of all different budgets and love the families and relationships that are formed. I will say -- I see a disconnect in the intent of the production. Many aren't connected at all to the story they are bringing to life. With that in mind, I hope to one day have "start parties" as well as "wrap parties." I want us all to be on the same page about what we are working to create, which I sensed was lacking on *most* of the sets I have worked on. On set I am excited most for the opportunity to nurture this belief to hopefully create something we can all be proud of when it's wrap time. 

And what scares you the most ?

My biggest fear is also my biggest paradox. I fear that my stories will be misunderstood and therefore that I will be misunderstood. But to that same point I understand that it is the vulnerability that leads to the most connection. And I believe that that is what the people really "want," even if they don't know it. Facing this fear is the only hurdle. Luckily, I've always liked a good challenge. 

What's your next project?

I am very excited about my TV show idea that I hope to structure based on my love for Attack on Titan. Ah, I don't want to say too much. But it's going to be good, hehe. Also-- another hour-long dark action drama I think the world is ready for called "Brimstone" focuses around an ungoverned city plopped in the middle of an evolved "perfect' dystopian Earth. But that is quickly evolving and changing. Rarely do things go to plan but those are what I'm working on currently to follow up New Come Hollow. 

You can steal the career of an artist you really admire, who do you choose?

To be blunt, I'm not a fan of this question-- if I were to steal another's career, it wouldn't be mine. And it wouldn't be theirs either. I think what makes art special is everyone's UNIQUE perspectives. And every path and career are different, leading to unique perspectives WORTH sharing in their own light. So I would opt to not steal any. To take the question less seriously, I suppose Quentin Tarantino's path would be the closest thing that I would like to embody, but even that-- we have our differences-- and I think the path that I'm on will lead to a new unique perspective on things that would be more insightful for everyone, including myself, than would be to just steal his. Or anyone's.

An actor/director/screenplayer is made of....

Love and Pain.

For you Cinema is....

To me, I feel that the essence of "cinema" has been forgotten-- no this is not a unique perspective, and yes, it is due to Hollywood, but we don't have to go down that rabbit hole. That said, TO ME-- not to be a broken record-- cinema is the closest medium we have to sharing our unique human perspective. Where a painting can evoke somewhat static feelings like a song or sculpture, movies embody the movement of life. And in that way, with light, sound, and emotion in motion-- I think cinema has the best chance at communicating and sharing the way we see the world, therefore the best way to connect with others. To make others feel seen and heard in a more clear and definitive way than other forms of art can supply. Though I am biased. Books are also an extreme example of this but the full freedom of imagination that books require, inevitably turns the text into something more of a reflection of our own mind than a direct representation of the author's --  of course, that aspect is there when watching a movie-- but the creator's intention is much more clear and in your face and the interpretations made from the visuals and sound are more akin to the way common day-to-day life goes, which perhaps leads to that deeper connection of shared perspectives. I'm not certain of anything. 

Do you think Black and white movies have a powerful impact?

Sure. It can. And it also can feel stale and forced. The intention is what matters. 

Have you ever dreamed of winning an Oscar?

I have a vivid memory from when I was 17. I texted my cousin in a sort of manic state saying  "27-- I'm going to win an Oscar before I turn 27" and he replied something along the lines of "F*ck you-- you're doing this because you love it. F*ck that. Don't worry about that, just do your thing."  ... I think that sums it up. I hold that close and never won't.

Do you think you're gonna win it?

Time will tell. I have no expectations. To me-- like my cousin reminded me so long ago-- it's not worth thinking about such things. I'm just doing what I Love. And will continue. The rest will unfold however it's meant to. 

Alberto Martin Aragon (Madrid, Spain) is an experimental filmmaker and writer. He has won several IMBD awards and has published several novels in Spain. His short films are characterized by a combination of surrealism and metaphysics in which absurd humour and a fatalistic vision of human beings sometimes appear. 'Nobody' is his latest work, a devastating story of the loneliness and isolation of a person unable to find his place in society and the world.

The biggest challenge of being a director is…


Keep working when you have lost faith in what you do or even in yourself. If you don't give up and continue creating despite everything, faith ends up returning.

 Who’s the first artist that let you understand you wanted to be a director?

Federico Fellini. His films show me that cinema can flow freely and poetically like a dream, like a fluid of images from the unconscious, without the dramatic ties of very closed scripts where everything happens conventionally and mathematically.

 What really excites you artistically or emotionally?

Feeling how an actor or actress trusts me despite not fully understanding what I want.

Marlon Brando said “Never confuse the size of your paycheck with the size of your talent”. Do you agree?

I agree with Brando on this point. But I want to add something. A big-budget film can hide a filmmaker's lack of talent thanks to the spectacular cinematography, the presence of many good actors, excellent editing and a great soundtrack. How many films would lose its power if its wonderful music were taken away from them!

 Have you ever been discouraged by someone about your career choices?


Many times some people have suggested to me that what I do is shit. But I have continued working with my 'shit' while these people continue doing nothing, except rejoice in the defeats of others. I don't tell those people that their life seems shitty to me because I have been educated to have compassion even for my detractors.

Do you think is harder for a woman being a filmmaker?


For women everything is always harder. Not only in movies but also in almost all professional fields. And if women are especially intelligent and brilliant and independent, is even harder. Women now have a new challenge: some men who say they feel like women. Some of them are sincere and they deserve our respect and our affection. Others are simple impostors who want to steal visibility from real women.

 Do you think that Fame and money could easily change your own vision as

a Filmmaker?

I guess so. But failure and people's misunderstanding also make you change your vision of things. And I am an expert on the latter.

Who’s the Movie star that made you dream for the first time?


I think Alain Delon in ‘Le Samouraï’ (1967), a french film by Jean-Pierre Melville. In this film, which is a miraculous symbiosis of interpretive precision and cinematographic rhythm, Delon admirably manages to embody the deepest and most epic loneliness that a human being can suffer. I watched again this film after Delon's passing and I still think it is almost perfect. It is also a movie where silence speaks, something that is not common to feel in current films.

Make a wish about your career...

I will make two wishes if you do not mind. May the filmmaker Julia Doménech, my wise producer and main collaborator, continue to support me and believe in me. I also hope that Stana Minincic, one of our best actresses, will continue working with us.

 Talking about cinema and showbusiness, how hard is to remain completly  honest to yourself as an artist?

If you want to go far in showbusiness you have to be willing to give up a good part of your aesthetic ideas unless you are lucky enough that the owners of the money fall in love with your ideas, something as difficult as meeting a smiling Eskimo in the elevator of your building.

The Film you have loved the most?


I think 'Lawrence of Arabia' (1962) is the film I've loved the most. It is a movie that manages to fuse the tortured psychology of the protagonist with the grandeur and purity of the desert. This film, directed by the master David Lean, is timeless like Homer and Shakespeare.

And now, don’t be shy…. the movie that annoyed you the most?


No movie makes me annoy. I am a person who loves films more than his own life and I always find positive things even in movies that I don't like. Making a film is something hard and difficult. Saying a movie is shit is the easiest thing in the world. It's like farting in front of drunk, fawning friends. Anyone can do it.

Your biggest artistic goal is…


My biggest artistic goal is to make a Western movie shot entirely with a handheld camera. I don't have much chance of achieving it because renting horses are expensive, but I don't lose hope of achieving it.

What profession other than your own would you like to attempt?

I am quite clumsy and I don't know how to do almost anything. Before making films I was a journalist. I left it because I was tired of lying and obeying illiterate bosses. If I stop making my short films, I will die or I will open a restaurant specializing in Spanish tortillas.

 How important is to be rewarded as an Artist?

Being rewarded from time to time helps you not consider yourself an idiot. But the most important thing is that stranger people tells you that they find your film interesting and genuine.

 Do you have regrets?


Many regrets. One of them is having attended the weddings of many false friends. If I had drunk a little less bad whiskey, maybe I would be less old and ugly. Who knows.

 What’s the messagge you wanna express through your art?
 

I want to express that a part of us is eternal. Call it soul or mind or conscience. Something of us will always live. For me, real art is a materialization of the invisible.

Cinematography Artist. Born in 1993 in Moscow. Earned two degrees from the National Research University Higher School of Economics, specializing in Mathematics and Psychotherapy. Attended acting classes at Benefis in 2019. Studied film directing at MSNC under Dmitry Mamuliya from 2020 to 2021, and film editing under Sergey Ivanov at the same institution from 2020 to 2022. In 2022, studied trends, partnerships, and strategies in art and culture at the British Higher School of Design. Additionally, received further education in contemporary art at the British Higher School of Design from 2021 to 2022. Upgraded qualifications in product development and portfolio management at HSE from 2023 to 2024. Multiple-time participant and winner of international film festivals in Europe and the USA. Active participant in group exhibitions in Russia and abroad since 2021. Exhibited in notable Moscow galleries at Winzavod, Artplay, and Cube. Works globally and resides in Belgrade.

When did you decide you wanted to be a director?

I’ve always been drawn to the figure of the director — this mysterious, behind-the-scenes figure who creates cinematic magic. Cinema is an art form where every detail is crafted by human thought and imagination. One day, I asked myself: "If this magic fascinates me so much, why not try creating it myself?" That was the moment I decided I wanted to try being a director. And what’s most interesting is that I liked it — I felt like I was capable of doing it.

How did your family react?

My family was thrilled! They asked, "Show us, show us what you filmed!" The surprising thing was that they didn’t expect to see something like this coming from me. It was a pleasant surprise, and it sparked genuine admiration from them.

Do you have a Muse or a Role Model?

Yes, my muse is life itself — its challenges, changes, and unpredictability. External circumstances, which constantly change my plans, give me the opportunity to evolve, adapt, and seek new forms of self-expression. This continuous interaction with the environment and people pushes me towards new ideas that I realize through art. Life is never static — every day, it throws challenges and offers solutions, and it’s in this dynamic process that I find inspiration. Often, difficulties are what act as a catalyst for creating something new. For example, when life forces me to change, grow, or make unexpected decisions, I feel that these moments are filled with energy that can be channeled into creativity. My muse isn’t some idealized image; it’s the real events and emotions that push me forward every day.

Who's your biggest fan?

Without a doubt, it’s my dad. For him, cinema is just as magical as it is for me. He’s very interested in how films are made, and he’s even curious about the mathematical algorithms that can be used in the process.

What brings you inspiration the most?

For me, inspiration comes from life itself. I deeply feel the events happening around me, and my reaction to them can be so intense that I simply have to express them. These emotions, experiences, and impressions become my fuel, and art is the language through which I can channel these feelings. It allows me to transform them into creative forms, whether through film, installations, or other artistic works.

Life, with all its changes and unexpected turns, is an endless source of inspiration. Every new experience, whether positive or negative, evokes in me the need for reflection and creative expression. I find inspiration in many things: in a random conversation, in nature, in the art of others. But what truly matters is how life pushes me toward self-discovery and makes me constantly reassess my responses to the world.

Which actor or director would you like to work with?

Without a doubt, I would love to work with Isabelle Huppert and Lars von Trier. For me, they are two incredibly profound individuals, and I believe it would be fascinating to engage with them on multiple levels — personally, creatively, philosophically, and psychologically. Isabelle Huppert is an actress with incredible strength and depth in her performances; her work always provokes thought and evokes significant emotions. Her approach to art truly inspires me, and I believe we could create something genuinely profound together. Lars von Trier, on the other hand, is a director who knows how to uncover the most complex and dark aspects of human nature. His films often evoke strong emotions and force us to rethink our perspectives on life. Working with him would be a real challenge, but also a unique opportunity for personal and professional growth.

Have you ever seen a film that was better than the book?

Comparing films to books, in my opinion, is like comparing two different languages. Books immerse us in a world through text, where the primary tools are our imagination and ability to interpret. With each sentence we read, we create our own images, sounds, and even smells, diving into a unique world where every reader sees their own version.

Movies, on the other hand, work differently. They engage the viewer through visual and sound effects, and through editing, music, and acting, they create a cohesive, pre-designed perception of the world. It’s a form of art that captivates us with atmosphere, imagery, sound, and emotions conveyed on screen. So, it’s not about a movie being "better" than a book; they simply offer different experiences and affect our perception in different ways. And each of these forms is beautiful in its own way.

What's the movie that taught you the most?

For me, movies are a source of emotions and reflection. One of the films that had a big impact on me was King Arthur: Legend of the Sword (2017). There’s a moment when the main character shares his fears, and the sorceress replies: "Everyone can be afraid, but a king continues to act despite fear." This line really stuck with me because it reveals the essence that even the strongest and most successful people feel fear, but they keep moving forward. This simple realization — that fear doesn’t paralyze but rather tests your strength — has had a profound effect on me. In both life and creativity, fear is inevitable, but the key is to keep going despite it.

About your artistic career, have you ever had the desire to quit everything?

I think it’s like that joke about quitting smoking: "Quitting is easy, I’ve done it 10 times already." In reality, it’s never a complete quitting; it’s more like taking breaks, sometimes long ones. Everyone who’s deeply involved in their work, whether it’s creative or any other profession, faces moments of burnout or exhaustion. It’s an inevitable part of the journey. Taking breaks isn’t a sign of weakness; it’s a chance to reassess, re-evaluate, and return with renewed energy. I believe that in any life or career crisis, it’s important to remember that a pause is not the end. It can be the beginning of something new.

On set what excites you the most?

On set, I always feel an internal conflict between my roles as both first and second director. What worries me is the balance between creative vision and managing the process. I haven’t yet found a second director whom I can fully trust and be sure that our goals and approaches align. This creates certain challenges during filming. It’s important to feel confident that we understand each other intuitively and work as a unified whole. This is not only about the process of creating a film, but also about emotional comfort — knowing that the team is moving in the same direction.

And what scares you the most ?

Fear is a feeling that always comes from within. One of my biggest fears is not allowing myself to relax during the work process, and as a result, not enjoying the journey toward the goal. Sometimes, in the pursuit of results, you can lose sight of the path itself, forgetting that this process, despite all its difficulties and stress, should bring satisfaction. I’m afraid of losing that balance and not being able to find joy in the creative process.

What's your next project?

My next project is a shift from project management to product management. In the context of cinema, this means that I’m planning to step away from the role of second director and focus on the more creative side of the process. At the moment, I’m juggling both roles, which creates an internal conflict, as each one requires full engagement but in different directions. This tension is hard to maintain because the creative and managerial approaches often contradict each other. So I’ve decided to focus on the inspiring, creative side and fully immerse myself in it, freeing myself from the need to divide attention and energy between both roles.

You can steal the career of an artist you really admire, who do you choose?

I’m deeply impressed by Isabelle Huppert. She’s an incredibly talented actress, and her roles are always profound and meaningful. Her choice of films and approach to her work earns my great respect.

An director is made of....

 For me, being a director means bringing an idea to life through a combination of imagery, sound, and emotions. It’s not just about telling a story, but about creating the feeling that the viewer is experiencing it along with the characters — that the film becomes part of their inner world. A director, like a magician, creates an illusion that makes people think, feel, and reflect on what they’ve seen. It’s an art form that balances many roles without losing the main source of inspiration — the creative process itself.

Being a director also means seeing the world through the eyes of everyone on set: the actor, the cinematographer, the sound engineer, the editor. It’s a multi-layered job where the director, as both a leader and a juggler, not only manages the process but also accumulates all the ideas, transforming them into a cohesive, organic work.

For you Cinema is....

For me, cinema is magic. Sometimes it’s entertainment, sometimes it’s deep reflection, sometimes it’s a way to express feelings that you can’t put into words in everyday life. Cinema can provide answers to important questions, help you relax, experience strong emotions, or simply gather scattered thoughts into a cohesive picture. It’s a form of self-reflection that gives me the opportunity to better understand myself and the world around me. When you create a film, you live a small life, and as they say, you "close the gestalt." Cinema can be anything — it’s diverse, and that’s what makes it so great.  

Do you think Black and white movies have a powerful impact?

Absolutely! It’s not about color; it’s about creating an atmosphere. Films with Charlie Chaplin, for example, created cinema that touched millions of hearts, even without sound.

Have you ever dreamed of winning an Oscar?

 An Oscar is just a statue, a symbol of recognition in the world of cinema, but for me, awards have never been the ultimate goal. Even in school and university, when I won math competitions, I often skipped the award ceremonies. I was more interested in participating, exploring new topics, and immersing myself in the process, not in receiving medals or certificates. And now, as a director, my main focus is the work — the process of creating something new, the opportunity to express my ideas, emotions, and thoughts. An Oscar might be recognition, but what’s more important to me is the feeling that I’ve conveyed what I truly wanted to the audience and that it resonated with them.  

Do you think you're gonna win it?

Honestly, I don’t care. But my agent is confident I will! 

Ursula Echeverria is an animation filmmaker, BFA in Character Animation graduated in CalArts 2020. Since young age passionate about arts, leading her to dance in the National Ballet of Guatemala. She also has a BFA Graphic Design & Communications. With filmmaking credits in IMDb as Colorscript and Visual Development Artist in the animated movie “Xico’s Journey” from Anima Studios (Netflix). Animation artist on the Documental “Ruthless: Monopoly’s Secret History” as part of the series “American Experience” (Amazon Prime & PBS). Director of a few award winning short films, the most relevant: “BURBUJILLO” which has been part of more than 40 film festivals around the globe, winning up until now 30 awards, most of them as BEST ANIMATION.

When did you realise you wanted to be a Filmmaker?

I didn't specifically know I wanted to be a filmmaker, I just wanted to  tell stories, I just didn't know what format yet. But since I was little, I loved cartoons and how they can touch your heart, make you laugh, take you into a magic world, make you wonder sometimes about a specific topic or way of thinking. That's what movies represent for me. Being able to talk about something that matters, sometimes is just better to show it. I started in animation with that motivation, learning how to talk to an audience without being there. Little by little, the more shorts I was involved with, the more I got passionate about this way of storytelling.

Do you remember your first time at the Movies?



Yes, I was about 8 years old, we went to watch Tarzan from Disney.

If you were to change country where would you like to work?



LA,California,  Atlanta, or San Francisco

Two films that have marked your life for better or for worse…

I truly love how "Tarzan" , I know again, still makes me cry when mama gorilla sings "You'll be in my heart" to little Tarzan, it's so heartwarming. Everybody who is a mom can definitely identify with that feeling. That is how good I want to be one day, I feel like one's heart is talking to another's heart. The other one would be Sherlock Holmes movies, which are so intriguing. I love how the character is portrayed and how the story evolves, as spectator it keeps you interested the whole time.


What do you think about Acting/ filmmaking schools?

Is the best way to start in your career, get connections, get to know the world of filmmaking, test yourself in a secure environment, and meet your forever friends in the media. Literally is about enjoying your time as an artist without worrying too much about creating exceptional stuff, it's about trying yourself, exploring what you like in the whole process.

Have you ever hated your ambition?



Not really, what I don't like is how we as artists can be so emotionally susceptible. Your mood definitely affects your art, your creativity, your openness to try different approaches. As an artist not feeling creative sucks! But we all have been there. It's interesting how you must keep going even when you feel that way. That's when you hate it, not your craft itself.

Francois Truffaut used to think that "Film Lovers are sick people”… was he right?


A
hahaha, maybe. We are storytellers who love good stories to be told, whenever we find one, definitely you can watch it 100 times, not get bored, always catch something different from it. We love to study film masters. The approach, the storytelling, the visuals, the music, the composition, there is so much to learn, you can never get bored.

Close your eyes…if I say “Cinema” what do you see?



A  huge screen playing cartoons.

About your job, tell us your biggest dream and your worst nightmare…


I want to direct my own Educational kids TV show, or be involved in a family oriented full length animated movie. My worst nightmare would be working in something I don't love, or believe in. Per say, I don't watch horror, or most adult cartoons like sexual or groteske looking art, I just don't like the themes. Definitely I'm not a good match for that type of content. If that would be something I must do to survive, I will definitely...might do it, although it would be for sure a nightmare to be in that position.


How important is it to have a good Cinematographic Culture?



The key to being a good artist, where you come from as an artist, where you get your ideas from, is how you get involved in the type of art you do. Being in constant learning is so important to keep you updated, to develop a good eye. To have an open mind, because you have seen enough to tell when something is good, or what is wrong with it, or if something is missing, how to make it work. How to tell the story you want to tell. Is about having a big library in your head, all the time with you.

 What would you like to improve as a Filmmaker\Actor\Writer?



There is always room for improvement. No one knows everything. I would like to keep evolving in my writing skills, as director I just have written shorts. It's something totally different when you're doing a TV series, feature, short series, etc. As a filmmaker definitely, camera layout. It changes depending on the theme, the story, and what you're shooting at.

A big producer gives you the chance to direct\to play (in) the remake of one of your favorite black and white Movie (if you have one)… what film do you choose? 



That's a hard question, because to be a successful remake if there was a loved movie, the new one must exceed the old one. That is harder than taking a new idea.   If I were to choose one, it would be "The Miracle Worker" which is about a woman who teaches a blind and deaf girl to communicate.

Film Industry it’s a tough place and sometimes it is normal to feel lost and discouraged… Who's the person that keeps you motivated?

 My family. Filmmaking is about telling stories, as long as I keep feeling I can share something good with the world, motivates me to keep going. Also the real support, love and words from my family means the world to me.

 Alfred Hitchcock said: "To make a good film you need 3 things: The script, the script and the script".  Do you agree with him?



For sure, if there is not a good story, you have nothing. "Nothing" will make it interesting to make people watch it the whole hour length. Not the visuals, music, VFX, etc, all of that just supports, and enhances the story, not the other way around.

 What’s your most ambitious project for the future? 

I am writing an Emotional Development series for Pre-k age kids. It's been a journey just to organize my ideas, and make it work. Now, it starts to get in shape. I am excited about it.

Do you think that sadness or at least melancholy lets us be more creative?

 it can be a motivation channel for sure, not the best one I would say. You can not stay healthy working in that statement. If you want to be a long lasting artist, you have to take care of yourself. Sometimes making art helps you move away from that feeling, learn from it and evolve. Whatever that helps your creativity grow is good, you just have to look for it.


What do you wish for yourself as a Filmmaker? 

I want to feel proud of my work. I feel like being connected with our emotions and being able to make art is what keeps our humanity. Being able to express ourselves, to be heard and some listen to us. To reach someone's heart, and change something inside them in a positive way. I want to be that type of filmmaker that leaves something good in their audience. To leave a good footprint on whoever watches my stories.

Ankit was born in New Delhi, India. He earned his bachelor's and master's in computer science but followed his passion for filmmaking. He is a self-taught filmmaker. He has produced, written, and directed three short films, Roaches (2016), Go Grow (2016), and The Treachery of Movies (2020). As a writer and director, his debut feature-length film was Liberation (2022). All of his films won several international film awards.

When did you decide you wanted to be a director/ screenplayer?

The urge to tell stories was always within me. As an introvert, I realized that a film or any other form of art is the most effective form of communication. You can express yourself without worrying about the world passing by. I filmed my very first amateur film at the age of 20 using the camera of a mobile phone which inspired me to become a filmmaker. Great filmmakers like Jean Luc-Godard and David Lynch inspired me to dream big with a small lens.

How did your family react?

My family was always supportive even though they didn't appreciate my style of filmmaking but it did not discourage me from following my passion.

Do you have a Muse or a Role Model?

I have many role models. Many great filmmakers like Alfred Hitchcock, Billy Wilder, Jean Luc-Godard, Federico Fellini, Stanley Kubrick, David Lynch, and many others inspired me to become a filmmaker. Every filmmaker is different and unique but these masters teach you to follow the path of your passion.

Who's your biggest fan?

I've never received a fan letter so far.

What brings you inspiration the most?

Movies bring me inspiration. Whenever I get a chance to watch others' films, it inspires me to tell my stories. It inspires me to bring my films on the screen as a reality into this world.

Which actor or director would you like to work with?

 It would be a dream come true to work with Woody Harrelson.

Have you ever seen a film that was better than the book?

The Godfather (1972).

What's the movie that taught you the most?

8 1/2 (1964) by Federico Fellini is perhaps the movie that taught me the most. It taught me about compellingly telling a story so that the audience is involved with the narration without getting into the analytical aspect of the movie. The other film would be 2001: A Space Odyssey (1968).

About your artistic career, have you ever had the desire to quit everything?

Most of the time. Imposter Syndrome is a common thing these days.

On set what excites you the most?

Ankit Kadam: You write a lot of scenes in a dark room in your mind imagining millions of things at a time but it only becomes a reality on set. It excites me to see how different departments of filmmaking come together to create a unique reality out of the dry pages of the script.

 And what scares you the most?

A life without passion.

What's your next project?

Currently, I'm in the process of writing the script for my next project.

You can steal the career of an artist you really admire, who do you choose?

 I would not do that otherwise I would have nobody to admire.

An actor/director/screenplayer is made of....

A writer or a director is made of imagination & dreams.

For you Cinema is....

Cinema is a means that liberates us to go beyond human limitations.

Do you think Black and white movies have a powerful impact?

Definitely, it makes you imagine a lot more than what is visible on the screen. It sets a different mood for the viewing experience. It is hard to imagine the tramp character of Charlie Chaplin on screen without the Black and White format. There were films in the past where directors deliberately chose to work in Black & White medium such as Raging Bull (1980), Manhattan (1979), The Elephant Man(1980), and many others.

Have you ever dreamed of winning an Oscar?

I'd be dishonest if I'd say no.

 Do you think you're gonna win it?

Who knows?

Despite his studies in Marine Ecology, he has been interested in arts, as painting and literature, writing short tales and participating in paintings expositions. Because uses scientific images and videos as part of his job, creation of different type of visual contents is familiar to him. On the other hand, usually write critics and opinions about movies in his social networks. Due his knowledge in videos creation matter, and his fascination for movies, he has making short videos for several contests and documentaries for private presentations. Thanks to the union of all these themes, he wrote a short story that finally decided to convert into a short movie, called “Sarah”. It`s a story of a little girl living with her vicious mother. Creation of Sarah represented a huge work doing by Juan himself. He not only wrote the story, but also draw all necessary pictures (about 50), edited the video, recorded the music and recorded his voice in off telling the story.

Do you prefer Comedy or Drama?


Drama


Life imitates Art or Art imitates Life?


I think art comes from the experience and particular vision of the artist, and feelings bring to mind inspiration and creation. Rufino Tamayo, a Mexican Painter, said that artist is most creative when pain is the dominant feeling. So, for mi, Art imitates Life.


Which is the best Moment on set?


I am a marine ecologist, working as a scientist in a university, with limited experience on set. But I could say that the best moment on set is when director-writer looks how and idea takes form. I mean, it`s great see an actor characterizing something that was only in your mind.

Did anyone ever tell you weren't good enough?


Not really. In my limited experience I only have heard good opinions. Actually, some friends ask me why don´t spend more time with shorts and movies.


How can you stay focused on your goal?


Not rushing. Taking breaks help me to revise and plan steps that ensue in the process to finish a work. With “Sarah”, many things changed along the creative process, but goal was clear: the story message and its end.


Have you ever had a breakdown because of your Job?


Yes. With “Sarah” I spent almost ten years thinking how to resolve some parts. For example, it was conceived as a book, rather than short or movie. In some parts I didn’t write dialogs that satisfied me. That was frustrating. But, as a said before, taking long breaks help me to reframe the story. Then, after a deep revision, I decided to do a short film. Along all this process, a few times I felt that “Sarah” will never see the light. That was depressing.


Talent is a blessing or a curse?


Both. When you watch the final cut could feel a mixture of joy and proud, and think “Wow! I´m really good. But is horrible when people don´t see the beauty you do. Then, you think “I have something good, why others don´t see that? Why don't understand you?


What would you like to improve about yourself as an 

actor/director/screenplayer?


All! I have not a formal education in the subject. So, learn about all the process to direction and production of a movie should be great.


What's the worst critic you have received?


My elder daughter found in “Sarah” a continuing problem. I had revised the scene several times not detecting the error. She did it at first glance. Ja!

That was funny because I use to find this kind of errors watching movies due my interest in details. But I can be proud that she, at age of 18, has a good critic eye.

If you weren't an actor/director/screenplayer what would you like to be? 


Actually I´m a Marine Biologist. So, the correct question is: “If you weren't a director or screenplayer what would you like to be? Answer? A Marine Biologist or Painter or Musician.


If Cinema was a color what would it be?


Green, because is a color made from others, its related to nature and remains me the green screen, ja!


A day without a movie is...


A day with a book or a song. It`s all about stories.


If someone offered you to play/direct/write in/a movie that you despise but that for sure will make you rich and famous...would you accept the job?


Yes, for two reasons. I could make something good from a despised idea, or I could earn enough money to finance better movies. In both cases I only asked for some liberty to do the movie with my “style”.


What's your greatest ambition?


Have the opportunity to share ideas and work those with directors like Tim Burton or Terry Gilliam.


What's your biggest fear?


Don´t leave something important or beauty, or really useful to humanity.


Does music helps you to play/direct, write?


Of course. I´m working in the “Making of Sarah”, and watching videos or photos made when I was creating “Sarah” I found that all the time music was there. I can`t work without music. Of course, is important to have silence from time to time. But music helps me to focused and concentrate in my ideas. Different kind of music for different parts of the creative process.


You have the chance to make a Silent movie, what's your message to the audience?


When I think in silent movie, Louise Brookes comes to my mind. Her life was incredible, difficult and sad, because she was a very young woman working hard to be somebody in a cruel world dominated for men. She moves from a small town to New York and then to Germany. Despite her legacy is great, it has been unknow and even ignored. She died poor and alone, but happy and satisfied because she did the things she wanted, against all odds.

She gave us a great lesson of joy and freedom yelling in silence. It is compulsory to make a movie about she and her message. Do that in a silent movie should be poetic.


Share your speech if you should win an Oscar...

Life is beautiful because we have arts, that are based on a creative process shared by artists. Arts are expressions from the mind and the heart of talented people. Their work and legacy make this a better world. And all we have to be thankful to them: Writers, Painters, Musicians, Actors… Directors. 

Thanks to all of them, and to the people that like to watch movies, to criticized and comment them. Every conversation about movies, is a nice and enjoyable moment. Many thanks to all that made me what I am. To my people of Mexico, specially to my parents. To my protective brothers, supportive sisters and those who formed part of my family. To my lovely niece and nephew and many thanks to my beautiful daughters, Constanza and Valeria, the princesses that are the wind beneath my wings.