Karin Balog - Interview
Karin Balog works with photography, film and other mixed media. She studied photography at the Royal Art Academy in The Hague in the Netherlands and is based in Amsterdam. In recent years her focus is more on short multidisciplinary films. Her films address globalization and rewriting geography in many dimensions, these topics are used as a friction, in her experimental movies. Elements such as water, wind, fire are represented as independent forces. Some of her work revolves around multi-cultural issues and identity. Experimental short films combine photo’s, drawings, some animation and other disciplines like dance. Her work was selected for festivals in Stockholm, Athens and Amsterdam and she recently won awards in Rome, New York, London and 5 in India and Bhutan.
When did you decide you wanted to be an actor/director/ screenplayer?
I started with photography at the Royal Art Academy in The Hague and this was an interesting journey. I worked a lot with
chemicals. For me it was time for new experiments with moving images and storytelling. As I was always shooting in series, no
but stand alone solo images, so it was a logical next step. Cinematography has more sides to it, in which you can use light,
composition and motion but above all sound, that contributes to the impact. I had exhibitions with photo’s, but am also happy I
am getting selected for film festivals worldwide now and very honored to be selected for the Florence Film Awards as well, with
my film Menti Minda Mothertongue in the experimental category.
How did your family react?
Do you have a Muse or a Role Model?
Scientists like Edward Muybridge and Marey who started to document motion, appeal the most to me. I hope to make one discovery one day as well, to actually write with dance in motion.
Who's your biggest fan?
My red-haired grandmother was always my biggest fan. I am sort of a clone of her...
What brings you inspiration the most?
Lately I am working on topics like rewriting geography. First I made a movie called: 5 directions to my house. I was teaching art
classes to immigrant teenagers who couldn’t return to their homeland, it had drawing and animation and was a co-creation
between us. After that, I made my film: Menti Minda Mothertongue. It is an experimental film about relocating and insomnia due
to travelling in time zones. I am fascinated about individuals in an uprooted society. It has been playing in Sweden, India, Italy
and Bhutan and won some awards already in: Rome, London (Golden Award) and New York (Silver Award).
It is experimental because I combine different disciplines like dance and drawing. I love to share it with cultures, very different
from mine, to see if there is a universal point appraisal or artistic challenge. To see a photo of lady’s in India in sari dresses
watching my film is wonderful.
Which actor or director would you like to work with?
The late Robby Müller, the cameraman.
H ave you ever seen a film that was better than the book?
If we stick to the topic of migration I would say: Life of PI, the book by Yann Martell is a close one. It was directed and produced by Ang Lee. An Indian circus family travels across the ocean to start a new life elsewhere and after a storm only the boy and a tiger remain on the boat. Really impressive casting, styling and above all amazing cinematography by Claudio Miranda.
What's the movie that taught you the most?
I think there are many, but they are all about survival. Those films are the strongest. If you thing of the Revenant, or Cast Away , Novecento or Les Miserables. To outlive in nature with elements, or to prevail your enemy, or to survive as a stranger in a new habitat. To survive in a desert is also a fascinating topic. In this case interesting is Antonioni’s film: “Profession reporter” with a very young Jack Nicholson. Such a strong movie about identity theft. Jack Nicholson steels a passport from a dead person, who he shared a hotel room with and takes over his life and identity. I saw it when I was very young, but it made a big impact. This director was very avant-garde and his topics remain timeless somehow. However your artistic means , I am more from art than the cinema scene, some topics like survival are universal and appeal to all different cultures. I always hope someone would make a modern version of “Profession reporter”.
About your artistic career, have you ever had the desire to quit everything?
On the contrast. No I still have so many plans. It’s more the fear that I don’t have enough time.
On set what excites you the most?
If the light works with the character in a way I was hoping. There is always a difference of what you have in mind or drawn on a storyboard and what in the end will be the result. This friction is good and there should be a place for the unexpected and some serendipity. If you find a happy accident, it is most exciting. You cannot always write and predict everything from your desk.
And what scares you the most ?
What freaks me out, is unstable software when editing, sometimes you have a very delicate balance of a view seconds, you replaced with special filters and BAM it’s all gone. Having an experimental work style, I cannot always recover what I did. I although you have enough memory, it can happen that you need to restart your systems without being able to save it first.
What's your next project?
“Errata in blue” is an experimental short film about hot and cold in the city and about how the climate changes in the current world. It involves dance and was used in an art- project to bring water to the desert in Santa Fe and Rajasthan. It won an award in Rome (8andhalfilmawards) and Jaisalmer and got selected for Sao Paulo ECO festival, along with other artistic films related with environmental issues.
I am working on a project with : écriture automatique as well, founded by André Breton, from the surrealist time. It is a sort of concrete poetry, in which sounds are produced, which later will be canalized in a film. Many languages are involved talking about disappearing (inspired by the esthetics of disappearance from writer Urbanist Paul Virilio, although I am not choosing any apocalyptic angle) It is in the research –testing state of the soundscapes.¬¬¬¬¬¬¬¬¬
You can steal the career of an artist you really admire, who do you choose? Jim Jarmush
An actor/director/screenplayer is made of....
Blood, sweat and tears
For you Cinema is....
A way to find a “poetry in motion” translation for certain time- or place related phenomena’s in society.
Do you think Black and white movies have a powerful impact?
I think so, they are my favorite. Everything has more impact; there is just light, sound and form. If I think of beautiful black and white movies like: The insect woman by Japanese director Shōhei Imamura from the Japanese New Wave or about: The woman in the dunes by Hiroshi Teshigaharaall, about female protagonists who were strong individuals. They are amazing and stylish.
Have you ever dreamed of winning an Oscar?
No
Do you think you're gonna win it?
No.But it’s good the world is ready for more experimental films, we can see this because EEAO has won!
Share with us where people can find you
Gabriele Tacchi - Interview
Gabriele was born and raised in Rome, the city where he received his main cinematographic, theatrical, and professional training with a degree in cinema studies with a thesis on the use of colors in M.Night Shyamalan’s picture “The Village”. He also studied anthropological theater and Commedia dell’Arte at the Ygramul Theater of Rome. As a video experimenter, he completed his film training at USC, School of Cinematic Arts in Los Angeles with a 16mm filmmaking program, producing and directing “Shades”, a sci-fi short movie. Gabriele is best known for his work as an actor and voice actor. He directs and produces his own shows and independent movies. He recently founded his own production house, Galaxia Prime Productions. He is passionate about fiction, comics, and storytelling games.
When did you decide you wanted to be an actor/director/ screenplayer?
I think when I was very young. Firstly I was attracted as a viewer by Italian actors and comedians like Alberto Sordi or Totò or Eduardo De Filippo, that I knew thanks to my parents. Honestly I think that when I was kid I wanted to be like Indiana Jones. What a bad surprise when my brother Ruggero said to me that he is only a character written and directed by someone. But then it was also a good news: I can create something similar with cinema.
How did your family react?
I can say that my family supports me, above all my brother Ruggero, who is now my partner in crime in the foundation of our Galaxia Prime Productions. He also helped me ten years ago to join a program in USC in Los Angeles. Also co-founder, Emmanuele Rossi, a brilliant novelist, trusts in me and he pushes me constantly.
Do you have a Muse or a Role Model?
I have, obviously, a lot of teachers unaware that I am their student as Hitchcock, Scorsese, Spielberg, Fellini, Sergio Leone, Kubrick, Shyamalan... but I owe everything I know to a great theater master, here in Italy, who is Vania Castelfranchi, one of the greatest Italian directors. Too bad no one knows him. But that's another story. I can say that I am inspired by his art and I am lucky to be able to work with him sometimes.
Who's your biggest fan?
I definitely say that my wife Margherita is my biggest fan.
What brings you inspiration the most?
Emotions through stories. The transformation that characters have during the narration, and also the experience the audience can feel watching a movie or a piece of theater.
Which actor or director would you like to work with?
There are so many directors that I'd like to work with...Scorsese, Shyamalan, Chazelle, Tarantino...right now, I think Denis Villeneuve, but I think that my heart goes to the past and to the emotions... so, I think Spielberg. Are movies a matter of emotions? So... I choose who enchants, also today, my childhood emotions.
Have you ever seen a film that was better than the book?
I love They Shoot Horses, Don't They? By Sydney Pollack, based on Horace McCoy's 1935 novel of the same name. It is a good piece of literature, but the film is a masterpiece in my opinion. A truly immersive, tiring, meaningful, sad cinematic experience. I remember the book, instead, as a softer version of the film, not so interesting. It is also true that it is from 1935.
What's the movie that taught you the most?
This is a hard one... I really don't know. At one time in my life, I found myself seeing the Dead poets society at least once a month. it means something I think. Instead, even now, in difficult moments of life, I find myself watching Star Trek The Next Generation, I think thanks to the character played by Patrick Stewart. As Scorsese says, it's not so much the stories that keep you coming back to a movie, but the characters that populate them.
About your artistic career, have you ever had the desire to quit everything?
No, never. Also because my artistic career has a very large range of possibilities. I studied as an actor, practicing as a director and also as a fire performer. So when I am stuck on something, I find energy in other projects.
On set what excites you the most?
Probably that sense of magic that I feel in people who work with me. That sense of wonder that only in an artistic family I am able to find.
And what scares you the most ?
I am scared about the time... so many projects, so little time! It's a nightmare.
What's your next project?
I'm working on my first feature. It's a story about a woman with an eye disease and a fire show performer. I'd like that these characters feel that sense of wonder that I love.
You can steal the career of an artist you really admire, who do you choose?
Probably Spielberg... the greater storyteller of my childhood.
An actor/director/screenplayer is made of....
3 P: Passion, patience and people
For you Cinema is....
An art that could fill the hollow in our heart. Movies make life better.
Do you think Black and white movies have a powerful impact?
In my opinion, black and white can create a unique atmosphere for some kinds of stories. In the past, there was no other choice, but now, shooting in black and white must be for a meaningful visual reason. I love the B/W. I'm going to shoot my first feature in B/W. I am very excited.
Have you ever dreamed of winning an Oscar?
Yes, of course. But first I have to overcome my sense of perfectionism, which is nothing more than the fear of failure. After that, I can win an Oscar
Do you think you're gonna win it?
Yes, why not? It's only a way of thinking and living. If it is my target, I can throw an arrow in that direction. I am training myself now. I cannot run a marathon with no training and people that trust in me.
Roberta Pyzel - Interview
A native of New York City, Ms. Pyzel has a degree in filmmaking from NYU-SCE and has worked as a stage manager/sound/ lighting tech in various theatrical venues (NY City Center, the Lucille Lortel Theatre, the Kitchen, Dance Theater Workshop...). Writer/Director of the short film, "Shadow Man" based on her play. She produced, directed and edited, "SHOOTING STARS" a 57 minute documentary about LIVING with AIDS. Her music videos include performances by Grammy Award winning organist Paul Jacobs (OCTAVES, REVERIE), jazz vocalist Nanette Natal (NATAL CUTS) and a profile of jazz legend Junior Mance, which won a Men's Vogue Critic's Choice Award (Junior Mance at Cafe Loup).
What's the absolutely necessary ingredient to be a good actor/ director/screenwriter?
All art is about passion - the passion of creators to express deep emotions - and the audience to be open to those expressions.
How old you were when you decided you wanted to be an actor/director/screenwriter?
My dream has always been to be an artist of some kind. I’ve worked in theaters here in NYC, played jazz piano in small clubs, and after studying film at NYU-SCE worked on music videos and documentary films. Now I am deeply involved in dramatic writing; theater pieces and screenplays. My short film, ‘Shadow Man’ has won numerous festival awards in the US, Europe and India. The challenge as a filmmaker with a music video is to create images which enhance the power of the musical performance.
The beautiful and sensitive vocals of jazz artist Nanette Natal inspired this visual interpretation of Sandy Denny’s timeless song, “Who Knows Where the Time Goes”.
Nanette Natal is an amazing vocalist/composer and arranger, as well as film music supervisor.
The piece is a musical meditation...touching on feelings shared by all people.
‘So come the storms of winter And the birds of spring again,
I do not fear the time,
Who knows how my love grows? Who knows how the time goes?’
Audrey Hepburn used to say “Nothing is Impossible”, what do you
think about it?
Audrey Hepburn is right, BUT...nothing really good is easy!!!!
What's more important talent or luck?
Talent and luck are only a part of the process. The artist’s commitment to their work, their belief in their project must be FIERCE...the work and persistence demanded of a creator is overwhelming at times!
What do you feel when you're acting/directing/writing?
When you are immersed in the creative process itself, there is an almost ‘other-worldly’ feeling of connection to life. It is truly a blessing to have this experience.
Are you satisfied about your career?
Yes. All the arts have the power to touch people’s hearts...to open up their thinking.The wonderful diversity of films that are being made by artists all over the globe - makes me hopeful that people will come to empathize with one another more and more. I am proud to be a part of this work.
How people can find you on web?
Roberta Pyzel: https://www.robertapyzel.com/
Nanette Natal: https://www.youtube.com/@natalcuts
Please visit our online venue: JAXSPLACE: a crossroads where Art, Culture and Politics meet... https://www.jaxsplace.com/
Giovanna Gorassini - Interview
Giovanna Gorassini is a French-Italian film director who is currently developing her first feature film after several years of working as a photographer and making short films.
When did you realised you wanted to be a Filmmaker\Actor\Writer?
I realized that I needed to make films when I no longer wanted to make still images as a photographer ; I needed to tell stories and to share my creativity with a team, like a family. I am also the author of my first feature film and I started writing spontaneously during the period of confinement, during the covid crisis; life had become so austere that I needed to step back from reality through writing and, at that time in my life, my emotions were running high.
Do you remember your first time at the Movies?
I remember especially a film seen with my mother in Paris, Il Mostro, it was in 94 I think, directed by Roberto Benigni. Early I was interested in Italian cinema.
If you should change country where would you like to work?
I live between France and Italy and I would like to work mainly in these two countries, but I am open to the world.
Two films that have marked your life for better or for worse…
If I had to choose two films, I would say Il Postino by Michael Radford, which I watch every year about love, friendship and poetry in a sunny setting of southern Italy ; it is a simple, charming, sensory and intelligent film. The second is Accattone by Pasolini which stages misery like an ancient drama , I love this character who touches my heart; the violence and the sordidness have in this film the beauty.
What do you think about Acting/ filmmaking schools?
I'm not against film schools but I'm self-taught, it has its advantages and probably its disadvantages. I work with my heart, my intuition and I watch many films that help me understand where I want to go.
Have you ever hated your ambition?
My ambition is mostly a passion so I never hated it, I don't need to win nor to be the best, I need to create and share, that makes me happy.
Francois Truffaut used to think that "Film Lovers are sick people”… was he right?
If he is right, it's a nice disease ! Personally, my passion allows me to never get bored, I consider it a healthy obsession.
Close your eyes…if I say “Cinema” what do you see?
I see a light that guides us, that's all.
Who’s the Director\Actor\Writer that taught you the most?
Many artists inspire me, the list is long and does not only concern filmmakers but also painters. I particularly like the great Italian filmmakers who have marked history. I particularly like Fellini, Pasolini, Antonioni, Risi, De Sica... I also like Jacques Tati, Louis Malle, John Cassavetes, Roman Polanski, Tarkovski, Wim Wenders ... One of my favorite writers is Christian Bobin and also Laurent Gaudé.
About your job, tell us your biggest dream and your worst nightmare…
My current dream is simply to be able to realize my project of feature film on which I work, I am well surrounded and I will do my best to be satisfied with my work and ideally to satisfy also the public, my family and friends ; then I would like to be able to continue to realize other films. I do not have any nightmare, I am optimistic and valiant.
How important is to have a good Cinematographic Culture?
I think being interested in other people's work and being open-minded allows you to understand yourself better, to know where you want to go and where you don't want to go. It also allows you to learn about lighting, framing, directing, writing, etc. We learn while having fun and developing our sensitivity.
What would you like to improve as a Filmmaker\Actor\Writer?
I'm always learning and I think I'll never finish learning, I like not knowing everything, it keeps the motor running !
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?
Accattone.
Film Industry it’s a tough place and sometimes is normal to feel lost and discouraged… who’s the person that keeps you motivated?
Myself, i am unable to be discouraged, you must have faith to be patient and determined.
Alfred Hitchcock said: "To make a good film you need 3 things: The script, the script and the script". Do you agree with him?
I think the scenario is as important as everything else, it's like cooking. Everything must be well balanced to create harmony with a touch of spontaneity ! I think that sometimes when we go out of the frame we can have beautiful surprises, intuition can be powerful.
What’s your most ambitious project for the future?
My biggest ambition at the moment is to complete my feature film project.
Do you think that sadness or at least melancholy let be more creative?
In my case, yes.
What do you wish to yourself as a Filmmaker?
I wish myself a long career, surrounded by a beautiful creative family and I wish to be inspired, always.
Wil Allen - Interview
Wil Allen is a music video producer and director from Canberra, Australia. Previous work for the band The Dalmatians includes the YouTube releases 'Millionaire' and 'Its Only Money'. Working in an emerging genre of music video, Wil uses stock footage to bring to life The Dalmatians and other act’s contemporary pop, folk and rock music.
When did you realised you wanted to be a Filmmaker\Actor\Writer?
As a child. I became fascinated by music and the moving image on seeing The Rocky Horror Picture Show.
Do you remember your first time at the Movies?
I used to watch James Bond and Kung Fu movies at the Drive In.
If you should change country where would you like to work?
I am currently in. Montecarlo , and here seems nice!
Two films that have marked your life for better or for worse…
Dune (the original) and Space Oddesy.
What do you think about Acting/ filmmaking schools?
I’ m not sure , I haven't been to one. I wish I had. I don't read music either, so possibly my ideas are unconstrained, which is good , but potentially not as well delivered as they could be?
Have you ever hated your ambition?
Yes, when faced with many rejections!
Francois Truffaut used to think that "Film Lovers are sick people”… was
he right?
Not at all . Any safe passion is worthwhile
Close your eyes…if I say “Cinema” what do you see?
A room full of people immersed in another world
Who’s the Director\Actor\Writer that taught you the most?
Steve Weld in Australia because he took the time to show me the rule of thirds and other basic cinematography.
About your job, tell us your biggest dream and your worst nightmare…
In my Music Video job my biggest dream is to be played on Tv. My worst nightmare is for my next project to not be well received.
How important is to have a good Cinematographic Culture?
The Cinematography culture is important as long as it can support a diversity of Ideas.
What would you like to improve as a Filmmaker?
My ability to mix my own scenes with stock footage.
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?
Dr Zhavago.
Film Industry it’s a tough place and sometimes is normal to feel lost
and discouraged… who’s the person that keeps you motivated?
Clint Eastwood. He Just keeps going!
Alfred Hitchcock said: "To make a good film you need 3 things: The
script, the script and the script". Do you agree with him?
Yes, but in my case it's the Music, the Music, The Music.
What’s your most ambitious project for the future?
A Comedy music video to our very serious song called Sunshine about mental health.
Do you think that sadness or at least melancholy let be more creative?
Yes, especially for music videos . Because a sad song can be uplifting.
What do you wish to yourself as a Filmmaker?
To be recognised and a leader in my genre.
Ioannis Koutroubis - Interview
Visionary creator, editor, storyteller, and business operations manager with demonstrated skills to take an idea from concept to delivery to produce entertaining and inspiring projects. Ioannis Koutroubis is an innovative producer with years of experience in all aspects of video production Collaborative in working closely with strategic and creative teams to develop and produce quality video content. Expertise in preproduction logistics, planning, production, custom graphics composition, special effects, and asset management. In the past 14 months he has had his productions enter 80+ Film Festivals and has won 30+ Awards including Best Producer, Best Director, Best Film, Best script, Best Cinematography, Best Music Video, and Best Dance Video.
What's the absolutely necessary ingredient to be a good screenplayer?
For a scriptwriter a necessary ingredient to be good is to be a good reader, and read as many scripts as you can.
First and last cinematographic crush?
The Godfather, first and last.
How old you were when you decided you wanted to be a screenplayer?
I was 6 years old when I new I wanted to be a storyteller.
For you a Film is...
A magical journey that touches our soul and makes us believe in magic.
What do you feel when you're writing?
When I am writing I feel on some days like the Master of the Universe that I am creating and on others I feel like a hack.
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?
I would have 2 choices please. 1) I would love to see Golden Hollywood Musicals with John Woo and the other would be to see student films with Francis Ford Coppola.
Audrey Hepburn used to say “Nothing is Impossible”, what do you think
about it?
Absolutely right, what a Goddess!
Can you live just of your passion?
Our Passion is like a flame that guides us in our darkest times.
What's more important talent or luck?
I do not believe in luck, opportunity comes to us all and either we are ready to jump on or we are unable to make the jump at that given time.
You must go to a desert island but you can bring with you just one movie...
Baraka
Have you ever accepted a script to write even if you didn't like the project?
Sometimes we must pay our bills.
What's the best compliment you have received about your Job?
That I touched their soul.
Are you satisfied about your career?
No artist should ever be satisfied, we should struggle for the next project.
Do you have a good luck charm?
No I do not.
Which is the worst moment on set ?
When there is a lack of communication and respect is not given. Yes we make movies but we should never sacrifice our humanity.
How do you feel when a job you've been part of it's ending?
A sadness at first but a joy as a new project is around the corner.
Have you ever lied to get a job?
No
If you should win an Oscar your first taught would go to…
My students, to show them that it is possible for someone with Dyslexia to be a professional writer.
Tommy Anderson - Interview
Tommy Anderson is a multiple best-selling author and screenwriter and enjoys his role as a motivational speaker and Host of "The Real Tommy Unleashed" on the IQ Podcast Network in San Diego. Tommy's show is heard on multiple streaming platforms, iTunes, iHeart, Spotify, Apple Play, and more. He has written and is a Producer on "Life After Oblivion," a film based on his award-winning screenplay and PTSD-A soldiers Revenge which he wrote and is currently in production by Panther Trail Films - Hollywood. Most recently Tommy was seen as the face of the national Spotify commercial as the man with the dancing dog. His best-selling novel Haboob Wind is now a screenplay, and his new novel Two Million Steps was released in March of 2021 and went to Best Seller on Amazon in two weeks.
What's the absolutely necessary ingredient to be a good actor/director/screenplayer?
I believe it is essential to: 1 Know your audience, 2 Know your subject matter,3 An interesting character arc, 4 great casting, 5 let your actors act.
First and last cinematographic crush?
Ann Margaret, was my first, Kathy Garver my last and as the way irony works Kathy and I are very good friends.
How old you were when you decided you wanted to be a director/screenplayer?
It was at age 60, I knew it was time.
For you a Film is...
Art and the ultimate story telling.
What do you feel when you're acting/directing/writing?
I feel a great strength in myself to become a different person that the character requires and then carry it forward to the expectations of the director.
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?
It is usually a movie we have a shared interest in, either know the writer, director, cast, etc. Then we break it down to an extent on how we feel it went over.
Audrey Hepburn used to say “Nothing is Impossible”, what do you think
about it?
One of the truest statements ever made. Something I learned in the military was nothing is impossible; it all lies with in you to succeed and fail. Many times, we fail but we are learning and as your career increases you learn to adapt and overcome so many obstacles. I always tell new people coming into the industry, the only one who can make you fail is you.
What's more important talent or luck?
It's a combination, I always say luck may give you an opportunity at times, it is your talent that will bring you across that finish line.
You must go to a desert island but you can bring with you just one movie...
For me “The Best Years of Our Lives”.
Have you ever accepted a part/ a movie to direct/ a script to write even
if you didn't like the project?
All the time. I never say no unless it violates my principles. I found out on two specific projects I didn’t want to write the screenplay. But a fellow writer told me, you never know where this project will take you so do your very best. I completed the assignment. It showed many other that I could write and create a story out of anything.
What's the best compliment you have received about your Job?
In writing, how realistic the story was. In acting actually my last film “War Story
Wednesdays” I played an old USMC Veteran of the Korean War. I was told afterward, my portrayal was riveting and made the film.
Are you satisfied about your career?
Yes, after my previous career, I’m doing the job I aways was meant to do, be a movie maker.
Do you have a good luck charm?
I always carry my California, Hollywood American Legion coin in my pocket. It is my good luck charm from the “Post of the Stars”.
Which is the worst moment on set ?
When someone misses their call time. So many other things you can fix with something unexpected happens. But you can’t do that without the actor not being there.
How do you feel when a job you've been part of its ending?
Happy and sad. On a good set you all become a family and develop so many friends from grips through directors. But the sweetest and most satisfying words said are on the very last day when the director says, cut, that’s a wrap, we made a movie folks!
Have you ever lied to get a part/job?
I wouldn’t say lie, I always tell people be truthful and passionate. When I first got into acting I was asked “So what makes you think you can act?”
If you should win an Oscar your first taught would go to...
To my mother and father in heaven hoping that they are proud of me.
Aleš Urbanczik - Interview
I was born in Prague in 1958. The first ten years of my life I spent in Czechoslovakia and the German Democratic Republic. In 1968, on holiday in the UK, my family was surprised by the invasion of Czechoslovakia by Soviet troops, and decided to seek refugee status in the UK. My mother’s profession as a paediatrician led us to Switzerland 2 years later, where I went to school. After finishing High School, I was accepted at the Acting Academy in Zurich, and having completed that, I spent 7 years on stage in German and Swiss theatres. The role I became best known for was Puck in Shakespeare’s Midsummer Night’s Dream. During my acting time I encountered Structural Integration. The physical experience was so powerful, that I decided to change professions and devote my life to exploring and later teaching the basic principles of Ida Rolf’s work. Finding the Line - An Exploration of Structural Integration is my first movie.
How old you were when you decided you wanted to be aFilmmaker?
I am not a film director and ‘Finding the Line – An Exploration of Structural Integration’ is my first documentary. So I would much rather spend the space I have for an interview to talk about the movie than about myself.
What do you feel when you're directing or writing?
There is a certain amount of satisfaction in contributing to the understanding of something – in the particular case of this movie allowing other people to share my experience of Structural Integration.
Can you live just of your passion?
I am in the fortunate situation that I do what I love and I can live of it.
What's more important talent or luck?
I think in anything luck is more likely to come to those who work hard in pursuing something they have talent for and which they love.
What is the story behind your film?
The movie is about an unusual subject.
Nowadays the term ‘fascia’ is nearly a ‘household’ name. In fitness studios people work on their fascia, massage therapists massage it, yoga practitioners stretch it, people at home ‘role’ it and scientists are researching its properties.
Our movie is about the woman who already pointed to the importance of fascia more than 50 years ago, at a time where, practically everyone, except a tiny circle of people, considered fascia to be some sort of inert filling material in the human body. This woman was Ida Rolf. Many people nowadays talk about fascia – very few people know or talk about Ida Rolf. She founded an approach of working with fascia she called Structural Integration.
What could people take away, gain, realize after watching your film?
Many of the things Ida Rolf claimed about the importance of fascia for the human body 'on the basis of observation’ are being validated by contemporary scientific research. She had no tools, no imaging instruments like MRI or Ultrasound - she simply ‘felt’ what was going on.
As an instructor of Structural Integration I am amazed how much students change during their 2 year training, how much they slowly become themselves, how the changes in their bodies and a different awareness influences their psychology in the best possible way.
I wanted to document this change, let the students speak for themselves and at the same time allow the viewer to get to know Ida Rolf and her quest to explore the relationship between gravity and mankind. The movie demonstrates that true change is possible for anyone and that a good part of the change needs to be initiated by working on the physical body.
What do you take home from the experience of directing ‘Finding the Line – An Exploration of Structural Integration’?
We learned a lot during this work, how to do things but also, maybe more importantly, how not to do things – I guess a typical ‘first time director’.
Appetite for more?
There will be a sequel. Next time about Ida Rolf’s life, honoring and celebrating a woman who at her time had by dint of her own efforts, unaided (indeed, undermined rather than aided), promulgated, propagandized, demonstrated, taught, persuaded, organized - irreversibly brought into the world something of great importance. And she did it all without money, without support, while rearing her children and living her life.
Tell us just a little bit about yourself:
If I were to say something about myself…I was born in Prague in 1958. The first ten years of my life I spent in Czechoslovakia and the German Democratic Republic. In 1968, on holiday in the UK, my family was surprised by the invasion of Czechoslovakia by Soviet troops, and decided to seek refugee status in the UK. My mother’s profession as a paediatrician led us to Switzerland 2 years later, where I went to school. After finishing High School, I was accepted at the Acting Academy in Zurich, and having completed that, I spent 7 years on stage in German and Swiss theatres. The role I became best known for was Puck in Shakespeare’s Midsummer Night’s Dream.
During my acting time I encountered Structural Integration. The physical experience was so powerful, that I decided to change professions and devote my life to exploring and later teaching the basic principles of Ida Rolf’s work.
Why do you think your film should appeal to distributors?
I think the movie is in some ways ‘old-fashioned’. It is slow - in stark contrast to the speed at which e.g. YouTube videos operate - it sticks out. The jury at one of the festivals wrote to us: ‘We never heard of this subject but it was perfect for making a documentary like this. We really liked the use of quote's in the film together with a voice over. That really made a sort of bridge in between sections without using b-roll but at the same time keeping everything on the same subject. Thank you for sharing this film with us!’
At which festival has your film been screened?
So far ‘Finding the Line – An Exploration of Structural Integration’ has been shown at over 50 festivals around the world and has won 20 awards.
‘Official Selection 76th Edition of the FESTIVAL INTERNAZIONALE DEL CINEMA DI SALERNO’,
‘Best Documentary Rome International Movie Awards’ and ‘Best Educational Movie at the New York International Film Festival ‘ are probably the ones that warmed our hearts the most.
If you could change something in your film, what would it be?
Well… it is a first movie both for me and my Cameraman and project partner Grzegorz Oleksa. We learned a lot. It is difficult to express precisely what we would change, but I am sure our next movie will benefit from this experience.
How did your acquaintances react when they first saw the film?
They really loved it. Some of them, more distant relatives, hadn’t before realized the complexity of the subject Structural Integration and they learned a lot.
Goldwyn Thandrayen - Interview
Goldwyn Thandrayen is a Musician and Songwriter best known for his work i as the Lead Singer, Guitarist of Los Angeles Rock N’ Roll band Psychocide. Thandrayen is recognized for his eclectic style, blending elements of rock, metal, funk, and jazz to create a unique sound. In addition to his music career, he is also an accomplished Director / Editor / Colorist with 21 wins and 5 nominations for best and most innovative music videos internationally. And has won several critic’s and jury’s special mentions.
When did you decide you wanted to be a Filmmaker?
I don't think I ever wanted to be a Film Maker, I still Don't consider myself a Filmmaker.
How did your family react?
Well I mainly play guitar and trash hotel rooms. So the Film Awards is probably a breath of fresh air, they can finally tell their friends and family about me.
Do you have a Muse or a Role Model?
Muse is usually the current girl breaking my heart, Role Model : Jesus, he can turn water into wine and much more.
Who's your biggest fan?
My mom.
What brings you inspiration the most?
Weed, it used to be Jack Daniels. Feels like another life.
Which actor or director would you like to work with?
I would like to work with Eric Cartman, and Matt and Trey Parker
Have you ever seen a film that was better than the book?
Yeah, probably most films that were based on books that I have not read.
But If I read the book first my imagination Always wins over the movie.
What's the movie that taught you the most?
ClockWork Orange. Be careful who you surround yourself with.
About your artistic career, have you ever had the desire to quit everything?
No. I pick what I start very carefully for that reason.
On set what excites yuo the most?
The Food.
And what scares you the most?
The Food.
What's your next project?
Motel, Money, Murder, Madness, we already shot Episode 1 Lady Luck Coming out DEC 2023.
You can steal the career of an artist you really admire, who do you choose?
Superman.
An actor/director/screenplayer is made of....
STEEL.
For you Cinema is....
Magic.
Doyou think Black and white movies have a powerful impact?
No
Have you ever dreamed of winning an Oscar?
No
Do you think you're gonna win it?
Probably come second.
Donia Youssef - Interview
Donia Youssef is an embodiment of resilience and inspiration. Her life's journey, marked by exceptional achievements and personal trials, serves as a beacon of hope and strength for many. She beautifully weaves human experiences into narratives that resonate deeply with readers worldwide. Her work in film has seen her breathe life into stories that matter, earning her numerous accolades and cementing her status as a respected figure in the industry. Donia has become a committed advocate for mental health awareness, using her platform to spark conversation, break stigmas, and ensure that those struggling find the help they need. Donia Youssef, therefore, is not just a multi-talented professional; she is a force of nature, using her personal experiences and professional platform to inspire change and make a difference.
Do you prefer Comedy or Drama?
I appreciate both genres, but I prefer a mix of both, which is why "Sadie and the Grove" combines humour and heart to address important emotional topics.
Life imitates Art, or Art imitates Life?
I believe art imitates life, as it often reflects the emotions, experiences, and struggles we face in the real world.
Which is the best moment on set?
The best moment on set is seeing the actors bring the characters to life, capturing the essence of their emotional journeys.
Did anyone ever tell you weren't good enough?
Yes, there have been times when people doubted my abilities, but I've learned to use those moments as motivation to keep pushing forward.
How can you stay focused on your goal?
By setting clear, attainable goals and surrounding myself with a supportive team, I can maintain focus on bringing the project to fruition.
Have you ever had a breakdown because of your Job?
Like anyone, I've faced challenges and felt overwhelmed, but I've learned to cope by leaning on my support network and remembering the importance of self-care.
Talent is a blessing or a curse?
Talent is a blessing, but it's essential to nurture it with hard work, dedication, and perseverance.
What would you like to improve about yourself as an filmmaker/screenplayer?
I would like to continue honing my storytelling skills and exploring new ways to create relatable, emotionally engaging content.
What's the worst critic you have received?
The worst criticism I've received was that the show was "too emotionally heavy" for children, but I believe it's essential to address these topics early in life.
If you weren't an director/screenplayer what would you like to be?
I'd be interested in working as a child psychologist, as I'm passionate about helping young people navigate their emotional landscapes.
If Cinema was a colour what would it be?
Cinema would be a kaleidoscope of colours, reflecting the diverse emotions, stories, and experiences it conveys.
A day without a movie is...
An opportunity to explore other forms of storytelling and creative expression.
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?
No, I would prioritize staying true to my values and creating content that aligns with my beliefs.
What's your greatest ambition?
To continue creating meaningful content that educates, entertains, and fosters emotional growth in viewers of all ages.
What's your biggest fear?
Not being able to make a positive impact through my work and missing opportunities to help others.
Does music help you to play/direct, write?
Yes, music serves as a powerful source of inspiration and can evoke the emotions I want to convey in my projects.
You have the chance to make a Silent movie, what's your message to the audience?
Embrace the power of non-verbal communication and listen to the emotions that speak louder than words.
Share your speech if you should win an Oscar:
Ladies and Gentlemen, I am humbled and immensely grateful to be standing here tonight. This Oscar is a recognition that fills me with appreciation, not for an individual achievement, but for a collective endeavour that came to life as "Sadie and the Grove." This vision was never mine alone. It belonged to a tireless team of writers, artists, technicians, and voice actors who poured their hearts and souls into the project. To each one of you, my deepest thanks.
Our goal was simple yet profound - to support emotional growth in children through the power of storytelling. This award is a testament to the potential of our art to touch hearts, foster empathy, and build resilience.
But the journey continues. Let's keep using our craft to make a positive impact, to inspire, and to create a world that is a bit more understanding, a bit more compassionate. This Oscar is for every child we hoped to reach and for the belief that every story matters. Thank you from the bottom of my heart."
Joe Kowalski - Interview
Joe Kowalski has been quietly making a name for himself as an award-winning horror filmmaker. However, prior to making his first short film DON’T GO IN THE BASEMENT (2019), Joe was horror-phobic and known as a Boston-based musician who played keyboards or bass in countless bands. A deep understanding of many musical styles led Joe to some indie film soundtrack and scoring work, and before long a latent childhood desire to make movies resurfaced in him. DON’T GO IN THE BASEMENT was selected by the Garden State Film Festival, the Central Florida Film Festival, and won several international short film awards. Encouraged and inspired, Joe spent 2022 writing and producing his next movie, an occasionally surreal portrait of a reclusive musician who finds supernatural music. PERFIDA: THE DIABOLICAL (2023) had its theatrical premiere at the historic Capitol Theatre in Arlington, MA.
When did you realise you wanted to be a Filmmaker?
Probably when I saw "Star Wars" as a young child — or at least when I saw a "Making of Star Wars" documentary and it showed me imaginative people creating the universe I saw in the movie. At the time I wanted to make a "Star Wars" movie with my action figures and my dad’s Super-8 camera, but I never got around to trying that!
Do you remember your first time at the Movies?
I have a vague memory of seeing "Star Wars" at a drive-in when I was very small. I remember falling asleep. But my first time at a movie theater was seeing the first "Superman" movie with Christopher Reeve. I was very fired up about the whole thing. I probably flew all the way home. Incidentally the theater where I saw "Superman" happens to be the same theater where Stephen Spielberg saw his first movie, so maybe they put something in the popcorn there.
If you should change country where would you like to work?
Italy. Or Switzerland. Beautiful countries and people.
Two films that have marked your life for better or for worse…
1) “Jaws” — all the blood terrified me as a child, and for years I couldn’t watch horror films. Years! And then decades later something shifted — I started watching horror and then started making horror too.
2) “Deep Red” — the way that Argento used colors and framed his shots, the way he unfolded the story… it showed me what horror could be without sacrificing the scares. Plenty of blood too! There were a few other movies, like “Kill, Baby… Kill!” and “Blood Rage,” that started opening the door to horror for me, but “Deep Red” really kicked it down.
What do you think about Acting/ filmmaking schools?
Any learning is good! What’s great about learning in schools is that you’re going to get something more balanced and deeper than if you’re just chasing and learning what you’re interested in. I went to music school. I wouldn’t have chosen to learn a lot of classical theory, but knowing it has opened up lots of creative doors for my music. You never know what knowledge could be helpful in the future. That said, I went to music school and we’re here talking about my filmmaking, so there you go!
Have you ever hated your ambition?
No, but there are times when it feels heavy and cumbersome. Like, can’t I just sit and write down an idea without having to spin it up into a movie idea? No, I can’t! But without it I would not have made any films to talk about!
Francois Truffaut used to think that "Film Lovers are sick people”… was he right?
Maybe! But in a way, that’s to be human. We all have holes to fill in our souls, and cinema is such an empathetic one. Perhaps filmmakers are the sickest, though, for living the one movie to the point of obsession until we’ve completed it. Then what can fill that hole again but making another film!
Close your eyes…if I say “Cinema” what do you see?
The first thing I think of is Kurosawa.
Who’s the Director\Actor\Writer that taught you the most?
David Lynch or Alejandro Jodorowsky, for similar reasons. Mainly: do not let your work be boxed in by expectations, and do not feel the need to explain your work.
About your job, tell us your biggest dream and your worst nightmare…
Biggest dream? Hmm. One would be to screen PERFIDA: THE DIABOLICAL to a festival audience that really gets it and is excited about it. Horror fans are the best, so if something I made resonates with some of them then what could be better than that? The other, bigger dream would be to have the money to just make movies and follow my creativity where it takes me.
Worst nightmare is easy: Showing up on set and having everyone on time and ready for a productive day, but I’m an unprepared mess who’s wasting everyone’s time. I relentlessly prepare so I can avoid that. But that doesn’t mean I’m not continually terrified that I forgot something/ anything!
How important is to have a good Cinematographic Culture?
Hugely important. Cinema is a reflection of society and a way to empathize with and understand each other. People need to be able to access the movies— Not just the latest comic book movies and not just the stone cold classics either. There’s something about mediocre films of any era. They’re such fantastic lenses through which to view that time and place.
What would you like to improve as a Filmmaker?
I think to be a filmmaker is to be a perpetual student of filmmaking, so in that light I would say I want to improve everything about my filmmaking! But more specifically I’m a lover of great framing and interesting angles. I’d like to keep improving my ability to find those cool looks and to see the opportunities to use them properly. I want to get even better at blood splatter too. Practical special effects are a blast. As a writer I’m working to improve my voice and my ability to zoom in to the details realistically. It’s one thing to write a decent conversation, but yet another to be able to map out a 3-act narrative and to make each scene work alone and cohesively. A lot of zooming in and out. I’ve got a lot to learn.
My acting relies entirely on being natural and reacting naturally, so I’m working hard at being effortless. Less is more, more or less.
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?
“Mr Hulot’s Holiday,” by Jacque Tati. It would be impossible to do it justice, but what fun it would be to try!
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 wife was absolutely critical, both as a co-producer and as an encouraging sounding board. Sometimes it’s simply a matter of having someone to talk through ideas to. You know, when I’m explaining this idea to her, she’s asking me questions and forcing me to think about aspects I maybe hadn’t considered, and ultimately it helps to tighten my work and strengthen my faith in it. At other times it’s much more than that.
It’s also very important to be in your own corner too. In the blackest of nights you’re alone with yourself, and it really helps if you can be encouraging to yourself. That’s when I try to focus on something that I can definitely understand and control. Making small but tangible progress will definitely generate encouragement and motivation to make more progress. And it just feels good to know you took a step or two closer to the mountain’s summit.
Alfred Hitchcock said: "To make a good film you need 3 things: The script, the script and the script". Do you agree with him?
I do agree. The script is the blueprint for everything that comes afterward. All of the shots, the performances, everything has to be in service of that script. It anchors everything else.
What’s your most ambitious project for the future?
I’m working on one screenplay about a theatre troupe that’s preparing for their big show and is suddenly dealing with supernatural activity. Very over-the-top. There’s another I’m writing that has a movie-within-a-movie conceit to it. Both of these screenplays are bigger than anything I’ve done to this point. But by far the most ambitious idea is an alternate-history fantasy/ horror movie. If I ever get an 8-figure budget for a movie, that’s the story I would want to develop. However, until that point I will keep it under my hat!
Do you think that sadness or at least melancholy let be more creative?
Not necessarily more creative but bigger emotions like sadness/ melancholy, love, anger, etc., are probably more likely to be expressed for the reason that they are so powerful. They take you over in a way that antipathy never will. It’s like those amazon reviews — they’re all either I LOVE IT or I HATE IT. You’re moved to action when your emotions are strong.
What do you wish to yourself as a Filmmaker\Actor \Writer?
My wish to myself would be to never stop creating and to never doubt myself.
Debra Knox - Interview
Debra Knox is an award-winning filmmaker, writer, actress, director, and musician. Her film Hearing Voices has won eleven International awards including Critics Choice, The New York Women's Festival, 8 & Halfilm Festival, San Francisco International Film Festival and Fierce Women Festival of Paris, and has been a semi-finalist for 13 International Festivals. Her script Orson Welles Ashes has been awarded 15 major awards including The Golden Palm Award, New York's Empire Award and The California Award and The Beverly Hills Film Festival. She is a guitarist, pianist and vocalist teaching and performing in The San Francisco Bay Area where she directs, films and writes.
When did you decide you wanted to be an actor/director/ screenplayer?
I started putting on shows when I was 4 and used to entertain my father singing along to the television. By the time I was 8 I was starring in the school plays and I was producing rock n roll shows and theater starting in my late teens.
How did your family react?
Although my Italian mother wanted me to just get married and settle down, I think deep down she was living vicariously through me, as she had a beautiful voice and my grandfather and great grandfather were guitarists. In another time her and my aunties would have been stars!
Do you have a Muse or a Role Model?
Many! John Lennon, Al Pacino, Woody Allen, Debbie Reynolds, Sophia Loren, especially those spicy Italian actresses from the late 50's early 60's! My mother and I used to sneak late at night when my father was sleeping and watch the Italian movies on TV!
Who's your biggest fan?
My sister Joann.
What brings you inspiration the most?
Walks on the ocean, watching old black and white movies. Film Noir.
Which actor or director would you like to work with? Al Pacino.
Have you ever seen a film that was better than the book?
No.
What's the movie that taught you the most? La Strada.
About your artistic career, have you ever had the desire to quit everything?
I've done so... Had to heal after years of being on the road playing rock and roll. I had my beautiful son and this brings tremendous joy and healing,
On set what excites yuo the most?
Getting into a flow and opening up shots and possibilities in framing unplanned. Organized spontaneity! Haha
And what scares you the most ?
Dying.
What's your next project?
I'm in the process of finishing up filming How Awful About Kevin, a tribute to my dear friend who passed away, examining God, love, selfishness, regret, forgiveness.
You can steal the career of an artist you really admire, who do you choose?
Judi Dench
An actor/director/screenplayer is made of....
Guts, fear, courage, insecurities, passion, pain, childhood trauma.
For you Cinema is....
An intimate moment shared between strangers.
Do you think Black and white movies have a powerful impact?
Yes, I am greatly influenced by the Italian neorealism, French New Wave and low budget American Film Noir.
Have you ever dreamed of winning an Oscar?
Everyday! I have a mini Oscar who does a Buddhist chant with me every morning. Nam Myoho Range Kyo! More importantly I hope I can contribute and inspire others, not giving up.
Do you think you're gonna win it?
I just may!!