Joslyn Rose Lyons - Interview

Films that inspired you to become a composer?

I’m an old movie buff.  As a teenager I was enchanted by Fred Astaire/Ginger Rogers movies such as “Top Hat”, “Swing Time”, “Gay Divorcee” and “Shall We Dance”.  Watching the ballet scene in “An American in Paris” for the first time was especially thrilling for me because it exposed me to the music of George Gershwin.  In general, I was inspired by many of the old movies of the ‘30s, 40s and ’50, especially the ones starring James Cagney, Humphrey Bogart, Clark Gable, James Stewart, William Powell, Bette Davis, Myrna Loy, Joan Crawford, and directed by Elia Kazan, Michael Curtiz, William Wyler, Billy Wilder, Hitchcock, and with musical scores composed by Erich Wolfgang Korngold, Max Steiner, Alfred Newman, Miklós Rózsa, Bernard Herrmann, Elmer Bernstein.

Who were your biggest musical influences?

I grew up listening to the popular and rock music of the 60s and early 70s.  A few of my heroes were The Beatles, The Who, Yes, Jethro Tull, Emerson Lake & Palmer.  In my later teens I discovered and became a big fan of the great American songwriters: Irving Berlin, Jerome Kern, Richard Rodgers, Cole Porter, and above all, George Gershwin, whose music I was especially crazy about.  As a music major in college I was educated in the music of all the different classical music periods.  Bach and Beethoven were just two of my many important classical music idols.  In 2000, I went through a big Kurt Weill phase.

The most challenging film project you worked on.  And why?

I took courses at the New York Film Academy in 2013 and 2014 where I learned the various aspects of the art of filmmaking including producing, writing, directing, shooting, editing, sound recording, interviewing and working with actors, singers, dancers, etc.  I was completely overwhelmed during the making of my thesis film “Rumi’s Rumba”, sort of a black comedy featuring a music/dance sequence.  By far this was the biggest project I’d ever taken on in my life.  I wrote the script in February of 2014, then went through the lengthy process of interviewing talent, scouting location, finding a DP, sound person, choreographer and filling all the other positions I could think of that needed to be filled.  We were scheduled to shoot in May, but I just wasn’t ready.  Terrified, I pulled the plug on the shoot a few days it was supposed to happen.  I regrouped, rescheduled the shoot for August, but still was nowhere near ready with less than a week to go before the shoot date.  My wife, a film editor herself and very knowledgeable regarding filmmaking, told me that I must get a producer.  She did a quick search for me and selected a producer named Ramfis Myrthil.  “Call this guy”, she ordered.  “He looks good”.  And Ramfis sure was good!  In fact, he saved the day!  “It will be a walk in the park for me”, he boasted, and he wasn’t kidding!  In less than 48 hours, Ramfis did what I couldn’t do in many months, which was to bring in all the essential people to fill every required position, many of which I was totally unaware.  He was like a magician the way he made everything materialize almost overnight.  He was so well connected and knew every little detail that needed to be taken care of.  The original lead actor, who had been with me since the onset of the project, clashed with my new producer and thus had to be replaced ASAP.  Ramfis brought in Greg Amici.  Without having sufficient time to memorize his lines, Greg expertly improvised most of his dialogue during the shoot, in my opinion, greatly improving on my original script.  The whole thing came together magically in the mere 3 days of shooting time we were allotted, at the end of which there wasn’t a minute left to spare.  It was like a miracle, very surreal for me, like an out-of-body experience.  And the funny thing was, it seemed as if I hardly had to do anything myself during those 3 days of shooting, other than arrive to the set and say ‘action’ and ‘cut’ periodically. 

Do you have a favorite genre to work in?  Why is it your favorite?

Lately I’ve been making music videos exclusively.  This has become my method of promoting myself as a composer and promoting my musical compositions.  I believe that a music video is a powerful way of “showing off” a piece of music, combining it with meaningful imagery to create a story, a context, a mood, a feeling, which can impact the viewer/listener in ways that the music alone cannot.

What’s your all-time favorite movie and why?

I have many favorites.  If I had to select just one, I think it would be “The Maltese Falcon”, the 1941 version with Bogart and Mary Astor, directed by John Huston.  I’ve seen it many times and am always mesmerized by the ensemble character acting of Peter Lorre, Sidney Greenstreet and everyone else in the movie.  I’m also a big fan of “The Bandwagon”, the musical with Fred Astaire directed by Vincent Minelli and choreographed by Michal Kidd.  But there’s really so many other great movies that I also love.

If you could work with anyone in the world, who would that person be?

If I could work with anyone if the filmmaking world, it would be Martin Scorsese or Quentin Tarantino.  But just the thought of it is very intimidating, I admire them both so much. 

Tell us something most people don’t know about you.

I’m very into astrology.  When I was in my 20s I studied astrology intensively and even wrote my own computer program to do the calculations.  I used to give readings frequently to friends, family members and anyone else willing to receive.  In addition to astrology, I’ve been involved on and off over the years in various spiritual and personal development groups and activities:  Landmark Education, Buddhism, Kundalini yoga, Justin Sterling Men’s Weekend, TM, EFT, Gurdjieff meditation, to name a few.

I’m also an exercise enthusiast.  Always have been since I was young.  I once thought of becoming a personal trainer and took a 6-month study course in 2010.  The older I’ve become, the more important exercise has become for me.  My dad was a good role model.  Even into his 90s he maintained his routine of waking up at 5:30am and doing morning exercises.  Vitality and stamina are so crucial when it comes to pursuing and fulfilling one’s dreams and aspirations.

The one person who has truly believed in you throughout your career.

My wife, Lenore, has always loved, encouraged, supported and advised me.  I haven’t felt alone since I met her on August 1, 2004.

What was the most important lesson you had to learn as composer?

Be persistent.  Take actions, daily, even if it’s only baby steps.  Keep planting seeds.  Some are bound to take root and sprout.

What keeps you motivated?

The desire to stay healthy, be productive, make a positive impact in the world, fulfill my destiny, whatever that may ultimately be.

On set, the most important thing is:

Staying present and centered, being a clearing for talent and genius, generating positive contexts.

The project(s) you’re most proud of:

I think my most impressive credit to date is a musical work I composed for brass sextet, “Prelude & Fugue in Dm.”  The Bay Brass, an elite classical ensemble, performed the piece in December 2003 at their annual Christmas concert in San Francisco’s Grace Cathedral.  Fortunately, the performance was recorded and I recently got the idea of producing a music video as a way of showcasing the recording. Through the Fiverr website I found and connected with a super talented filmmaker/editor named Bruno Taniguchi who did an incredible job selecting and editing stock footage to generate beautiful imagery for my piece, creating a fantastic story and backdrop for the music.

“The Big Apple Grind” is another musical work I composed for brass sextet.  I hired Bruno for this one too and he created a brilliant “film noir” styled music video.    

I’m also proud of the video I produced for my song “Love Comes Quietly”.  I composed the melody of this song in the early ‘70s, setting some words from a children’s book by Joan Walsh Anglund.  The rest of the lyrics were written 25 years later by a singer/songwriter named Mardi Jayde who I came to know.  “Love Comes Quietly” is a great wedding song in my opinion!  Lenore and I had it sung at our wedding!  

I’ve been submitting the above music videos, along with others, to film festivals and am enjoying some successes with these videos getting selected and winning awards.  I probably would never have produced these videos were it not for the new technologies and social media of today.  It’s much easier making movies, videos, recordings in this current day and age than ever before.  It’s much easier connecting with talent from all over the world.  There are more film festivals than ever before and it’s easy to submit films to them!

Your next projects?

More music videos coming!

Please share with us where people can find you on social media, so our readers could keep track of your career.

The music videos I’ve been producing are on my youTube channel at: https://www.youtube.com/channel/UCu2JdSsv0aLMKTbdfgvj2ag

I’ve also composed a significant body of piano music which I’ve made available in illustrated books sold on the Etsy website at: https://www.etsy.com/shop/WhirlyBooks 

I’m also on facebook: https://www.facebook.com/george.kostopoulos.942 

During that time he appeared in theater performances like Reserve Two for Murder, in the role of Dr. Edwards, and A Case of Belonging, as an agent.  Prior to entering the New York Conservatory’s program for film and television, Cerbone played a lead role in the short film, It Is What It Is.

According to producer Michael Sedge, “We were looking for two young actors for this film that, primarily, we were making as an anti-Covid public awareness work for film festivals.  We selected Luca as the lead and Sofia Maggi for the supporting role.  Little did we know the success the film would have.”

It Is What It Is was accepted in 14 film festivals, winning seven prizes, including four in Los Angeles and New York for Luca’s performance as Best Young Actor and Best Acting Debut. 

Cerbone has faced a number of challenges in his young career, from tattoos and changing hair colors to growing a beard and looking too young.  None, however, required more dedication than did ridding himself of the heavy Italian accent that was apparent in his early, English language performances.

“Luca studied hard and has come a long way,” said Hollywood voice coach, Mary Mac, under whom Cerbone studied.

When asked about his favorite genre of work the Italian native explained in a word: “Drama.”  He then added, “No other genre provides the challenges and the sub-categories as does drama.  It can be thriller, horror, fantasy, or even dramatic comedy.  For an actor, drama also provides a variety of roles and characters.”

No where is this more obvious than in Song of the Fly, a U.S. production in which he plays the lead role as a young caregiver with a dual personality—gentle and shy by day, murderer by night.  

“We selected Luca after seeing his performance in It Is What It is,” said director Michele Pagano. “We was a natural for the part, with that quiet but mysterious face that makes one asks, what is he hiding?”

Song of the Fly, which will be released in 2022, was his most challenging role to date, according to Cerbone.  But it was also the most rewarding and the one he is most proud of.

His passion for playing challenging, dramatic roles is also reflected in Cerbone’s favorite movies: The Hateful Eight by Tarantino, Lolita by Kubrick, Scorsese’s The Wolves of Wall Street, Nocturnal Animals by Tom Ford and, surprisingly, LaLa Land directed by Damien Chazelle.  This latter, demonstrating that he still holds a passion for musicals, in addition to drama.

“If I could be anyone in the world, it would be Martin Scorsese,” he confesses. “Because he has influenced the world of cinema with his body of work.”

Everyone has secrets, and Cerbone is no exception.  When asked what is the one thing that most people don’t know about him, he replied, “I raced motorcross bikes when I was younger.  You know, the motorcycle that come flying over hills with the riders.  That was me,” he smiles.

What keeps the actor motivated now is a desire to work on larger projects.  “The type of projects that make an actor immortal in the history of cinema.”

“One of the most important things I have learned,” Cerbone says, “is to be spontaneous. If not, one comes across as being false, untrue to the character.  And when on set…have patience. Lots and lots of patience!”

“My short-term goal is to become more and more known as a global actor.  Long-term goal is to continuously strive to work on larger projects.”

He appears to be well on his way to reaching these goals as the young actor has recently been cast for the U.S.-Portuguese production of Guardians of the Gods, a new television series to be shot in Portugal, Spain and India.  He was also selected for a new feature film in Italy.

One can follow Luca Cerbone on Instagram at necerbo.

Films that inspired you to become a filmmaker?

There are many films that inspired me over the years for example like ‘After the Sunset’ 2004 with Pierce Brosnan, Salma Hayek, Woody Harrelson. 

“Obvilion” 2013 where Tom Cruise plays Jack Harper he need to finish his mission, Morgan Freeman, Olga Kurylenko as Julia and I am seeing lots of similarity of where today’s world is going.   

“Stargate Atlantis” the series with Joe Flanigan, Jason Momoa, Torri Higginson but most interesting is “John Carter” – 2012 by Walt Disney. I really love the story telling, the acting, the effects, and how they are able to go back and forward in order to support the story.

Also, one of the short experimental films that we did at the Fork Shop a year ago called “Get Well Soon” - https://www.youtube.com/watch?v=Ssj7uLjF4ug where I played a small character and participated in other roles of film making process, like camera operator.

Who is your biggest influence?

My biggest influence is one of the local film makers his name is Stephen Blackmon, his founder of Fork Shop film making group. He is able to get people together and showed the practical aspects of film making. You do not need to have expensive gear; you just need to have an idea then get a motivated crew and The Movie is born, the rest is history!  Even I produced a film you can watch it here https://vimeo.com/594204819 .

Another great influence is one of Youtuber Casey Neistat with his movie called “Do what you can’t!” that resonate with me, for example, my father told me you can’t move to America, my friends told me you can’t be a software developer, you will never be a film maker and etc. if you watch the film above you can get to the point what I am talking about and you might find something similar that happened in you life. 

In other words, “Do what you can’t!” is the biggest influence for me.

What were some of the challenges you had to face in making your films?

There were many challenges that I faced; one is finding the right actors who will be able to commit to the role. Another is finding the right locations, or building the set in the studio. The most important is the audio, many times I did the filming and when I got to the editing part found out the audio is not very good and I need to go back and asked the actors to re-record the audio.

In other words, with any project there are challenges and this is part of being an indie film maker, I need to be able to adapt and overcome any obstacles and keep filming, do not stop because something is preventing you of finishing you film project.

Do you have a favorite genre to work in? Why is it your favorite?

Let me tell what I really do not like the true story movies, because they are very predictable and boring from my point of view.

One of my favorite genres is Comedy, to make funny story and make something with unexpected ending to make audience guessing what it is going to happen next, but I really love Science Fiction and Fantasy. For example, my favorite ones are the series “Farscape” where John Crichton (Ben Browder) is testing a spacecraft and goes through a wormhole, you must watch and find by yourself. 

You should be able to laugh at any situations, even in the difficult ones, unfortunately we brought to earth to struggle. We need to find a moment to relax and enjoy ourselves and the Fantasy is my favorite genre that I found that moment.  

What’s your all-time favorite movie and why?

One of my favorite movies is “Lucifer”, it is a TV series where Lucifer Morningstar is the actual devil and helping detective Chloe Decker solving crimes. I love the acting, the chemistry between them and how their characters are developed during the series. The idea that the devil is actually a person who helps people and every day is a party, drinking, smoking, and the concept of hell, when you die if you are going in hell. 

The hell is actually torturing you performing the same task over and over for eternity, like never ending dream. Great drama, and lovely love story and romance between them and the rest of the characters are amazing, too like Detective Daniel "Dan" Espinoza, Mazikeen, Amenadiel, Dr. Linda Martin.

 If you could work with anyone in the world, who would that person be?

I would love to work with Pierce Brosnan one of my favorite actors, also with Michael Bay the best director, one of his movies The Island, Margaret Lawson she played in the series Psych, and Daniella Alonso. 

Or just scratch all of these people above I love to work with Conan O'Brien the late-night host on TBS.

Probably this won’t be happening until I became famous, let get to realistic goals and I really love to work with both actors Paul Black, Brittany Black that I already worked in my film project The Secret Project 53, very talented actors and I really love to work with them, again.  

Tell us something most people don't know about you.

I am enjoying rafting in Ocoee Tennessee in Ocoee River, which is one the best rafting location in USA. In 2018 I was part of the rafting race in Ocoee River Championships in Olympic Section of the river.

Our rafting team was able to finish almost first in the Olympic section of the river.

The one person who has truly believed in you throughout your career.

I have many people that do not believe in me and lots of haters, in most of my life they said that I can’t and I won’t be. The same thing happened when I began making films got lots of jokes and laughs. 

However, I proved them wrong, most important that I proved for myself that anything is possible you just need the courage to do it. It is more important that I proved to myself that I am able to do what I can’t.

The person who believed was one of my co-worker David, he always encouraged me and helped me to make my dream as film maker becoming a reality.  

What was the most important lesson you had to learn as filmmaker?

I have leaned many lessons, but the most important one is do not get discourage from you mistakes. For example, you have an idea in your mind how to film a particular scene but when you are fuming it, looks totally different. 

The most important lesson is practicing the scene before you actually filming it, what this mean, brake down the scene in small segments and think how you are going to film it, from which angle, lights, what do you want the actor to say, react. I believe this will save you lots of time while filming it and then will be easy to edit the scene later.  

As an actor I found that there are no small roles, do not underestimate them. Get the most difficult role and try to perfect it, do not go for the money. 

As a screen writer please take critics and keep writing until you script is perfect and also give room for you actors to act, and try to remove unnecessary dialogue. Someone said less is better than more.    

Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?

For me it is harder to start, but once I started the film project it is easy to keep going. For example, sometimes I am going in a “hole” stuck with the script, cannot find the actors, locations, and I am experiencing the moment that I call a “hole” not doing anything and going into a loop doing nothing for day or months for one or another reason, they called a “hell” like in “Lucifer” TV series, in other words doing the same thing over and over for eternity and beyond.

Once I get out of the “hole” I can keep going and nothing can stop me. How to conquer the “hole”, because it sucking me down like I am sinking in the water and the best way on the surface is just relaxing you brain and focus on another subject for a moment. Sometimes is just going rafting for the weekend, or just watching a motivation speech.   

What keeps you motivated?

The biggest motivation I found in the nature, being outside enjoying the sunset and sunrise and forget about the social media, you cell phone at least for one day in the week. For me this is clearing my mind and make me feel alive. 

I love rafting in Ocoee Tennessee and the beautiful view of the maintains which one way to get motivated. As you look around the nature, I found many things and activities to get motivated.

How has your style evolved?

At the beginning of my filmmaking, I did not realize that I was making the films for myself and to fulfil my desire, or ego. I focused more of story details and the message to have a meaning to the audience. In other words, making a movie for the audience that will enjoyable to watch from the most of the audience. Also, to be able to adapt you script to the location and to you actors. For example, not writing a script that won’t be able to film with current resources, because sometimes my imagination can create scenes like mermaids, jumping on the buildings, or train running on fire.

On set, the most important thing is:

One of the most important things on the set is timing, I have been in several films where people are coming late, then the filming runs more than expected. 

In other words, time all of your scenes and organize the actors to come when their scene is ready to film. For example, if the actor had just few sentences, he or she does not need to be all day on the set. Another thing explains to all crew that timing is very important and when you are saying filming at 9 AM, everyone should be ready and camera is rolling at 9 AM.

Again, timing and timing is the most important on the set even in most scenarios the time won’t be enough and you always run out of the time, but at least you are going to have a better experience if you plan your timing in advance.

The project(s) you’re most proud of:

I am proud of few projects that I was able to finish last year. One of them is “Comedy Sketches” which is one of my dreams to be able to perform comedy stand up. Another one is “The Secret Project 53” where I was inspired by a true story and make it as science fiction, and finally “The Reporter from Ocoee with Love”.

Another one is the “Braaking Newz” where I played comedian and president and I won the best actor supportive role awarded by Golden State Film Festival. Some of the critics compare the movie to Borat Subsequent Moviefilm. You can watch the film at our web site https://www.braakingnewz.com/ 

The most challenging project you worked on. And why?

The most challenging project was a music video that we filmed last year for one of the rappers in Atlanta. It is called “Quarters”. I was part of the video playing as Homeless Man on Park Bench. We filmed in a small studio where we build the sets, like church, jail, office, and etc. The biggest challenge was that we need to take the all scenes in one take. Not sure if the right word for this one is Blocking.

However, we rehearsed several times and start moving from one set to another until we get it right, I think we did the whole thing more than 50 times, but yes, we are able to do it and if anyone tell it is not possible, I would say anything is possible with practice and film crew that is not afraid to try something new.   

This is link to the video 

https://www.youtube.com/watch?v=FEYGIfrzZSE 

What are your short term and long term career goals?

The short terms goals are to finish my short film projects, have lots of rafting videos, few older films, and make one documentary video about the nature. Release one of the short films as documentary and make it a feature and I already had a title “A Movie is Born”.

The long-term goals are to make a feature film and able to distribute to the Theatres and make a tv series like Money Heist distributed on Netflix.

Your next projects?

I have few short films to finish, make a new version of The Secret Project 53, complete the Braaking Newz next episode, and I love to create a new web series about the detective and his buddy that are going to solve crimes, at least 5 episodes up to 40 minutes and hope to finished in 3 months.

Please share with us where people can find you on social media, so our readers could keep track of your career.

Facebook

https://www.facebook.com/krassimir.nikov/ 

Instagram

https://www.instagram.com/knvideostudio/ 

Kn Television personal web site

https://www.kntelevision.com/ 

If you could work with anyone in the world, who would that person be?

I have admired Spike Lee for decades. He was also my professor at New York University’s Tisch School of the Arts. The screenplay for Mr. Lee’s iconic film, Do the Right Thing, was my screenwriting bible. It was a perfectly tailored film in which Brooklyn, New York’s simmering racist culture was brutally exposed on a hot summer day. I admire filmmakers who set the tone—the ambiance of a socially significant motion-picture while steadfastly keeping to a plastered season and are exquisitely able to spin a lamentable tale within the confines of the stifling beaming sun, ferreting out those rat racists of Brooklyn equipped with undertones of such sadness brought to the forefront in bitter sweet notes of comedy. Mr. Lee is a master of this fading genre. 

Tell us something most people don't know about you.

Most people who do not know me well, or those who attain merely a faint glimpse of my character do not have an inkling that I suffer from debilitating anxiety.  I have battled this fear of apprehension regarding the future, excessive nervousness and worry about not being accepted by my colleagues or my friends and family ever since I began to express this hounding angst as a child of ten, whence I commenced upon my poetical escapades and decided to become a poet or a lady of verse. I presume that those who come across this interview now know that I am an anxious being, so it is no longer my secret. 

The one person who has truly believed in you throughout your career? 

My mother is the one person who truly believed in my work throughout my career by supporting me through the harshest of financial times and the trying meanderings of an artist’s youthful follies to succeed in this most challenging industry riddled with hurdles at each turn.  My Mama and might I add, my grandmother, have held this burning torch of faith in my artistry and in my cinematic craft which I so deeply appreciate.  I am a mother myself and have come to the realization of how pivotal it is to support your children’s dreams whatever they may be. While my aunt always called me touched in the head and mad, my mother and her mother in turn, recognized that I had a spark of talent. I admire my Mama so much for believing in me and supporting me in my sincere and unfaltering desire to make movies. I would never have had the courage to make Used and Borrowed Time, had it not been for the support of my beloved Mama. 

What was the most important lesson you had to learn as a filmmaker? 

Films are the most sacred form of artistic expression, but a director must not make a film out of revenge or hatred. I learned that filmmaking is an art of love and not an art of the battle-axe.  While I do not necessary believe that a director ought to shoot a film as a therapeutic experience—making a film, recounting a sad true story or conceptualizing a fairytale means that you must be married to your craft and that translates to never having to settle for mediocrity or insincerity but to shoot the film that you wish to make while keeping your artistic integrity in tact through the passion and admiration that you possess for this unique craft. In other words, directors warrant a committed relationship to their film projects, to their cast, crew and to their producers—there can be no mistresses involved, that’s sacrilegious to the art form and desecrates a film project from its conception with a dishonest approach. For an actor, I believe it is most important to believe in your character’s existence and to fancy yourself as that character. If the actor strays from the poignancy of the specific character trait that he or she must portray—the truth in that specific portrayal is lost and that is a grievance to the nature of the actor.  For screenwriters, I feel that the profession calls for a preponderance of stamina in creative but structured writing—it’s a craft and one that beckons a blue print outline with a definitive theme, plot points and solid drama.  The screenwriter needs discipline—if a writer procrastinates it may consume the project and send the artist into a drinking stupor—at least that is my personal experience with that particular inadequacy. 

Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?

I firmly believe that it is much harder to begin.  There you are, staring at a series of blank pages, mortified to commence the creative journey. You are not certain where the ebbing paths shall take you and where your artistic choices will lead.  The debris—thick with heaviness way upon your soul and the obstacles mount against your hide with each blank hill of a page.  In order to conquer that debilitating fear in the pursuit of screenwriting, I have to clear my mind, find the inspiration and let my fingers do the talking.  Then my heart will pour itself onto those taunting pages and I find that I can sustain this fighting feeling for as long as I need to finish the screenplay. With filmmaking, I feel that once on set, the sustenance of continuing to shoot for lengthy periods of time in different turbulent locations is fatiguing and so one must call upon the muses to harness stamina in order to keep inspired and motivated. A director is the master of his own ship but there are pirates on deck to watch out for lest they hijack your entire film production and you are left with a grip devoid of an artist’s dream. 

What keeps you motivated? 

Writing and shooting a compelling story keeps me motivated. Memories from the heart are like souvenirs to share with the audience. Film graces you with the favor to hold an audience captive while unleashing a story of a human struggle, a tender desire, or a wanton ill which shackles and stifles society.  If I can move a soul to ponder over humanity’s plight; that serves as my sincere motivation.  Naturally, I aim to entertain, above all, but I do not wish to reel an audience hook line and sinker with frivolity. There exists a plethora of mundane works of art that circulate in the sphere of cinema and that’s a pity because it diminishes the beauty of capturing that sacred art form on celluloid or during these progressive days, on digital. I wish to tantalize a spectator’s mind or to touch the soul of a viewer through submerging the audience in Dante’s Inferno and seeing if the audience can forgive me for the gratification of presenting life as I see that life, entangled in the webs of its virtue or entrapped by the horrors of its vice. 

How has your style evolved? 

My passion for film shall never dissipate and while I have been writing plays for the theatre for nearly twenty-five years, when I commenced my writing career, I dabbled with themes of sentimentalism, deep romanticism and drama phantasma for the screen.  After attending Fordham University Law School and majoring in International Human Rights Law, I have seen my writing gain a socially conscious purview. I seek to make movies which call for social change, an adherence to the rule of law, and a plea for equality and tolerance. I am distinctly aware of the injustices, racism, bigotry and biases which dog our contemporary society and it is my goal to shed light on these inequities while refraining from preaching like a charlatan, pastor upon a soap box. I am not a politician nor a talk show host. I want to show and recount the truth which we face as marginalized folk, as those working on the periphery of time and slaving against the grain of what is expected, even if it is ruthless in cinematic presentation. Even if a spectator cannot fathom swallowing their meatloaf after what I have shown on the silver screen—and if that’s the effect of my work, I’ve moved a spirit to quit eating and start thinking with a cause for change settled in the crevices of the mind. My favorite author, James Baldwin, did not shy away from dragging the will and shrieking sound of defiance to the forefront to take swords up against discrimination and intolerance. My style has evolved to face the music but not to simply listen to the sound but to hear the words echoing in the halls of the heart, screaming for societal change and equitable justice. 

On set, the most important thing is:

On set, the most important aspect is to be cool, calm and collected. As a director, I seek to unleash effective convincing performances from my cast. I must be endearing and leisurely while at the same time I must be ready to crack a certain whip so that momentum is not lost. A director should be versatile, sensitive yet bold, a commander in chief but not a fool and eager to listen to suggestions—open to ideas. I believe a director should learn from the cast and crew by using soft words when needed, gentle persuasion where expected and brash domineering force when required, especially when seeking a momentous performance or when imprinting for cinematic posterity that once in a life time Gone with the Wind Love Scene shot atop of the emerald hill overlooking a field of chaos whist still awaiting paradise to march in and salvage that day for night shot on the set, before the director shouts: “Cut!” 

The project(s) you’re most proud of…

I am most profoundly proud of my film, Poor Liza, which starred Academy Award Nominee Ben Gazzara and Academy Award Winner, Lee Grant.  Although the sentimental tale revolves around a young peasant girl who is romanced and then deplorably abandoned by a callous nobleman in the 18th Century—it is a lamentable tale of how class struggles within the constraints of society conscript a true act of love to utter and insufferable futility. I was very proud that this film had won the Grand Prix Garnet Bracelet for Best Motion-Picture at the Gatchina Literature and Film Festival in St. Petersburg, Russia and that I was able to gift my beloved mother with this coveted film award at such an early stage in my film career. I am also significantly proud of my three stage-plays which were produced while I was under contract at La MaMa Experimental Theatre in New York.  “Love in the Eyes of Hope, Dies Last,” was an auto-biographical play which dealt with the hardships of immigration and assimilation.  “Coyote, Take Me There!” was a folkloric biblical musical which also revolved around the dislocation of refugees from Eastern Europe and the impoverished wise asylum seekers from Mexico and Latin American countries. “Defenses of Prague” was an Obie Nominated mystical play in verse which was about the legendary Golem of Prague coming face to face with the Roma of Prague set against the backdrop of the brutal invasion of Czechoslovakia by the Soviets in 1968. 

What are your short term and long-term career goals? 

To be perfectly candid, I do not hold long-term career goals. My late sister who passed at the tender age of eighteen and to whom I have dedicated practically all of my work in the theatre, had written in her diary that she was going to eat the most delicious Granny Smith apple on Saturday afternoon but she had passed on Friday.  I’ve learned not to make plans lest God holds other plans for me and for those around me. Perhaps God even snickers at my plans so I am resolved to adhere to short term career goals. I would like to make another socially conscious change seeking film within the next two years, should I live so long. It would also be lovely to work with some actors whom I thoroughly admire, such as Adrian Brody and Marisa Tomei. 

 What are your upcoming projects?

At New York University, I had a professor who had taught a class on Vladimir Nabokov and the students were assigned to read practically each of his novels.  I was a young lady who was touched by the story of Mashenka which in my opinion served as a prelude to Nabokov’s infamous banned novel Lolita.  In Mashenka, a young man, recuperates from typhoid fever, clenched in the clutches of boredom and thus conjures up his ideal love—a girl whom he actually meets a month later. Mashenka is the love of his life. Nabokov describes the lass: “a girl with chestnut scythe in a black bow, burning eyes, a swath face and a rolling carted voice.” Once the protagonist, Ganin, catches a glimpse of this girl, he is instantly smitten with her much like the lewd character of Humbert Humbert was possessed and consumed by Lolita’s underage visage and licentious aura.  Mashenka and Lolita are primary examples of young girls who are victims of solipsism. The two young girls exist only in the sole minds of Ganin and Humbert Humbert as they appear as clip-on identities and not as real youthful ladies imbued with distinct individual characteristics. In a sense, these unfortunate girls are victims of a contrived perverse imagination. I am currently engaged in writing a screenplay revolving around Lolita’s perspective regarding Humbert Humbert in which I depict her every reaction to his haughty elicit sexual advances towards such a young girl.  I believe that as a woman I am equipped to ascertain and portray Lolita’s version of Humbert Humbert’s infatuation with a twelve-year old Dolores Haze and to express Lolita’s vision of this rather sick seduction of a pubescent girl. While the term “Lolita” has been sadly assimilated into our popular culture as a description of a young girl who is “precociously seduced….sans the wicked connotations of victimization,” I aim to prove on the contrary (drawing from a similarly situated experience) that Dolores Haze is indeed a victim and not a seductress, at least not a conscience one due to her obvious inexperience, fickle pre-teen posture, youth and fleeting innocence which is prone to serve as sensual prey of worldly educated men like Humbert Humbert. I feel that a film based on Lolita’s response to Humbert Humbert’s despicable physical and emotional advances may be timely in the era of meaningful social change movements seeking female empowerment while holding guilty men accountable for their horrendous acts against women, such as the #metoo movement demonstrates. I would also very much like to shoot an adaptation of my play, which premiered at the 13th Street Repertory Theatre, entitled, “The Blacklist,” which is a quirky yet prophetically poignant political satire about an afterlife party hosted by the Grim Reaper during our flamboyantly tumultuous, politically divisive times.  

If you could work with anyone in the world, who would that person be?

I would love to work with Ava DuVernay.

Tell us something most people don't know about you.

I love Buddhas and I have so many of them at my place (small, medium and big!). 

The one person who has truly believed in you throughout your career?

My mother. 

What was the most important lesson you had to learn as filmmaker?

To have a plan B because anything can unexpectedly happen in pre prod, on set or in post prod.

Is it harder to get started or to keep going? What was the particular

thing that you had to conquer to do either?

In my own experience, it's harder to get started. Nobody knows who you are and don't really want to take a chance on you unless you prove them wrong. I happen to reshoot the whole movie in another country and raised funds by myself. That was not easy thing to do. 

What keeps you motivated?

That story; that one that could change our society. I want to make movies to tell untold stories and live in a better world. 

How has your style evolved?

I am firstly an actress as previously mentioned; therefore focusing on actor's emotions is always my priority. I am a huge fan of close ups and details. I have only done one professional short film for now but that's definitely where I am going. I want to focus on those details that perhaps others don't really pay attention to. 

On set, the most important thing is:

To stay focused. 

The project(s) you’re most proud of:

My first short film as a director "Don't Burst My Bubble". This drama short film tells a true story that many young girls go through during puberty. It is also based on my own experience. 

The most challenging project you worked on. And why?

The most challenging project I worked on was a short film for a French competition. I directed, wrote and starred in it. First of all, I don't like playing in my own movies because I am the kind of person who likes to focus on one thing at the time. Secondly, one important member of the crew showed up 5 hours later on set and I literally had to come up with new arrangements not to waste too much time. Finally, I decided to talk about political correctness which isn't easy topic to write about. I was worried that nobody would understand what I am trying to say. Surprisingly, the movie got good reviews from the audience after all. 

What are your short term and long term career goals?

I want to be an actress forever and make more short films and features as a filmmaker. I would also love to direct documentaries!

Your next projects?

I am working on my second short film but I can't say anything else for now. Surprise!

Please share with us where people can find you on social media, so our

readers could keep track of your career

Please follow me on instagram @victoriamalinjod or on twitter @vickymalinjod. Here is my FB page: Victoria Malinjod

Website: www.victoriamalinjod.com

 If you could work with anyone in the world, who would that person be?

That’s a great question. I would love to work with Sarah Treem, who I believe is one of the best showrunners in the world. I would love to work with David Lynch, the Duffer brothers, Xavier Dolan, Lina Wertmüller, Maura Tierney, Meryl Streep, Saoirse Ronan, and Cate Blanchett. I would love to coax Daniel Day-Lewis out of retirement to work with me.

Tell us something most people don't know about you.

I have a really quirky sense of humor, and I’m very headstrong. I still think like a child in some ways. Sometimes I don’t trust myself as much as I should, but I suppose this is all part of the journey. Last but not least, I have difficulty standing in front of a person who has a bad voice.

Who is the person who has truly believed in you throughout your career?

I am fortunate enough to have a whole host of people who believe in me and support my dreams, especially my friends Cristina, Claudia, Tatiana, Anna and May-Lan, and my partner Giovanni.

What is the most important lesson you’ve learned as a filmmaker, actor and screenwriter?

I had to learn to be patient, and to truly believe in my human potential. To have faith, because everything is possible.

Is it harder to get started or to keep going? What, in particular, did you have to conquer in order to achieve it? 

It’s hard to get started, or to give yourself permission to start. But it’s just as hard to keep going. I had to conquer my uncertainty and be completely honest with myself. Making any kind of art requires us to make a long journey, both on the inside and on the outside. We suffer, and through our suffering we can grow up and make art.

What keeps you motivated?

My faith in the possibility of change and revolution, in the possibility to share. I would like to inspire other people. I truly believe that we are all connected to one another and that together we can make this world a better place. 

How has your style evolved?

My style is still evolving. It never stops, because it’s connected to my life and my travels. It’s based on my personal experience and my observation of the world. Art is powerful, because it gives us the possibility to laugh about the things which should make us cry. If we fall down, it gives us the possibility to keep getting up.

In an interview, Agnès Varda said that three words are very important to her: inspiration; creation; sharing. This has always stayed with me.

I think that everyone has something to tell. We all have plenty of stories to tell. 

I was in the park and suddenly my life felt like a story… 

I was at the supermarket and my life felt like a story…

We need to be engaged with the world, open ourselves to the universe, and always be grateful. The process is much more important than the result. I have learned that if you are in research, your moment will come sooner or later.

On set, the most important things are the process, the collaboration, the ability to share. These elements are what makes the set unforgettable. Every project is a small child growing up. Everyone is important in raising that child. When you’re making movies and series, it’s all about teamwork. We need many more possibilities to open up and create an amazing project together. The world, especially now, has to stay united and help people in need, and nature, and animals.

Of which project or projects are you most proud?

As a director and producer, I am proud of Lola, my first short film.

As a screenwriter, I am proud of every script I have written. As an actress, I am proud of all the projects I have worked on. Every project is a new adventure full of possibility.

What is the most challenging project you’ve worked on, and why?

My most challenging project to date is the series I am currently working on. It’s a very long process, and the development is also very hard. I already have a great producer on board and we’re working very well together.

What are your short-term and long-term career goals?

I am working on three different series projects at the moment, and one of them is moving in the right direction to be developed. It’s a long journey, but I want to become a series creator and share my perspective and stories with the world.

What are your next projects?  

I’m developing a television series and planning to write and direct another short film.

If you could work with anyone in the world, who would that person be?

Once, the great Totò and Anna Magnani of the Italian cinema; now, how not thinking about Sophia Loren, Angela Lansbury or Jerry Lewis, ageless actors. As a director, I want to work with Carlo Vanzina.

Tell us something most people don't know about you.

I am vegetarian and animal rights-supporter all the time. In adulthood I enrol as a member of the Viareggio Fencing’s Club and I become a fencer gaining unexpected results, as the win at Italian Veterans Fencing of Nocera Umbra and the third place at Italian Veterans Fencing Championship.

The one person who has truly believed in you throughout your career.

My loved ones who have the key of my heart.

What was the most important lesson you had to learn as filmmaker/actor/screenwriter?

Always be ready to improvise and to find best solutions.

Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?

For me it’s harder to keep going. Of course, I had to start with the organizing machine with no budget, but when there were problems, it was very important to go beyond the actors’s nervousness, trying to restore immediately calm and keeping cast and experts full of enthusiasm.

What keeps you motivated?

The audience: children who take actors for characters and unfamiliar people clapping you; they fires you and they keep you motivated. 

How has your style evolved?

It’s difficult to change from theater to cinema, especially with the same actors. The most important thing is to see the scene before it’s shot.

 On set, the most important thing is:

In this kind of film, the cast must hardly believe in the project and in the director, otherwise, the actors will not have a good performance and I must change the editing.

 The project(s) you’re most proud of:

My first film: “Two destinies overwhelmed by Revolution”.

The most challenging project you worked on. And why?

 “Two destinies overwhelmed by Revolution”, because it’s my first work. Creating a film with no budget, with unknown actors and get to win international awards all over the world (Florence, Saint Vincent, New York, Venezuela and other countries), gave me a strong emotion.

 What are your short term and long term career goals?

My aim is to continue with fan film or the historical fantasy romance  and to get interested young people in old cartoons.

Your next projects?

By now the projects are top secret, but the success we had at international level made us to go on with this subject.

Please share with us where people can find you on social media, so our readers could keep track of your career

https://www.facebook.com/igiocolieridellestelle/

https://www.instagram.com/igiocolieridellestelle/

If you could work with anyone in the world, who would that person be?

I think I’d have a lot of fun working with Quentin Tarantino.

Tell us something most people don't know about you.

I continuously imagine movie scenes even in real life, continuously, I think I’m a little crazy

The one person who has truly believed in you throughout your career.

My  career fortunately has just begun but I can say that the people who are  most believing in me are my boyfriend and my mother, in general my  family, also my father. Then we’ll see !

What was the most important lesson you had to learn as filmmaker?

I just started my career so I don’t feel like giving lessons, only one thing I can say: never give up !

Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?

Since  I just started I don’t know what it will be like to continue, I just  know that I want to have fun and so it wasn’t hard to start and it won’t  be hard to keep going.

What keeps you motivated?

I love my job

How has your style evolved?

Well, it has yet to evolve

On set, the most important thing is:

Have clear ideas and respect everyone

The project(s) you’re most proud of:

Family Dinner si my first project so stay with me to see the next news.

The most challenging project you worked on. And why?

The most challenging project will be the next because I will open a crowdfunding to finance it and it is the first time for me.

What are your short term and long term career goals?

My goal is to make a career in the world of cinema and to make directing my work.

Your next projects?

I’ve  already written a short film and as I said before I have to start a  crowdfunding to finance it, it’s called The scream of silence, we  already have T-shirts that we will give depending on donations and if  you liked Family Dinner follow me on Facebook or Instagram to keep you  updated on the next project, I promise it will be even more thriller!

Facebook: https://www.facebook.com/Anastasia-vulgaris-director-100503341327545/

https://www.facebook.com/The-Scream-of-Silence-Short-Film-101949408001752/

Instagram: anastasiavulgaris 

                  The_scream_of_silence

If you could work with anyone in the world, who would that person be?

Angelina Jolie, and Leonard de Caprio.

And Selton Mello a Director and Actor from Brazil.

Tell us something most people don't know about you.

I love extreme sports like; Skydiving, Race car driving ,Zip lines, Bungee jumping.

The one person who has truly believed in you throughout your career.

My Family, my husband, my Friends. But if my Father were alive, he would be the number one.

What was the most important lesson you had to learn as actress and producer?

I am still learning, but the challenge to switch characters, as I did for BEFORE SUNRISE, playing all five parts, that did make me want to dig down more and more into an acting side I didn't even know I had!

As a Filmmaker, I think it was realizing how much power the sound and lighting have in telling a story.

Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?

I think it is harder to get started, because it is all about discovering and learning and preparing. Once you have started you have to keep going.

Well, with BEFORE SUNRISE, it was the filming here in the US and being directed remotely from Brazil. I don't know how many films have been made that way but that was quite a challenge.

What keeps you motivated?

The love of my Family, and my love for the Planet.

How has your style evolved?

I used to be a model, the characters on BEFORE SUNRISE represent all the styles I love.

So I picture a little of the religious part of me, the fun part of me, the emotional part of me and the shy part of me.

On set, the most important thing is:

Concentration, and being true to the character and the project as a whole.

The project(s) you’re most proud of:

I am proud of many of the philanthropic projects I have been able to be a part of in my life but I think this film, BEFORE SUNRISE, I might be the most proud of. I created it, and it was done with all my heart.

The most challenging project you worked on. And why?

Well certainly BEFORE SUNRISE for the reasons I mentioned above. I did love working on CULT CARTEL, a feature film coming up early next year. It is a story about trafficking but I was playing a Mexican cartel leader. That was fun!

What are your short term and long term career goals?

I am not really thinking in career terms. Maybe short films for the next couple of years and then I would like to do a feature.

Your next projects?

I have three projects on the table, two short films and there is another in preparation about my life. Helena Riul has been working on that one for couple of years now.

Please share with us where people can find you on social media, so our readers could keep track of your career.

www.julialrosengren.com

www.facebook.com/jlr0202

www.instagram.com/julialrosengren

https://youtu.be/z_Br0YzZOaE

If you could work with anyone in the world, who would that person be ?

I admire Ava DuVernay. She is a superhero. Such a powerhouseShe inspires me. 

What was the most important lesson you had to learn as a filmmaker/screenwriter ?

I would say having to hear no more than yes is often challenging. You just have to keep believing in your vision. Also, being on set, it's challenging when you feel like you're always running out of time. But pressure also makes the diamond, and friction forms the pearl. So it's all needed in order to make great work. Having a great crew is also key, I’ve been super lucky to work with amazing talent. Before Rafael Casal (Blindspotting) was a superstar, we were producing partners on many of my projects, since as far back as I can remember he's been in and/or worked on most of the productions, he just understood everything about the creative process. I've also been lucky to have great DP's like Boson Wang, producing partners like Matt Smith, ADs like Hilton Day and Armin Houshmandi, they always help to hold the creative vision.

Is it harder to get started or to keep going ? What was the particular thing that you had to conquer to do either ?

I think getting started is always the hardest part. Once you start the process, it can build on it's own. Cinema speaks that universal language, it surpasses time and just like music, cinema makes you feel things. To me, the job of a great storyteller, or artist of any kind, is to help us feel something. Even if it's just remembering what it's like to feel, or getting us in touch with a thought, or an emotion that may be uncomfortable, or unfamiliar. I have always been drawn to expressing myself in the language of cinema. Directing allows me to let my imagination run free like a wild horse, and in that process, I find a sense of freedom. I think we are drawn to things that allow us to feel freedom. For me that's what cinema does, it gives me a sense of freedom. It is a form of creative play, and when we are playing, that's often when the most inspiring ideas can come. Cinema allows me to play in my own shadows and inspires me to keep searching for the light.

What keeps you motivated ?

The sunset, cooking, and good books keep me motivated. At the time of conceptualizing my short film 'Looking Glass" which was invited to premiere at Sundance London this past summer, I had just finished reading a book called ‘The Big Leap’ which explores the concept of taking that courageous leap from your ‘excellence zone’ to your ‘genius zone’ so this was a concept also present when I wrote the short. I am working on a script for a narrative feature with similar themes, so this was in some ways a proof of concept. I have always been fascinated by the idea of time. LOOKING GLASS was in some ways my love letter to time.

Your next projects ?

I am in the polishing stage with my producers on my script for my first narrative feature. It’s a drama, don't want to give too much away, but it definitely has a strong presence of magical realism.

Please share with us where people can find you on social media, so our readers could keep track of your career I only really use instagram @itsjoslynrose