Florence Film Awards

Interviews & Reviews

Interview

Joslyn Rose Lyons - Interview

For more than a decade, Joslyn Rose Lyons has directed and produced a range of award winning content in film and television, including work with HBO, BET, MTV, VH1, OWN, Lionsgate/STARZ, UNINTERRUPTED, and Warner Bros Pictures.

Tell us about your background and when did you decide to become a filmmaker?

Thank you for inviting me to be interviewed for the Florence Film Awards. I’m honored to be featured alongside such inspiring filmmakers. During my studies in college, I worked at an Emmy Award-winning production company on projects for Discovery Channel, MSNBC, PBS, and that’s when I started making my first documentary Soundz of Spirit, the film explored the creative process and spiritual connection in Hip Hop. The film premiered at HBO Urbanworld and screened at London’s Raindance and Black International Cinema Berlin, and won Best Music Documentary at the New York International before being distributed worldwide with an original soundtrack by Jeff Clanagan’s (Code Black) Urban Works Entertainment. I was given a director’s seat at Simmons Lathan Media Group by my mentor Stan Lathan, where I directed HBO Def Poetryx with my long-time collaborator Rafael Casal (Blindspotting). I’ve always had a passion for music and exploring the creative process, so it was a natural progression for me to produce and direct music television including Rap City with RZA/ Wu-Tang Clan, the first Music Matters Grammy Showcase at Creative Artists Agency (CAA) with PJ Morton, Mack Wilds, Mali Music, and I contributed to BET's The Message, a four-part documentary on the history of hip hop, also producing the BET Experience Celeb Basketball with Nick Cannon, Chris Brown, The Game, Victor Oladipo, Jemele Hill, Fat Joe, Angela Yee, Trevor Jackson, and Lil Rey Howery. My work in music television led me to directing a number of music videos, which included Talib Kweli’s Cold Rain which was #1 music video on MTV.com, prince Ali (aka Mahershala Ali) with Dilated Peoples, Chad Hugo (N.E.R.D./Neptunes), Too $hort, E-40, and for Mali Music on his ‘what it means to be beautiful’ featuring Brely Evans, and Wendy Raquel Robinson. It was an amazing opportunity to document Erykah Badu’s creative process on the making of her New Amerykah Part II album while on her Vortex Tour bus with Karriem Riggins, and Thundercat. My first short film starred Academy Award-winning actor Mahershala Ali and won at the Link TV: One Nation, Many Voices Muslim American Film Competition and I directed and proeuced a short doc for Academy Award-winning actor/rapper Common and his Imagine Justice organization, which is dedicated to empowering communities and fighting injustice.

For more than a decade, Joslyn Rose Lyons has directed and produced a range of award winning content in film and television, including work with HBO, BET, MTV, VH1, OWN, Lionsgate/STARZ, UNINTERRUPTED, and Warner Bros Pictures.

Tell us about your background and when did you decide to become a filmmaker?

Films that inspired you to become a filmmaker?

Berry Jenkins is amazing. I saw "Medicine for Melancholy" and was captivated at the way in which he built that story. "Moonlight" was also cinematic brilliance. Spike Lee. I actually got to have dinner with him and his composer Terrance Blanchard at the Blue Note Jazz Club in New York, after working on his Showtime production. I remember at the dinner he was scribbling notes on a napkin. I realized then that he never turns it off. His film ‘Do the Right Thing’ is one of the sparks that ignited this journey in cinema for me. I admire Jean-Pierre Jeunet, the use of magical realism in his film Amelie has always been part of how I relate to storytelling. I had a chance once to ask him what would be the one piece of advice for filmmakers, and he said “use everything in your toolbox”

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

Pressure makes the diamond, friction forms the pearl. So it’s all needed in order to make great work. Having a great crew is key, I’m grateful to work with amazing talent. Before Rafael Casal starred in ‘Blindspotting’, we were producing partners on many projects, since as far back as I can remember he’s been instrumental in my creative process. I have a great creative team, Director of Photography Boson Wang, producing partners Matt Smith and Marissa Unpincgo, Assistant Directors Hilton Day and Armin Houshmandi. We have chemistry and they are artists, we work together to birth the creative vision. There’s a book, The War of Art: Break Through the Blocks & Win Your Inner Creative Battles and it says “The more resistance you experience, the more important your unmanifested art/project/enterprise is to you – and the more gratification you will feel when you finally do it.” So that resistance is often a sign that you are actually on the right path. Earlier this year I directed Rap Noir: Playing in the shadows to find the light, a series of film-noir-inspired vignettes featuring the music from Rap Noir, AKA Tajai Massey, one of the four founding members of Souls of Mischief of Hieroglyphics. I’ve worked with Hieroglyphics and Souls of Mischief on many projects over the years, including the first music videos I ever directed which were for Prince Ali, aka Academy-Award-winning actor Mahershala Ali, that debuted on BET. Rap Noir was by far the most unique opportunity to create with the Hieroglyphics Crew. When Tajai first approached me about directing these films, I knew it would be a challenge to create in an abstract film noir-style series of 26 vignettes, with no dialogue, time-intensive blocking rehearsals so that we could capture the shots in one long continuous shot with no cuts, build an original set, that required lighting-intensive set-ups, and direct two dozen actors to tell these stories through series of black-and-white vignettes all via Zoom and during a pandemic. Jallal, one of the lead actors in the Rap Noir film who also starred in my recent short film Looking Glass (which was featured at Sundance London this summer) shared his thoughts about working on my most recent production: “It was amazing getting to work with all of them together. Tajai definitely has the vision and Joslyn is just amazing with the creative directing and understanding what she wants. She’s a strong woman who has rawness in this industry and has a strong hold on knowing what she wants. That’s needed to be a great director and what separates you from being great to being next. I’ve always seen her as being next. I met Joslyn Rose out here in San Francisco with my idols – my mentor, and my friend Mos Def. You definitely gotta give it up to the greats – Oakland is a city of music and political strife and people understanding what they want.” - Jallal Malik

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

I am inspired by the intersection of art and social justice. One of my creative partners is former NBA Champ Matt Barnes (Showtime Sports’ All the Smoke) and we produced a show for UNINTERRUPTED (LeBron James’ digital platform) called Same Energy. The series features Matt Barnes, Marshawn Lynch and 2Chainz and explores in-depth conversations about mental, physical, and spiritual strength, and what it takes to stand up for what you believe in. I’m also the Impact Producer on several hip hop and social justice projects, most recently Truth to Power, which profiles the courageous voice of Rep. Barbara Lee features powerful interviews with Alexandria Ocasio-Cortez, Van Jones, Danny Glover, Corey Booker and Alice Walker. I am also the founder of The Museum of Light (The Grammy Museum, Motown Music, Capitol Music, Rafael Casal, Daveed Diggs, Trevor Jackson, Mali Music, JOI, Mila J, Angie Stone, Pharoahe Monch, Robert Glasper, Sheila E.), a digital content platform spotlighting the creative journey.

Some of my colleagues in the Bay Area have made some incredible films these past few years that have done just that, Boots Riley made Sorry to Bother You (shout out to my favorite AD's Hilton Day) and Rafael Casal and Daveed Diggs made Blindspotting. These types of films can spark change by opening up conversations we might not have had. Finding the extraordinary in the ordinary and seeing things in a new light. I love this quote by 2PAC: “I’m not saying I’m gonna change the world, but I guarantee that I will spark the brain that will change the world.” That’s what I would want my films to do, create that spark that ignites an inner fire, and that fire can be a guiding light on your journey. Creating visuals 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. For me there has always been this feeling of freedom when I’m directing because I can be myself in that space. Cinema allows me to play in my own shadows and inspires me to keep searching for the light.

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

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 is maybe uncomfortable, or unfamiliar. I have always been drawn to expressing myself in the language of cinema. I’ve been working with my producers on the polishing phase of a script for my first feature film. It’s been a creative and focused time for this process. It’s been a time of solitude. One of my favorite authors, Paulo Coehlo (The Alchemist) said this about solitude: “Without solitude, Love will not stay long by your side. Because Love needs to rest so that it can journey through the heavens and reveal itself in other forms. Without solitude, no plant or animal can survive, no soil can remain productive, no child can learn about life, no artist can create, no work can grow and be transformed. Solitude is not the absence of Love, but its complement. Solitude is not the absence of company, but the moment when our soul is free to speak to us and help us decide what to do with our life. Therefore, blessed are those who do not fear solitude, who are not afraid of their own company, who are not always desperately looking for something to do, something to amuse themselves with, something to judge. If you are never alone, you cannot know yourself. And if you do not know yourself, you will begin to fear the void. But the void does not exist. A vast world lies hidden in our soul, waiting to be discovered. There it is, with all its strength intact, but it is so new and so powerful that we are afraid to acknowledge its existence. Just as Love is the divine condition, so solitude is the human condition. And for those who understand the miracle of life, those two states peacefully coexist.”

The project(s) you’re most proud of:

Different projects inspire me for different reasons. My most recent short film Looking Glass starred Los Angeles-based rapper and actor Jallal, and features an ensemble cast of amazing artists from the Bay Area including DJ Umami, Ryan Nicole-Peters, and DJ Ambush, and embraces the struggle to overcome complacency while visually embodying the spirit of Oakland’s creative community. At the time of conceptualizing this piece, 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.

I shared the short with Sundance Co//ab and I was honored when I got a call to say that their artist-in-residence, Trey Ellis (HBO’s The Tuskegee Airmen, True Justice) had seen Looking Glass, and Sundance wanted to invite me to screen the film as part of their Sundance London 2020 virtual film festival. Looking Glass was positively received, premiering at Sundance London, and has picked up numerous awards at film festivals that include The American Film Award, IndieFest, TopShorts Best Female Director, The Berlin Flash Film Festival, Shorted Film Festival, One-Reeler Short Film Competition, The IndieFEST Film Awards and Focus International Film Festival amongst others.

What are your short term and long term career goals?

When I am creating, I feel inspired. 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 creativity and cinema does, it gives me a sense of freedom. Even the smallest of creative sparks, is enough to ignite that creative fire. Igniting that light in others is a source of happiness for me. It is a form of creative play, and when we are playing, that’s often when the most inspiring ideas can come. For me there has always been this feeling of freedom when I’m directing, because I can truly be myself in that creative space. Filmmaking allows me to play in my own shadows, and inspires me to keep searching for the light. My goal is to keep creating, to keep shining my light, and inspiring others to shine their light too.

Your next projects?

I was invited by The Academy of Motion Picture Arts and Sciences/Oscars to be a guest panelist at their Gold Rising's Showcase and upcoming film summits. I'm extremely honored and inspired by these opportunities. I am a new member of the Alliance of Women Directors, and I recently signed with Doug Johnson at ICM Partners and I am working on some new projects with my team at Mediathirtyfour.com. My executive partner and creative partner Matt Barnes (Co Host Showtime “All the Smoke '' Podcast) we are producing and creating some new projects. We created a show for UNINTERRUPTED (LeBron James digital Platform) called SAME ENERGY, it featured Marshawn Lynch and 2Chainz and explored in-depth conversations about the mental, physical, and spiritual strength it takes to stay on the path, and what it takes to stand for what you believe in. I’m producing several music and social justice documentaries, including and “Truth to Power ” (Lionsgate/STARZ) that features Rep. Barbara Lee, aAlexandria Ocasio-Cortez, Van Jones, Danny Glover, Corey Booker, Alice Walker. I'm also a producer on "TALE OF THE TAPE", the history of the mixtape in hip hop, that features Big Sean, J. Cole, and Kendrick Lamar. My passion for the art of storytelling is also in the scripted world, there is so much to imagine and explore when we can bend the rules of the world through fiction.

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

https://instagram.com/itsjoslynrose

https://itsjoslynrose.com/

Interview

George Kostopoulos - Interview

George Kostopoulos is a New York based avocational composer with a degree in music received in 1979 from Kean College. His “Prelude & Fugue in Dm for Brass Sextet” and “Fugue in F for Wind Quintet” originated as personal post-college study projects. The Bay Brass performed the sextet in December 2003 at their annual Christmas concert in San Francisco’s Grace Cathedral. George has also composed a significant body of piano music which he makes available in books sold on the Etsy website at https://www.etsy.com/shop/WhirlyBooks. In 2013-14 George studied filmmaking at the New York Film Academy. More recently he has been producing music videos for his youTube channel at https://www.youtube.com/channel/UCu2JdSsv0aLMKTbdfgvj2ag. George has been happily married to Lenore since 2005.

Tell us about your family background and when did you decide to become a composer?

I grew in New Jersey in a small town not far from New York City. My parents, John and Carmela, two 1st generation Americans, were both artistically inclined, as is my sister, Carolyn.

My mom, the daughter of Italian immigrants from the province of Potenza, was a housewife and a secretary. She loved entertaining friends by singing popular songs. She even composed a couple herself, demonstrating a talent for melody and lyrics. Mom also enjoyed writing poems and editorials, many of which were recited on the radio or printed in local newspapers.

My dad was the son of Greek immigrants from the Peloponnesus. After serving in World War II, he studied drawing and painting at an art school, eventually settling into a career as a draftsman/designer. Very handy with tools and wood, he designed and built many of the cabinets in the family house. A fine baritone, he sang at church and in choral groups, often as soloist. In his later years Dad spent a lot of his time crafting whirligigs and putting together a booklet on how to make them.

My sister, the founder and owner of Carelli Costumes, had a long and productive career making costumes for Broadway shows as well as for the annual Spoleto Festival held in Charleston, South Carolina.

As for me, I decided to become a composer when I was about 15 years old after having started composing little ditties on the piano that we had in our house. Already playing trumpet in elementary school, I started taking piano lessons and also learned to play guitar. After graduating from high school, I chose to immerse myself deeply in the study of music by majoring in the subject at Kean College. I earned a B.A. degree upon graduating in 1979.

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?

Marcus Warren - Interview

Hello everyone my name is Marcus Warren. I am a Writer/Director here in Los Angeles. Also an author, I’ve written two self-published books and I am working on my third. I have shot numerous short films. Now I want to work on feature films.

Tell us about your background and when did you decide to become a filmmaker...

My background is writing. I always wrote. Whether it was short stories or feature film ideas and structures I always was writing. I think I decided to become a filmmaker because I watched a lot of movies growing up. When I was in film school they would tell us to watch movies to feed our imagination and since this is what you want to get into. I attended (LACC) Los Angeles City College. I watched American films and foreign films, I remember seeing "Malena" with Monica Bellucci and other action films in the US as well.

Films that inspired you to become a filmmaker?

I think there is one all-time film that really inspired me to want to make films and that was

"Dances with Wolves" with Kevin Costner. I just loved it. It had a very natural feel to it and it kept me intrigued.

Who is your biggest influence?

My biggest influence is in the Movie world would be Denzel Washington. Awesome Actor. His integrity is like none ever seen. In real-world time my biggest influence would be my Mother Charlotte. She passed away some years back. She was very hard working. She was a teacher, teaching 3rd-grade students.

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

Some challenges I faced in making my films were budget. D=Funding resources and scheduling with all the talent. When it's scenes were actors had together and it's more than one person everyone has different schedules. When I shot my first short film 'A Rose for a Rose" a romantic comedy. I ran into those same challenges.

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

I think my favorite genre to work in is Action/Adventure or Animation. It's my favorite. After all, I am familiar with the material because I write for that genre a lot, but I also love a good romance story as well.

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

I think my all-time favorite film is "The Matrix Trilogy" I love everything about it. The story, action, characters, and what motivated them, and all the cast of actors they cast were great as well.

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

I would love to work with Steven Spielberg.

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

I think people don't know that I'm very shy.

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

The one person that truly believed in me throughout my career would be my Mother. When she was living she was behind me 120%. We would always watch movies together.

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

The most important lesson I learned as a filmmaker is to be patient, things take time to develop. And to keep going search my creative juices and the answers will eventually come.

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 there so much going on these days. Distractions, money is tight, resources may not be around. To keep going is a smoother process because it relies on how hard are you willing to work. Work ethic comes first, you have to be willing to work hard and put the time in. I had to conquer sacrificing. That meant fewer clubs more scriptwriting, less hanging out, and more work.

What keeps you motivated?

Watching the latest movies keeps me motivated.

How has your style evolved?

My style has evolved by adding a little more creativity to my workflow. I started painting digitally on the program Procreate and I love it. I've only been drawing for about two and half years but it's really made me better in a short period of time.

On set, the most important thing is...

On set the most important thing is communication whether it's with your crew, cast, and even with yourself. Communicate.

The project(s) you’re most proud of?

The project I'm most proud of is the Cooking Show I produced and Directed "Downtown Plate" which won BEST WEB SERIES at the Beyond Earth Film Festival in India on their 4th Season. The Show is on Youtube if you want to check it out just type Downtown Plate in the search box and it will pull up. When only shot ten or twelve episodes before covid 19. I plan to bring the show back in the future with the new host.

The most challenging project you worked on. And why?

The most challenging project was WHEELMAN: The Untold Stories of Car Culture because we were in the canyons shooting some interviews and the wind got to acting up real bad and it really messed up some of the audio in two of the segments so in the final cut I had to cut out two of the people that were in it. So I know next time to shoot on calm wind days, especially for interviews.

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

My short-term career goal is to get some feature films under my belt and my long-term career goal is to make films overseas too.

Your next projects?

My next project is my third self-published book "The Obsidian Void" which is a Sci-Fi action thriller. Also, I just got a development deal with Open Gate Entertainment for a script I wrote called "The Sketch Book" an animated feature film.

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

You find me at three locations on Instagram @keylightproductionsllc @marcuswarrenofficial @downtownplate and my art page @thisartsycoolstuff my email- preparationandopportunity@gmail.com

Thank you!

Interview

Luca Cerbone - Interview

Italian-American actor, Luca Cerbone, spent three years studying and performing in the United States, including the Conservatory of Dramatic Arts in New York City. After several stage performances, his debut film performance, IT IS WHAT IT IS, received him: Best Young Actor, Acting Awards Festival, New York; Best Actor, Independent Shorts Awards, Los Angeles; and the Best Acting Debut Award at the New York Best Acting Awards Festival. Cerbone recently completed shooting of the feature film, SONG OF THE FLIES, in which he played the lead role. He has been cast as a lead in the new US-Portugal television series, GUARDIANS OF THE GODS, to be shot in 2022 as well as the feature film, CRYSALIDE. Best Young Actor, Silver, Cinematography Awards New York

Italian film and television performer, Luca Cerbone, was determined to become an actor at an early age—following his high-school performance of the musical Hairspray.

Inspired by the great films of Martin Scorsese and Quentin Tarantino, the ice-blue-eyed Italian, unlike many want-to-be actors, set his sights not on Europe, but the United States.

“I studied acting at a college in Upstate New York and subsequently received a scholarship to attend the New York Conservatory of Dramatic Arts,” Cerbone explained.

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.

Interview

Daryl Sledge - Interview

Daryl Sledge, produced the award winning HBO Best Short Film “2nd LIFE” and Saatchi & Saatchi Achievement in Film Feature Documentary “THAT DAUGHTER’S CRAZY”.

Tell us about your background and when did you decide to become a filmmaker?

I've always been creative. As a child, I'd create scenes and act them out with the neighborhood kids.

The filmmaking bug bit me when I turned twenty four years old. Immediately, I understood that I wanted to direct films.

I moved from Chicago to NY with the hopes of going to film school and working with my idol SPIKE LEE.

I was fortunate enough to study under him for four months and the rest is history.

I have eighteen years of experience in film and television production.

Films that inspired you to become a filmmaker?

Steven Spielberg's THE COLOR PURPLE, anything by Martin Scorsese, Oliver Stone and Spike Lee.

Also, Barry Jenkins.

Who is your biggest influence?

Definitely, Spike Lee and Oliver Stone.

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

Inherently, I am not a writer, I am a Producer/DIrector. So, training my mind and thoughts to screenwriter proved very challenging and difficult. Now, I am more comfortable with writing, yet there is still a sense of insecurity, but I use that as fuel.

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

Oh yes, Psychological Thriller and Romantic Comedy. But, if I have to choose a favorite, it would be Psychological Thriller. I love the suspense and the twists.

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

Steven Spielberg's THE COLOR PURPLE. Why? It felt like home for me. The characters could have easily been my relatives. And..the movie is based on the work of one of America's most prolific Authors, the great Alice Walker.

So, the language is brilliant.

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

Steven Spielberg, Oliver Stone, Spike Lee, Barry Jenkins and Jordan Peele.

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

I am incredibly impatient.

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

My beloved Mother.

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

Trust my instincts.

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

It's never hard to get started, it proves challenging at times to keep going, especially if I am not receiving the most diligent effort from others. But, being extremely organized and assertive has offered a passage of conquering that which was challenging.

What keeps you motivated?

Waking up each day, knowing I have an opportunity to develop and create work.

How has your style evolved?

My style has become less Hollywood and far more Independent.

The projects that excite me are smaller in stature, but superior in terms of language, mood, setting, tone, dialogue and characterization.

On set, the most important thing is:

To be quiet, pay strict attention and stay out of the actors eye-line.

The project(s) you’re most proud of:

My latest award winning short form film "un.bind".

The HBO award winning short form film 2nd Life, which I served as Producer.

The most challenging project you worked on. And why?

I Am Legend.

Why? The production was huge.

What are your short term and long term career goals?

Short term goal is to develop the novel WHY? into a screenplay and feature film.

Long term goal is to continue making films that stay with you throughout your life's journey.

Your next projects?

My short form film THE REDEMPTION BAR: The Case Of Xavier Mendosa, and again developing the novel WHY? by author D A Rhodes into a brilliant screenplay and feature film.

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

Facebook: Sledge-Deux Daryl

Instagram: @sledgefilms

Twitter: @producebway

Website: sledgefilms.com

Interview

Krassimir Nikov - Interview

Peter Boiadzhieff a.k.a “Krassimir Nikov” is an American filmmaker and actor of Bulgarian origin. He was fascinated with movies at early age, because this was only way to escape from reality and used your imagination to create stories and characters. He was born on 1974 in the capital city Sofia in Bulgaria. Growing up in a small town Petrich by his grandparents. The town is border between Greece and Macedonia, a former SFR Yugoslavia, located in Eastern Europe. The town was place of the famous oracle ‘Vanga’ the famous ‘Spartacus’ who was fighting for freedom in early days. He created his first movie as a high school project. Later he moved to Atlanta, Georgia, USA where he helped some of the filmmakers with their film projects.

Tell us about your background and when did you decide to become a Filmmaker?

I wanted to be a filmmaker since early age when my grandmother bought me a “Smena Symbol” photo camera. I am still remembering when I was sitting next to the fireplace in my old house and watching through my window outside in the small room. My room had a table, bed, window and fire place, no tv, no cell phones, just me a pen, notebook and my imagination. The moon was shining and the snow was covering everything outside, all around became white, it was a magical winter night. This could be a great story for my next movie, a childhood dream that became alive in recent days. My dream was bigger to become the next George Lucas, but not yet, still working on my dream to become the greatest film maker.

At this time, I have no idea how film making works but my dream become a reality a decade ago when I bought a MiniDV video camera and slowly shifted to a career.

I do not feel that I am an actor, but as indie film maker you must learn and understand the different types of acting, took few acting classes on how to develop you acting style, did a standup comedy, lots of public speaking at Buckhead Toastmasters. I really love to play roles as a bad guy, a villain characters, gangster, or just performing comedy.

When I wrote my first scripts, I did not know that there is a difference between script writing and screen writing, I actually was doing the screenwriting on the fly while filming it was a creative process in my brain. However, when I gain more practical experience, I pay more attention on screenwriting, how to open the scene, where the actor will be, lightening and etc.

I was born in capital city Sofia in Bulgaria; I grew up in a small city called Petrich which is border between Macedonia and Greece. In old days it was fun no cell phones, we were playing outside, going to the mountains, rivers. There was no internet, if you need to learn something you buy a book or you go to the library. We had a black and white TV with just two channels on it. I am coming with software development background that helped me in film editing. Later, I moved to USA in Atlanta Georgia. I joined the Fork Shop film making group where I have a chance to practice making short films. My name is Krassimir Nikov, but I am using a stage name Peter Boidazhieff, that’s make me more exotic and special, that’s what I love to create a perfect character. I know it is confusing but you will get it later, even I struggle with identity crises, but able to manage it.

I love film making, the whole process, from writing the script, casting the actors, filming, editing, and distributing you cut on internet, dvd, or theatre

I think that is enough for now you can get more info from one of my personal web sites: https://www.peterboiadzhieff.com/

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/

Interview

Kasey Flynn - Interview

Kasey Flynn is a filmmaker and director located in Las Vegas, Nevada. He has an extensive knowledge of film as well as music, and has developed a signature cinematic style that he describes as “Visually Musical” - where every action on screen, even within non-narrative films, is queued in response to the music driving the scene. At age 23, he has built a successful production company, alongside his wife Summer, and has created over 1,000 projects for various companies, individuals, and organizations - including what he considers his greatest work yet: a documentary series for the Clark County foster care system, which has resulted in the adoption of many children into loving homes. He is driven by his faith in God, love of people and his need to create no matter what.

Tell us about your background and when did you decide to become a filmmaker?

At the age of 4 I started playing piano and found that I loved to entertain people - at age 7 I was given a video camera. I would record myself playing my instruments, and just about anything else I could point the camera at!
By the age of 18 I learned to play 27 different musical instruments, being SURE that I would find a career in the music industry.
I started a YouTube channel, with the intent to post my music there and share more of my life - but as I shot video after video and learned to edit, I realized I LOVED making videos, so I bought better gear to make better videos - and soon my passion for music, became the beating heart behind my TRUEST passion of filmmaking.
I now own my own self-titled production company, run by me and my wife, and I work full-time as a filmmaker.

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

Making films is a very raw and emotional art for me - it truly does come from my heart. I struggled with depression stemming from my undiagnosed health issues which have left me with chronic pain for almost half my life now at age 23. It is impossibly hard to create beautiful art when your heart has such ugliness inside towards yourself.

My faith in Jesus has released me from the burden of the depression - my health is still worsening and none out of the 18 different doctors I’ve seen have any solutions to help, but I still have joy because my hope is not in this world, but in Christ and the knowledge of His love and saving grace.

On set, the most important thing is:

Keeping people encouraged - as a director, I never critique without first encouraging what was done right.
If my actors are frustrated or feel they aren’t respected, it will undoubtedly effect their performance.

With this, whenever any of the cast or crew has an idea for how a shot/scene/line can be improved, I always listen and we brainstorm together because I want them to feel that their opinions matter.

Films are ALWAYS better when they are collaborative efforts - many hands on a project means more emotional energy from more people, making the final piece more relatable to more people.

Tell us something most people don't know about you

I am mostly blind.
Yes, its fun to joke with my clients and people I work with about how ironic it is that they hired a blind guy to make a visual art!
I am completely blind in my left eye and my right eye has no peripheral vision.
This is another result of my health issues, but it has not hindered my career - in fact I believe it has contributed to the development of my own visual style in my films that is unique to me.

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

You can find me on Instagram at @kaseybonez and on Facebook @kaseyflynnproductions and I hope to connect with some of you over there!
I’m most active on Instagram and that’s where you can get an inside look at my process through my daily stories.

Interview

Sophia Romma - Interview

Screenwriter/Playwright/Theatre and Film Director, Dr. Sophia Romma is the screenwriter and producer of the Garnet Grand Prix Award-Winning international art-house motion-picture, Poor Liza, starring Emmy Award-Winning and three-time Golden Globe winning actor, Ben Gazzara and Obie, two-time Emmy and Academy Award-Winning actress, Lee Grant. Poor Liza, directed by the émigré cult director of Liquid Sky, won honorable mention for best original drama phantasma at the Cairo Film Festival, took second prize for revival of surrealism and mysticism in film, won first prize at the 21st Moscow International Film Festival for the Bunuel Film Series Tribute and was awarded the Garnet Grand Prix Bracelet from the St. Petersburg Literature in Film Festival, which is equivalent to receiving the coveted Oscar.

Tell us about your background and when did you decided to become a filmmaker?

I arrived on American shores as a six-year-old child and had witnessed my mother face the gruesome challenging fate brought on by immigration, the dislocation of the émigré soul and the eventual rather heart-wrenching assimilation which is the fate of the émigré who stands obliged to blend into a society that is not often welcoming and in fact quite frankly unapologetically judgmental of differing cultures and customs. I am a child of the Cold War and having fled Soviet Russia due to religious and ethnic persecution, as most fledging immigrants; I found immense and infinite escapism in fantasy with the unfolding of slow seductively intricate and sublime images on the screen at the very moment that I had set foot in the Film Form in Bohemian Greenwich Village, New York. I was captivated and enthralled by the sheer elegance of these mystical alluring 24 frames per second captured for an eternity on celluloid and mesmerized by that sin in soft focus unraveled by the motion-pictures. Film, in my humble opinion, is a creative medium in which much like crooning the blues or playing jazz notes, the soul of humanity is exposed frame by frame before the lens of the human eye. Hence, one is immersed in that cinematic thrilling whirlpool as the human condition in unveiled, hopefully resonating with a global multitude. I cannot righteously admit to instantaneously deciding to become a filmmaker like Poof! Rather, I decided to write for film, to be a screenwriter which is a special beast, and to paint in stark images, employing descriptive words to sing the songs of life, light, death, pain, pathos, drama, love, lust and the eternal suffering of the human condition by depicting lives spun in tales via the craft of film. The first film I had seen at the Film Forum was a Knife in the Water by Roman Polanski. It was anything but a film shot taking into account an impressionable youth’s sensibility. However, this uncanny psychological thriller was a wet and wild drama and being so young it had ignited my spirit to explore that delicate volatile dynamic between intense intimate uncomfortable spaces occupied by gripping spirits entangled in the septic verse of the vespers encroaching upon solipsistic minds. Since the epistemological position reveals that solipsism entails that knowledge of any aspect of life outside of one’s own mind is a grave uncertainty—I have felt the longing desire to explore the internal and external world of the mind which cannot be truly known and which does not really exist outside of the mind of the beholder. I wanted to make films so that I could probe into the epistemic theories of truth. In portraying verisimilitude—I attempt to treat film as a lyrical composition which is an excursion into the principles of truth-like-ness. After all, cinema often mirrors our lives to the point of precise excruciation thrust upon us by the very act of living which is an artform in itself.

Films that inspired you to become a filmmaker/actor/screenwriter?

The cinema of the former Czechoslovakia, as well as the current Czech Republic and Slovakia, is indisputably some of the most richly visual cinema ever made in the history of the motion-picture industry. I was definitely inspired by masterpieces such as The Shop on Main Street, Pacho, the Brigand of Hybe, The Feather Fairy, Let the Princess Stay with Us, Closely Watched Trains, Ragtime, Man on the Moon, and One Flew Over the Cuckoo’s Nest. I have also been greatly inspired by Au Hasard De Balthazar, The Nun (1966), The Diary of a Chambermaid, Summer of Sam, Mean Streets, The Piano, Agnes of God, Fanny and Alexander, Virgin Spring, Cries and Whispers, When Harry Met Sally, Cleo from 5 to 7, The Bicycle Thieves, Pierrot Le Fou, and Pickpocket, merely to name a few masterpieces of cinematic integrity wrapped in coils of fantasy. I would be remiss if I failed to mention the films of Martin Scorsese in particular, as he taught film at my Alma Mater, Tisch School of the Arts at New York University. I am fan of his films, Casino and Goodfellas. I also greatly admire Spike Lee’s films, especially Jungle Fever, Crooklyn and Malcolm X. I have been immeasurably impressed by the films of Ingmar Bergman such as the ingenious Persona, Wild Strawberries, and The Seventh Seal. This is most definitely not an exhaustive list of films that have egged me on to become a filmmaker and a screenwriter. I fawn over Andrei Tarkovsky’ metaphysically dark films such as Mirror and Stalker. I cannot fail to mention Akira Kurosawa’s brilliant films such as Throne of Blood, Drunken Angel and Stray Dog. Mr. Kurosawa innovatively utilized the Axial Cut and the Cut on Motion shots, which I admire. In terms of acting, I like to appear in cameo roles, preferably in black and white as I am not terribly photogenic and the camera simply does not love me. However, acting in my own films, is challenging and somewhat cryptic. I appear as the master of suspense, Alfred Hitchcock did, in some phantom scene as a backdrop so that the audience may acknowledge and hence emphatically exclaim at some point in time: “Look, there’s the director, Sophia Romma!”

Who is your biggest influence?

Robert Bresson. Robert Bresson is the epitome of ecclesiastical cinema bordering on a manic adherence to the concept of God’s existence and the toll that human suffering takes on those who expatiate for their earthly sins. As one of my other film icons stated about the cinematic craft of Mr. Bresson; I too feel as does the artful ground-breaking Jean-Luc Goddard: “Bresson is the French Cinema, as Fyodor Dostoevsky is the Russian novel and Mozart is German music.” Bresson’s films are imbued with the presence of Deity underscoring a baffling mysticism and a celestial lyricism. Hence for me, Bresson is the essence of film as he skillfully mines the touchstones of humanity and reaches the epicenter of the heart and soul of a singular cinematic frame elevating the medium to a cathartic opera before a weeping in sync audience. I also deeply admire Otto Preminger who directed more than thirty-five feature films in a five-decade career after leaving the theatre, simply because I hail from Off-Broadway and Off-off Broadway where I had commenced by writing and directing career. I am a fan of Mr. Preminger’s film noire mysteries such as Laura and Fallen Angel. I found his film, Anatomy of A Murder simply brilliant, especially for those who had graduated from Law School, as I have. I found his movie, Advice and Consent, an American political drama, to be most moving.

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

I would have to say that the most challenging film I had worked on was my most recent labor of love, Used and Borrowed Time. We were shooting on a very tight budget. We were obliged to shoot in the dead of winter with snowfalls and raging whiplashing winds. Our post-production Estonian team was riddled with the dilemma of working during the height of the Covid-19 pandemic where the entire world was paralyzed by looming death, an economic crisis and a medical calamity which taxed healthcare systems to the maximum and altered the lives of each member of society on a multi-faceted level. This film was indeed a labor of love during the time of cholera called Covid. I found my film, Poor Liza, to be quite torturous in shooting as well, since it was the first film to be shot on location with breathtaking scenes in the center of the Red Square in Moscow (back in 1998), in the former Soviet Union, and our producers had to obtain special permission from the Kremlin to shoot those scenes by Saint Basil’s Cathedral, which was no small feat, obviously. Furthermore, my esteemed actor, the Academy Award Nominee, Ben Gazzara, an icon in Hollywood, had indulged in a bit too much vodka since it was frigid and in shooting one of our main scenes in which Mr. Gazzara was lifted sky high against a blue screen with some markers, engaged in the act of a flying narrator named Karamzin, Ben kept hollering at the crew as he was hoisted: “Be careful of my balls, they are precious!” The rest of the cast, including the fabulously talented Lee Grant, burst out in boisterous laughter and had some great fun, however the filming was riddled with chaos from military incursions to curfew impositions. We were all so thrilled to return to the United States when the shooting of the film had culminated that we cried tears of pure joy.

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

I like to work in the genre of sentimentalism, allegorical symbolism, mystic fantasy, surrealism, absurdism, and expressionism. I am a steadfast disciple of the La Nouvelle Vague, German Expressionism and Italian Neo-Realism. The Golden Age of Italian Cinema has insidiously inspired me in that oldies but goodies mannerism with stories set amongst the poor and the working class, filmed on location, often employing the talents of non-professional actors to bring forth that authentic quality shamelessly portraying the concept of our tormented human nature while by the same token our propensity of unspeakable atrocities as people against others who are less fortunate. Themes of everyday life, including poverty, oppression, injustice, and desperation are all too familiar to me as an émigré and as the daughter of refugees. However, in order for the audience to swallow the harsh pills of reality; I attempt to add the water of baptisms so that universally speaking—unbearable reality is laced with the hope of surrealism, escapism and a false sense of spiritual heroism—a recipe for a tolerable yet engaging cinematic experience without having to wallow in the pain of others to the extent of desiring the death of one’s own persona in the face of human misery without the prospects of certain redemption and resurrection. German Expressionism entices my abstract sense as a filmmaker. Film ought to express itself in shadowy, enigmatic landscapes of mystery to convey nightmares of the heart, longings of the passionate and the obsessions of the haunted screen where actors play out the lives of their living counterparts—those who actually watch films reveal their own social circumstances behind veiled scrims as the camera roams wild through decrepit purple stocking slums, evoking images of pimps smoking cigars, femme fatales swinging off monkey bars and brute deceptive cads playing poker in the dingy cobblestoned alleyways. I admire the French New Wave genre and those respective directors for their unconventional cinematic language which broke the barriers of French Cinema. Revered directors such as Claude Chabral, Jean-Luc Godard, Jacques Rivette, Eric Rohmer and Francois Truffaut were my greatest influences in film. I also work with repetitive dialogue, jump cuts and time lapse to hammer in the auteur’s distinctive and discriminate point of view and to deliver the plot in a staccato manner. Low budget, location shot films, free style editing, loosely constructed narratives, spontaneity and non-politicized cinema has fascinated me from the onset of my film career. I accept the dilemma of taking unpopular stances but shun away from appearing as a stooge dictating on the edge of a soapbox, perched at the pinnacle of pretentious pompousness. Cinema is art and art should not preach—it should move and shake, capture and overtake, consume and exhume. I do not mean to sound crass but as corpses may be exhumed from the ground so may stale emotional states that have long been put to rest. Film allows for the blooming of intense sentiments so that a holocaust of lost souls can be reclaimed in the form of embers from flickering motion-pictures.

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

Stanley Kubrick’s Doctor Strangelove Or How I learned to Stop Worrying and Love the Bomb, is perhaps the greatest film of all time. I take a keen and a sort of depraved pleasure in watching this film’s unique cynicism burgeon on film and overtake the most unsuspecting and naïve spectators with its prophetic commentary on war, the burden which nations carry in a race towards unattainable exceptionalism while nursing the psychosis of competitive warfare among ambitious actor states willing to subdue and crush the temperament of their own citizens solely to rule the world stage. This dark comedy satirizes the Cold War panic of a nuclear conflict between the Soviet Union and the United States. This film is a comedic tragic triumph over the perversity and dementia of power-tripping. Kubrick’s sardonic heavy-handed direction is no subtle attempt to socially and astutely comment on the absurdity of space wars and on the detrimental pain that war creates, scarring and disfiguring future generations both mentally and physically.

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.

Interview

Aaron Bierman - Interview

Aaron Bierman has been a storyteller his whole life. As a kid, Aaron shot Super 8 films, wrote and drew comic books and was a breakdancer in the streets and clubs of New York City during the early days of hip hop. As he grew older, Aaron didn’t see his creative pursuits as a way to make a living so with student loans to pay off, he pursued a career on Wall Street. While working as a trader at JP Morgan, Aaron’s distinctive market commentary and storytelling skills cultivated a loyal following of clients and were featured in various media including The Wall Street Journal & ABC News. Aaron was working in finance for over a decade when he read a New York Times article about a playground basketball legend that would change his life forever. The story inspired him to make a film about the man’s life. Three years later, “Release: The Jack Ryan Story,” was sold to 20th Century Fox and Aaron was given a writing deal to develop additional projects with the studio.

Tell us about your background and when did you decide to become a filmmaker?

I had always been creative as a kid. I shot Super 8 films, wrote and drew comic books… As I grew older, and student loans piled up, I never saw storytelling as a profession so I pursued a career on Wall Street.

In 2008, I was working as a trader at JP Morgan and read a New York Times article that would change my life forever. The story was about a playground basketball legend and it inspired me to make a film about the man’s life while still working full-time in finance. Three years later, "Release: The Jack Ryan Story," was sold to 20th Century Fox to be adapted into a feature film and I signed a writing deal to develop additional projects with the studio. (The feature film is finally being filmed right now in New York by an independent producer)

Films that inspired you to become a filmmaker?

So many beautiful childhood moments that involved film. Going to the drive-in theater with my family and having a picnic while watching Disney classics like Mary Poppins… waiting in line for 5 hours to see Star Wars and being blown away by the incredible opening shot… sitting in the balcony of an old theater in my hometown in New York and watching Jaws…

Who is your biggest influence?

Hard to say who my “biggest” influence is but I love Steven Spielberg, Walt Disney and Francis Ford Coppola.

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

Burning Bright began as a live action project and we pursued it as such for a whole year. The incredibly demanding schedules of the cast of five supermodels made scheduling a three-day shoot nearly impossible and we had to postpone the production several times. This was beyond frustrating. Once we established the film would be animated, it took 3 years to complete. After spending a year perfecting the art for one of the characters, she abruptly quit the project which required a replacement and another year of redrawn art. This actually happened several times on the project. It made me question my decision to be a filmmaker (and my sanity!).

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

I love thrillers that have fantastical elements with a lot of humanity and heart. The Sixth Sense, Jaws, ET, The Green Mile…

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

This changes often but some of my favorites are It’s a Wonderful Life, Apocalypse Now, Jaws, The Sixth Sense, Casablanca…

I had a professor at UCLA who said if you list your favorite films, you will find a thread that comes from deep within your subconscious that connects them all. For me, I love a story where a character loses hope and is able to find it again through an epic journey. All these films share those elements.

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

It would be a dream come true to have Steven Spielberg produce one of my projects. It would also be amazing to work with a legendary cinematographer like Janusz Kaminski or Roger Deakins.

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

I was a professional breakdancer in New York City in the 1980s!

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

That it will take years of hard work and failure before you will make anything good.

My neighbor is an 85-year old artist that used to be a movie star and was married to an Oscar-winning screenwriter. I value her opinion above almost anyone else. She’s told me countless times how much she believes in my talent and it means the world to me.

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

That it will take years of hard work and failure before you will make anything good.

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 pretty easy. You get excited about an idea and go with it. Maintaining the energy and focus not only to finish something – but make it good – is a challenge for me. It would be so easy to just walk away!

The ultimate antagonist is always yourself. Fighting off my inner-critic, laziness, procrastination, self-doubt… Once you realize these challenges are part of the creative process, you can enjoy the journey much more.

What keeps you motivated?

We are in a very dark moment of history right now. Stories have the power to build the world up or tear it down. As a storyteller, I want to tell great stories that help to heal the world. Stories that uplift people. Connect them. Inspire. Stories that give people hope.

Now more than ever, the world is in need of powerful stories that shine some light into a dark world and that is what keeps me motivated.

How has your style evolved?

Early in my career, like a lot of filmmakers, I was chose projects based on what I thought the market wanted. Now I pursue stories that interest me and I worry about what the market or anyone else thinks later.

On set, the most important thing is:

Being open to the magic that happens when you are present.

The project(s) you’re most proud of:

Burning Bright.

The most challenging project you worked on. And why?

Same! For all the reasons I mentioned above and also the demands of 2d animation are intense. In animation, the artist serves the role as a cinematographer. I worked very closely with the artists to achieve my vision for each scene. Elements including color palette, lighting, composition and character design all go into the creation of a frame that later becomes animated to tell the larger story.

The first step is a great illustration based on a photograph of the person we are creating a character for and animating. Getting the art correct often takes 5 or even 10 passes. We often worked until 3 or 4 in the morning to get the art and animation just right.

What are your short term and long term career goals?

In the near-term, I would love to make Burning Bright as a feature film and direct my first feature film this year. In the longer term, I would like to get in the rhythm of writing and directing a feature film every 1-2 years for the next 20 years. After that, I’d love to share my passion and knowledge with students at a great film school like NYU or UCLA.

Your next projects?

I am working on the final draft of a supernatural thriller I’ve been writing over the past year and plan to direct called THE GRAY LADY.

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

You can keep tabs on me at OceanParkStories.com which has all my social media links there.

My Instagram is @oceanparkpictures and Facebook is @OceanParkPictures

Interview

Victoria Malinjod - Interview

Victoria Malinjod is a European actress who was born in France to a German mom and a Swiss dad. She grew up in Belgium – Brussels – and she has been acting since the age of 11. She first started playing on stage at the age of 16 before moving to Paris where she trained at “Cours Florent” and mainly worked on stage and TV. After spending 5 years in France, Victoria moved to London “her new home”. She recently appeared in Katy Perry’s new lyric video “Small talk” and has just finished shooting two feature films which will be released on amazon prime and Bollywood. Victoria has performed in different productions such as feature movies, TV series, commercials, short films, music videos, voice overs and corporate work. She also directed her first short film “Don’t Burst My Bubble” and has worked as an assistant director on stage. When not on set, Victoria writes scripts and learn Spanish!

Tell us about your background and when did you decide to become a filmmaker?

I am firstly an actress, which I have been doing since I was eleven years old. I decided to become a filmmaker after writing and directing my own stuff as material for my acting showreel three years ago. Since then, I realized that I wanted to tell more stories, especially about the society we live in as this is what inspires me the most.

Films that inspired you to become a filmmaker?

Prisoners by Denis Villeneuve, The Help by Tate Taylor, The Place Beyond The Pines by Derek Cianfrance and Mommy by Xavier Dolan.

Who is your biggest influence?

Reese Witherspoon.

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

We shot my short film DON'T BURST MY BUBBLE in winter and we needed to catch the daylight. In that sense, we had to be quick and efficient, which was really intense. Besides, you may know that the weather keeps changing in Belgium, particularly in Brussels where we shot the film. As we were shooting outdoor, it started raining, which made the shooting conditions and the post-production very challenging, especially when it came to editing.

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

My favorite genre to work in is psychological thriller. Why? Because it's so complex; I am fascinated about psychology and how human brains work.

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

My all time favorite movie is Prisoners by Denis Villeneuve. I am a thriller and drama enthusiast! I love the story because it feels so real. The performance of every actor starring in it is amazing too. I could watch this movie all over again right now! I love it!

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

Interview

Marzena (Masha) Milowska - Interview

Born and educated in Poland, Marzena (Masha) studied art from a very early age. She developed a keen and comprehensive interest in filmmaking, originally training as a camera operator. In 2004 she moved to London to further her media experience and education gaining a First Class Honours Degree in Digital Animation and receiving The Deans’ Scholarship for Academic Excellence. She then studied for a Masters Degree in Film and Television Production. Following her academic career she worked on visual effects in postproduction for several Hollywood movies such as 'Chronicles of Narnia’ and ‘Harry Potter’ as well as taking on different roles in production. Her true passion has always been and remains the genre of documentaries. She relates to the power of the true narrative and the ability to reflect and affect important social causes reflecting her beliefs and values. 'Jinxsie' is her Directorial Debut.

Tell us about your background and when did you decide to become a filmmaker?

As far back as I can remember I have wanted to work in the film industry. Since early childhood I loved to paint and create, before falling in love with the Walt Disney films and dreaming of becoming an animator. From those beginnings I became passionate about all genres of films and the process of filmmaking. Before moving to London I trained as a camera operator and then in London continued my education obtaining a B.A. in Digital Animation, followed on by further Film and Production studies.

Films that’s inspired you to become a filmmaker?

There is one particular film from my childhood that has stayed with me. It’s Ridley Scott’s Gladiator. It is truly an all- round classic with fantastic action, splendid backdrops and despite its’ grim circumstances still manages to achieve a feel good factor.

Last year I took my two daughters to Rome and we went for a night tour of the Colosseum. We learned about the gladiators and afterwards watched the film in the hotel room whilst eating delicious Italian pasta.

Who is your biggest influence?

Walt Disney, with-out a shadow of doubt.

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

Financing an idea is the biggest challenge alongside the personal sacrifices required to finish the project. Doing most of everything alone is tough.

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

I have two that I cannot separate, animation and documentaries. So different yet similar in that, both require insight and attention to detail. A lot of patience is required for both types of work. I enjoy the contrast in types though, one allows the creation a whole new limitless world to escape to whilst the other reflects, and hopefully effects important social causes in the real world. Spending time in both is good for mental health I believe.

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

I would like to work with Dan Reed. I like the honesty that comes across in his documentaries.

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

I like to eat pizza for breakfast.

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

I am still hoping to find that person. My close friends and my girls have been my support, my daughters remind me of what I tell them “ Never give up on your dreams “. The most important thing is that you believe in yourself. Almost anything you want to achieve is possible, if you believe in it and yourself.

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

Without patience and teamwork nothing can be achieved.

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

It’s harder to keep going and finish the project. As everything takes more time than anticipated and problems appear that cannot be for-seen.

On set, the most important thing is:

Good food and no rain. Good food helps keep the crew happy whilst no rain keeps director happy!

The project(s) you’re most proud

So far in my career I am proudest of my documentary ‘JINXSIE’.

What are your short term and long term career goals?

Short term to get the right distribution deal for ‘Jinxsie’ . Longer term is to make more films involving subjects I feel passionate about including my next project, which is not a film…yet!

Your next projects?

My next project is a bit different than anything I have been working on so far.

It’s a children’s book, collaboration between myself and my friend Trevor Hodsdon.

I had created a character that was based on my experience as a victim of bullying. I was always taller than other kids and called giraffe.

Hence one day “Ed an extraordinarily long necked giraffe” came alive on a piece of paper. Trevor put Ed into words and situations. Despite being in captivity when we first meet him, Ed knows he is special. His experiences allow him, with his friends support, to see life positively, despite the comments from others. Because of his unique perspective he develops a thirst for life and new experiences that take him on some wonderful journeys and adventures. Just like Walt Disney we ensure that our hero is a force for good and that love and friendship and doing good are reflected as the way to behave in life. Of course every book, it is a trilogy, has a happy ending. The first book is called “Ed’s Great Escape” and will be published this fall unless the current pandemic situation delays the publishers.

Maybe one day it will be turned into animation? Fingers crossed. Ed would like that.

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

https://www.jinxsie.com/

https://www.marzenamilowska.com/

Twitter @ConcuriousFilms

Interview

Francesca Tasini - Interview

Francesca Tasini, is an Italian actress and screenwriter from Pieve di Cento (BO). After graduating in educational sciences at the University of Bologna she spent three years in Berlin studying art of miming and clowning. Right after she continued her theatre studies at the Galante Garrone academy (Italy) and at the Dimitri theatre academy in Switzerland. Other studies followed with John Strasberg, Jordan Bayne, Pierre Byland, Philippe Gaulier , Dimitri clown, sabino Civilleri , Emanuela Lo scicco, Nicole Kerhberger, She speaks italian, english, french, and german. Her work as an actress includes several theatre pieces with Juan Diego Puerta Lopez, Jan Lawers, teatro Magro, Philippe Minella, Brian Reinholds and other directors. She played in several movies, which include “ The last stop” with Claudia Cardinale, “Process to Mata Hari" with John Savage , “The Audience” (short film). She worked for German Tv and studied screenwriting in Berlin. In 2015 she moved to Berlin where she runs a cultural open art space together with her partner.

She is now developing her first series project. She is also teaching theatre and clown to teenagers and adults.

At the moment she is represented by Feinschliff Agentur in Berlin.

Tell us about your background. How did you become an actor, screenwriter and filmmaker?

When I was a child, I always dreamed of growing up to make a huge difference in the world. As a young girl, I looked up to Charlie Chaplin. Later on, my hero was David Bowie.

I had a really hard time in high school. I was bullied, and I suffered a lot because of this. When I started to do theater, it totally changed my life. It was one of the only reasons I ever went to school. The other reason was to hang out with my best friend Tatiana, who is one of the most interesting people I have ever met. Although she is physically impaired due to a congenital anomaly, she has always integrated perfectly into her environment. We attended university together and remain close friends to this day. I love diversity. I have always been attracted by people who are not afraid to be different.

I have studied acting and theatre, including physical theatre. I trained as a clown, not so much because I wanted to make people laugh, but because clowning lets me express my true self. There is great honesty in it. I pursued acting and theatre and have also worked as an actor in film and television. I am a pedagogist and have worked with people of all ages, including disabled people, to develop their creativity.

About five years ago, I began writing. After the death of my grandfather, I wrote a movie screenplay inspired by the events of his life and by my relationship with him. Writing offers me the freedom and autonomy I couldn’t have as an actress. I realized I don’t want to wait for someone to cast me in a role, I want to be the one who creates the characters and calls the shots. I wanted to put my creativity out there in the universe. I studied screenwriting here in Berlin, the city in which I live. For the time being, that is. I’m a nomad at heart. I easily become restless, and then I yearn for change. I have lived in different cities and my life feels like a story.

After finishing the movie screenplay, I wrote three TV series projects. As one of these projects began to find its way into development, I realized that I want to become a series creator. In order to accomplish this, I would need to acquire experience in directing as well, so I wrote and directed a short film. I had never planned to become a director. I have always been afraid of directing actors. As an actor myself, I know how difficult it can be. But when I tried my hand at directing, I fell head over heels in love with it.

Being on the other side of the lens is completely magical for me. When I work with an actor who is willing to share everything with me, it’s a divine experience.

What were some of the challenges you have faced in making your films?

The biggest challenges I faced when shooting my short film had to do with economic and time constraints. We overcame these challenges through a combination of friendship, luck, and hard work.

Five or six days before we started shooting the short film, we were didn’t have the budget to cover all of the camera equipment we needed. A producer I knew happened to get in touch with me. He was curious about the film and wanted to look at the script. After reading it, he gave me the money I needed for the extra equipment. It was a sort of miracle.

Before starting to shoot, we didn’t know how it would be, but everything was fine. It was hard to schedule everything into a few days, so we shot a lot of hours every day. My producers, Anie Gombos and Mauro Paglialonga, and my co-producer, Luigi de Vecchi, made it all possible. I was so fortunate to work with the talented cinematographer Fabian Kimoto. The cast was amazing. I am grateful to have worked with Christina Rosamilia, Nicole Kehrberger (who was also a teacher of mine), Klaus Salminen, Giovanni Morassutti, and Tommaso Ragno. It was an honor to discover two young actors, Florenz Hardt and Sophie Nobile. My assistant, Francesco Piotti, helped me a lot. I am also thankful to Giulio Baraldi and Amelia Masetti, who helped me to make this happen. Malika Ayane and Chris Costa contributed the music. This project would be not have been possible without all the team. Each of these individuals contributed something special.

When you’re shooting a film, it’s like a puzzle. You slowly start to see this image in your mind, and it becomes gradually clearer.

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

I love comedy-drama, especially when the comedy is somewhat dark, because I think this resembles life—my life, in particular. My stories tend to have female characters in the foreground. I would be interested in writing and directing thrillers, too. I am not as focused on the notion of genre as I am on the stories I want to tell.

Who are your biggest influences?

My cinematic influences include: Agnès Varda, Sally Potter, Olivia Wilde, Sophia Coppola, Lulu Wang, David Lynch, Pedro Almodóvar, Abdellatif Kechiche, Lina Wertmüller, the Dardenne Brothers, and Clint Eastwood. Writers, screenwriters and playwrights I love include David Sedaris, Ottessa Moshfegh, Nora Ephron, David Mamet, Neil Simon, and Laurie Nuun.

Which films have inspired you?

I have been inspired by so many films. My favorites include The Bridges of Madison County, Carlito's Way, Blade Runner, Bicycle Thieves, Festen, Faces Places, Blow-Up, Amores Perros, Mystic River, Gran Torino, and All About My Mother.

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

I don’t have one favorite movie; I’m influenced by so many movies and television series. I love Pulp Fiction, Labyrinth, Out of Africa, Silence of the Lambs, Lost in Translation, All About My Mother, Some Like It Hot, When Harry Met Sally, E.T., Gladiator, and Blue Is The Warmest Color. I am greatly inspired by some of the movies I have seen during my adolescence, including Back to the Future and Willow. I watch movies of all genres, because I can learn from all of them.

I am really into series right now. Twin Peaks had an enormous influence on me—it actually changed my perspective on life. Other series I can recommend are The Affair, Stranger Things, and Once Upon A Time. Sex Education is a real masterpiece.

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.

Interview

Léa Sassi - Interview

Léa Sassi is a French director based currently in Paris. After studying journalism at the European Institute of Journalism in Paris (France), she moved to New York City to pursue a master's degree in Directing at School of Visual Arts where she was a recipient of the SVA Premieres: Best of 2019 program in L.A. Combining her journalistic passion for modern society and her keen sense of visual aesthetic, Léa aims to tell stories that are rooted in reality. Daisy Desire is Lea’s debut narrative short film, inspired by her own family. Her debut film, Daisy Desire is currently on the film festival circuit 2020. Recently, Daisy Desire has been selected by the Rome Prisma Awards, and the Feedback Female Film Festival. And awarded by the Florence Film Festival (for Best Comedy), the Independent Shorts awards (for Best Woman short, Best Comedy short, Best acting assemble, Best Actress for Sharlene Hartmann, and Best First Time director) and finally awarded by the Nice Film Festival (for Best Sh

Tell us about your background and when did you decide to become a filmmaker?

Well, it all started because I was terribly lonely and bored as a kid. Only child, parents working ALL the time, Cinema became very early on the brother that I never had, or the friend that I could hang out with all the time. And then it became an obsession, a permanent getaway. I started writing short scripts when I was eleven I think, starring my friends; Agatha Christie kind of stories. But honestly I never really imagined myself as a filmmaker until few years ago. It was SO FAR from my reality, didn’t know a single person working in the cinema industry, didn’t know where to begin, didn’t know I COULD. For me, I was only allowed to dream of it.

So I turned to journalism instead, it felt more accessible. But that craving for Cinema never really left me, so 2 years ago I woke up one day and realized that I would end up hating myself if I didn’t give it a try. And now here I am !

Films that inspired you to become a filmmaker ?

Les Enfant du Paradis, Singing in the rain, Some like it hot, La Dolce Vita, Cinema Paradiso, Annie Hall, Virgin Suicides, The Harry Potter films, The grand Budapest Hotel, The Nightingale… Honestly there are so many !

Who is your biggest influence?

Any woman that fight for her right to exist and pursue her dreams.

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

The whole process was a challenge in itself. But if I had to choose two BIG challenges, it would be first, the script. When I started writing it, I had the story in the back of my head for 2 years already. And I was concerned about the tone of it, the right way to say it. I came across a few disagreements with my screenwriting teacher and the head of my master’s degree, but in a way they helped me understand what I didn’t want.

I went from drama to comedy, and I’m very glad I did. I think it helped the story to be more relatable, lighter and more understandable.

The second challenge was shooting in New York. New York is such a challenge ! It’s expensive, hard to get any autorisation, it was obviously freezing in February and all our locations were far from each other. But this shoot was definitely one of the most amazing adventures that I have experienced yet, and my crew/cast were amazing. I’m beyond and forever thankful to them.

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

I actually don’t. I find infinite pleasure in everything ! Anything well written, and well directed is my thing !

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

Mary Poppins makes me the happiest every single time ! It just brings me to a safe place, and it’s such a magical wonderful masterpiece.

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

Wes Anderson, Celine Sciamma, and Jennifer Kent.

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

I wanted to become a ballet dancer as a kid, and I still secretly wish I was.

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

Truly believed ? Haven’t met yet ! But my mother and my friends are a great support.

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

The right TEAM is everything ! Miracles can happen !

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

It’s harder to get started for me, without a doubt. It’s so slow. Finding the fundings, the right people, the right story … Then, it gets interesting !

What keeps you motivated?

Learning ! Reading ! Discovering new amazing stories to tell.

How has your style evolved?

I think it has. I become more and more aware of my cinematography influences. But it's just the beginning.

On set, the most important thing is:

Be patient and stay focused !

The project(s) you’re most proud of:

I am mostly proud of my film Daisy Desire. The fact that a story that stayed in my head for so long came alive on an actual screen is beyond magical.

The most challenging project you worked on. And why?

My film Daisy Desire, and I explained why a little bit earlier in the interview. This film was a thesis project. We had 4 month to complete the all process (of pre-production/shooting/post-production), so we obviously all had many deadlines and requirements to meet. And I shot this film with my team in 3 days with 6 different locations. But again, my crew/cast made it seem so easy !

What are your short term and long term career goals?

I’m working on a new short film project that I’d like to shoot this year (fingers crossed), and maybe shoot a longer next year. One step at the time. I want to focus on something different each time, and refine my style.

Your next projects?

My motto lately is write about what you know.

So I’m working on a new script that reflect on the idea that we all inherit a family past that inexorably dictates our behavior and the way we educate the next generation.

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

My website : https://www.leasassi.com/

My instagram : _leasassi_

Interview

Emanuele Brusini - Interview

Yattaa, whose real name is Emanuele Brusini, was born in Tuscany, Italy. He took a degree in law and in the meanwhile he studied drama and singing. Since he was eleven, he began as a singer and he performed in several Italian and foreign TV and radio programs, working together with international music’s stars. He played little roles in various movies. He decided devoting himself to musical, where the roles of Prince Charming (in the musical:“The other Cinderella” of Tony Cucchiara), of Robin Hood (“Long live Robin Hood”) and of D’Artagnan (“D’Artagnan and the three musketeers”), stood out. He started a theatrical company “The Jugglers of the Stars” together with Alessandro Verrastro (creator of the International Little Star’s Award). Afterwards, he played in the musical “Magically, Anastasia, in the musical “The Sleeping Beauty and the secret of Maleficent”), in Addams Family and in the film “Two destinies overwhelmed by Revolution”.

Tell us about your background and when did you decide to become a filmmaker/actor/screenwriter?

I decided to become a filmaker because after the musical inspired to the story of Lady Oscar and of the Seine’s Star, performed by our group “The Jugglers of the Stars” (I Giocolieri delle Stelle), the audience asked in a loud voice for seeing the film adaptation.

Films that inspired you to become a filmmaker and actor?

“Marie Antoinette”, of 1938, directed by W. SVan Dyke: it’s a magnificent movie with great actors like Norma Shearer and Tyrone Power.

Who is your biggest influence?

Big directors as Federico Fellini, Pier Francesco Pingitore and Jerry Lewis; also Walt Disney, Japanese cartoons and why not, Bugs Bunny?

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

Do something different and go beyond usual fashion.

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

Historical fantasy romance, because people can dream and I like dreaming.

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

After a TV audition, the authors of the fourth edition of the Italian Reality Show “Big Brother” (GF4), said that I looked like someone from the movie “It's a Wonderful Life”. Then I studied this movie of Frank Kapra, a great director and it became my favourite movie.

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/

Interview

Isabella Speaight - Interview

Isabella is an English actress from London. She graduated from the Oxford School of Drama in 2018, following a BA in Theatre and Performance at the University of Leeds. Whilst at drama school Isabella’s theatre credits include Machinal (Sophie Treadwell), The Heresy of Love (Helen Edmundson) and King Lear. She won the CIFE award in 2015 for outstanding performance in Visual and Creative Arts. Isabella recently set up a production company, Backscatter Productions Ltd, with the view to nurture new work and give voices to rising talent. 'Clementines' is Isabella’s screen debut.

Tell us about your background and when did you decide to become an actress?

I have been acting for as long as I can remember as I come from a theatrical family. My grandfather was a puppeteer and we had a puppet theatre in the living room at home where we'd put on weekly shows. But it wasn't until I played Lady Macbeth in a school production at 15, that I really felt the pull! I cried inconsolably to my mother when the production was over, I had developed a deep love for that woman (I'm sure anyone who played Lady M would say the same) and it was heart-breaking saying goodbye and going back to the reality of school and science lessons.

Films that inspired you to become an actress?

I know it's a cliche but Vivien Leigh's portrayal of Scarlett in Gone with the Wind had a pretty huge effect on me growing up. I remember reading that when casting Scarlett, George Cukor said ‘The girl that I select must be possessed of the devil and charged with electricity’. This description always stayed with me -- imagine being able to have that impact in your work! I also grew up watching all the old classics at home, like the Sound of Music, Singing in the Rain and Meet Me in St. Louis. Those films inspired me a lot.

Who is your biggest influence?

Lauren Bacall. I'm infatuated by her! It's the deep, sultry voice and unflinching affinity she has with the camera. She moves with such ease and has this natural, effortless charm. She's totally self-assured in the roles she plays and has this extraordinary strength too. To Have and Have Not was the first film I saw her in. She was 19 yet so worldly and intriguing.

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

Clementines is actually the first film I've done since graduating, and surprisingly everything ran pretty damn smoothly! We were warned by many to expect all sorts of disasters and dramas on set, but the shoot was stress free on the whole- we had an amazing production manager who had a big part to play in that. There are always a few bumps along the way but nothing catastrophic.

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

To be honest, I do love a good drama! I've dabbled in a bit of comedy too, I was in a comedy sketch show at the Edinburgh Fringe a couple of years ago which was very fun. But I love anything quite dark, psychological thrillers are very up my street. I love films like Hide and Seek, with Robert De Niro, I'd also love to play a character like Amy in Gone Girl -- that's a real goal!

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

Such a hard question, it really depends on my mood. Fellini's La Strada will always be a favourite as it's unlike anything I've seen before. It gets me every time with it's stark imagery and tragic beauty. Giulietta Masina's performance, especially towards the end, will forever haunt me. Some Like it Hot also holds a special place in my heart. I would watch it with my cousins growing up and we would sit transfixed. Marilyn Monroe is such a force of nature, she lights up the screen. We'd bawl with laughter, but it also has so much heart and the performances are knock out. Jack Lemmon and Tony Curtis are pure genius.

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

I'd love to work with David Fincher. I love the evocative darkness and mystical presence in his films, the themes of obsession and determination. He also seems to have this incredible ability to connect with actors and bring out such real performances. Although the themes in his films could sometimes be described as slightly bleak there is always a deep humanity that grounds his work. I'd also LOVE to work with Greta Gerwig -- she's amazing, I absolutely adore her work.

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

I have a bit of an other-worldly obsession with birds. I first went birdwatching in a group at school when I was 11. I got so into it that I ended up clambering up onto a bench in the woods to get a better look, fell off it backwards (most probably from sheer over-excitement) and broke my shoulder. So that was the end of that activity for a little while. But I am currently working on a film about a girl who goes birdwatching to deal with a previous trauma, which has re-sparked the flame! I've been reading this incredible book about a man who used birdwatching to help him deal with various mental health issues. It is really powerful stuff and birds definitely have a very healing quality. I usually feel less anxious after spending time in nature.

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

My Mum. She was an actress before she had children and always encouraged my acting as a child. She and my father would take me to see plays and ballet which massively inspired me growing up. She does all my self-tapes with me now, which I am eternally grateful for, as it can be hard to find another actor at short notice. Certain scenes are a bit weird to do with your Mum but she always rises to the occasion! She's always been there in hard times to pick my spirits up too- I owe a lot to her.

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

To let go totally and follow your instincts. I went to the most amazing acting class at the Susan Batson studio in New York last year. The energy in the class was electric, everyone was so passionate and willing to let go of baggage. There were no egos in that room for those four hours. We did this exercise called the 'dance circle' at the beginning of class where you go into the middle and just move to however you're feeling in that moment- everyone in the room picks up the energy and moves with you- there are certain points where everyone is totally in sync with each other's energy and it's pretty exhilarating! Sounds woo woo and VERY drama school but when you surrender to it, you really do get a lot out of it.

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

Both can be really hard. I went to University first as I was slightly apprehensive of fully committing to the lifestyle at a young age and wanted to explore some other things first and grow up a bit. I knew how hard it could be having seen family members who were actors. My Mum was always straight up with me about it. However, it's the decision you make when you choose to be an actor and it's totally worth it, there is nothing I'd rather be doing. I think finding other things that bring you joy in between acting jobs is really important, making sure you're always feeling inspired and creatively excited when you're not working. This has helped me a lot over the past year, but I'm still learning so much- I don't think you ever stop learning!

What keeps you motivated?

I think just keeping as busy as possible, reading, going to exhibitions and watching lots of plays and films. There is so much to see and do in London without having to spend a lot of money, and I love exploring new things. I've recently taken up bouldering which is great- it requires a lot of focus so I find it quite meditative. Also working on independent projects with fellow filmmakers keeps me motivated.

How has your style evolved?

Oh God I don't know if I really have a 'style' as such, it's early days so I think I'm still figuring that one out!

On set, the most important thing is:

Coffee! I am an addict and I think as long as there is an abundance of tea and coffee people tend to stay happy! Also staying calm and open to play and try new things. Laurie, the director of Clementines, was a great influence on me. He has the most calming presence on set whilst also honing in on his very specific vision and holding the crew together.

The project(s) you’re most proud of:

I'm really proud of Clementines as it was such a passion project for myself and my co-star Molly. It was wonderful to work on something that tells such a personal story, and we also produced it, so we will always have a special connection with the film.

The most challenging project you worked on. And why?

I once devised a very physical production at University which can only be described as a train wreck, albeit a beautiful learning curve! Give me a script and I'm off, but devising a dance-based piece of theatre from scratch I found pretty challenging!

What are your short term and long term career goals?

Short term, I'd love to keep creating work that excites and challenges me. Having had a strong theatre background, I'm really enjoying film and definitely want to keep developing my work on camera. But throughout my career I'd love to go back to the stage, I'd just love to do it all, and I've got a long journey ahead of me so hopefully it's all possible! I'm also keen to produce again as I love the freedom and creative license that it gives you.

Are you currently working on any exciting projects?

I'm working on another film, Birdwatcher, with the director of Clementines, Laurie. Having worked together before, it's been really easy to just jump back in and be really productive early on. I loved working with him on Clementines so I'm really excited to be collaborating again! I have a couple of other projects in development right now but Birdwatcher is next up. We're shooting in September in the Mendip hills.

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

My instagram is: @bellaspeaight

Twitter: @Bella_Speaight

My production company website: https://www.backscatterproductions.com/

Interview

Anastasia Vulgaris - Interview

I was born in Florence on 22/09/1993 from a Greek father and a Brazilian mother. Since I was a child I was accustomed to different cultures and since my mother is an opera singer I soon approached the artistic circles and thanks to her I understood that you could make a career in art and I must admit that this influenced me a lot. After high school I enrolled in the art academy to study scenography but I realized that it was not for me and so I decided to stop enrolling at the film academy in Bologna and I started studying directing and screenwriting. Right now I am graduating from DAMS in Florence and I will also continue to study history and film criticism. After several jobs as assistant director I decided to write and direct my first short film: Family Dinner Who won Best Thriller at the Florence Film Award and I would like to thank all my crew who helped me make this short film, my goal is to continue directing and to do it as a profession.

Tell us about your background and when did you decide to become a filmmaker?

I’ve always loved cinema, since when I was 12 years old I saw with friends A Clockwork Orange, was love and then I never stopped watching movies, at university I decided to dedicate myself to directing was natural for me.

Films that inspired you to become a filmmaker?

All the movies, but maybe A Clockwork Orange because was my first favourite movie.

Who is your biggest influence?

My mom

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

Find the money to produce me

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

I love thriller because I like to try to understand how people would behave if they were in difficulty or in situations of fear

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

Sorry I don’t have a favorite movie, I can’t choose but I can say that in my opinion the most perfect movie is once upon a time in America, Sergio Leone.

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

Interview

INTERVIEW WITH Leanna Borsellino - FILMMAKER

Leanna Borsellino is the daughter of a sex trafficking survivor, with an acute understanding of the difficult journey to freedom. Her love of film led her to attend Oral Roberts University, where she graduated Magna Cum Laude with a degree in Drama/Television/Film. She was honored with the award for Most Outstanding Senior in the Communication Arts Department in 2007. Leanna was also accepted into the Los Angeles Film Studies Center, a capstone program dedicated to immersing its students in real world application. She began interning at The Robert Evans Company (known for The Godfather I & II, Chinatown, Baby), which led to a job as the assistant of the company’s two top producers. Leanna then worked in production at Digital Domain (Titanic, Curious Case of Benjamin Button, Tron), an Academy Award-winning digital effects company. After two years in the commercials division, the death of her grandmother prompted her to move home to Austin, TX to be near family. Leanna now

Tell us about your background and when did you decide to become a filmmaker?

I realized when I was a young teen that I could use art as a form of catharthis to help me process traumatic events I experienced in my childhood. It was a way for me to speak openly about pain, without people realizing I was actually being vulnerable and creating art from personal experiences. It allowed me to guage my audiences reaction and shock, and to form new ways to connect. I went onto film school in Los Angeles, and secured my first job at Paramount Studios working for Robert Evans (creator of The Godfather). As an Italian-American, being given the opportunity to work for the creator of The Godfather, was a dream come true.

Films that inspired you to become a filmmaker?

Gone with the Wind, Spartacus, Kill Bill, The Butterfly Effect, Life is Beautiful, The Godfather, House of Flying Daggers, Walk The Line, The 5th Element, Slumdog Millionare

Who is your biggest influence?

Quintin Tarantino; his films are over the top with shock factor, and I love how he pushes the boundaries to make his audience uncomfortable. His style is undeniable, you always know when you are watching a Tarantino film

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

Being that my film is a documentary, my biggest issue was funding, and keeping our supporters invested. It took me 7 years to complete this film. It required patience, persistence, and disipline to see it through. A lot of times it just seemed easier to walk away, but I had already invested so much of myself, I never would've forgave myself if I had quit.

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

Drama/Action Thrillers - It gives me more of an opportunity to tap into the subconscious

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

Gone with the Wind. I feel like it was ahead of its' time. I connected deeply with the characters and the story. So many people I know who watched it despised Scarlet, I saw her as a heroine, and I adored the levels of her character and how she was portrayed; I also appreciated that it didn't have a stereotypical happy ending.

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

Quintin Tarantino

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

I broke my rib once during a performance on stage in front of over 500 people - I was Dromio of Syracuse from Shakespeare's "Comedy of Errors". I played off the broken rib and completed the entire performance; not one person in the audience (besides the director) knew until curtain call/Q&A afterwards when I told them that my rib snapped.

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

Besides my parents, my first boss at The Robert Evans Company - producer Henri Kessler. He wanted to hire me back onto the lot, but I told him about the documentary I wanted to make. He told me to do it, that it would be the most difficult film I would ever make, but it would be worth it in the end. He also advised me to change the name. I did. And he was right.

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

Not everyone on your team cares about your message, and sometimes they just want a paycheck. It's my job to weed those people out.

Is it harder to get started or to keep going?

Keep going.

What was the particular thing that you had to conquer to do either?

Getting started was fairly easy. I already had the base amount of money to get the initial shots in order to get people excited and supportive. Where it got difficult was needing to replenish and keep going to the same people to raise funds, after a while they don't want to give as much and expect a finished product. Plus, since I created a documentary, the story evolved and really took on a life of its' own at a certain point. It was hard for me to plan for the films message and how it evolved. Plus, it was really hard for me to separate myself as "Leanna Borsellino, the filmmaker" and "Leanna Borsellino, the subject". I needed a strong team of people that I trusted that would reel me in case things got too heavy.

What keeps you motivated?

Knowing that this art can help so many broken families and abused children who feel that they may not have a voice. I'm hoping my film can give them a voice, and also encourage them to know that life can still be beautiful and worth living.

How has your style evolved?

I would say my style is blunt. I don't want to hold the audiences hand, so to speak. At first I tried to use filtered "language", but eventually I realized if I want to get my point across, I need to be more in the audiences face and make them uncomfortable. My goal is not to necessarily make perfect art, but honest art.

On set, the most important thing is:

Empathy. While I want to evolve past documentary filmmaking, if my crew can't have empathy for the subjects being interviewed, then it is likely the person being interviewed is aware of that, which causes them to close off, and makes the process more like pulling teeth.

The project(s) you’re most proud of:

This one - Another Child.

The most challenging project you worked on. And why?

Another Child. It's an extremely personal story. I initially intended to tell this story vicariously, and somehow it evolved overtime into me producing and directing a story about my own chronic childhood sexual abuse, and my mothers abuse leading her into prostitution. It doesn't get more raw or vulnerable than that. I'm not just asking people to judge my art, I'm asking people to judge my life.

What are your short term and long term career goals?

Short term. Get this film seen by as many people as possible. I hope it creates conversations that can

ultimately bring healing to families. Long term - I would love to create a trilogy on the downfall of the Roman Empire. It is my favorite time period, and I am obsessed with stories from that genre.

Your next projects?

TBD; there has been talks of creating a mini-series, since I have well over 400 hours of footage and interviews. I'd also love to get started on creating a trilogy of the fall of the Roman Empire... But I need to see where the life of Another Child goes first.

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

IG - @leannaswingler @anotherchildfilm

LinkedIN: - Leanna Borsellino

Facebook: Leanna Borsellino Swingler

FB Page: AnotherChildFilm

Interview

Julia Lima Rosengren - Interview

Tell us about your background and when did you decide to become an actress and producer?

My name is Julia Lima Rosengren, I live in East Texas where I moved from Europe 6 years ago.

Originally I am from a tiny, very poor town in Brazil. It was a town where the people do not have too many options to better their lives or the lives of their family. I was determined to get out and find that better life for myself and help provide one for my family.

At sixteen, I begged my father to give me permission to move to Sao Paolo to seek modeling work. From there my new career took me to Miami and around the world.

In Los Angeles I had my first encounter with the movie world when I was hired to be the body double for Teri Hatcher in a TNT movie called 'Running Mates'. Then I was hired to do the same for Kate Beckinsale in the blockbuster 'Pearl Harbor'.

Then, in something of a career switch, I became a spokesperson for a vodka brand.

I have been fortunate with some of the opportunities that have come my way but I worked very hard on them. Nothing has made me prouder than being able to provide for my family back in Brazil.

Eventually I moved to France to take a Chef's course and became very interested in philanthropy and giving back to people in need. Then I became more concerned with not just giving to someone else's cause but creating my own.

That's really my life's work now.

I oversee more than a dozen major philanthropic projects including one particularly close to my heart. I am a founder-member of a Brazilian team of activists and artists that have formed UNIAO GAIA, a collective that concentrates on issues affecting the planet.

I believe the short films can be a great part of that. One where we can support and nourish the love of the planet through the building of shared awareness.

Once I had the idea for the film during the early stage of the pandemic lock-down, I had to learn fast about all aspects of film-making. It has been both daunting and thrilling. Particularly when I found myself playing all five characters!

Films that inspired you to become an actress and producer?

There are many great movies that have inspired me, but the biggest surprise inspiration to me was The Godfather. I didn't see it until many years after it came out as I didn't think it would be my kind of film at all but it really spoke to me. Not just the obvious story but the casting seemed so perfect, the lighting, the script, the way the characters evolved.....it really had a big impact on me.

Who is your biggest influence?

My Father was my biggest influence in everything in my life.

In cinema, I admire Martin Scorsese and Quentin Tarantino and of course Coppola after the my experience with The Godfather.

Not forgetting life itself that inspires me every day.

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

The biggest challenge on BEFORE SUNRISE was of course trying to make it during the quarantine lock- down. I filmed it in Texas with an iPhone and had only one person, Jessica, my entire 'crew', to help hold the phone for me. I played all five characters and was remotely directed from Brasil. Those were full days! Another challenge also was languages. The Director, Rogerio Takashi and the screenwriter, Helena do not speak English, and Jessica doesn’t speaks Portuguese. I was constantly translating.

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

I love to work with movies and stories that have a positive message. I don’t like to work with Horror movies or anything that is about cruelty.

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

Probably my favorite is one from Brazil “ O AUTO DA COMPADECIDA’. Literally 'The Compassionate Woman's play. It's a comedy but has a lot to say about religion and many other topics. It really focuses on the realities of Brazilian life in the 1950s. The film drifts in and out of realism but it is so well done, with such great performances. If I am sad, I can watch it and it cheers me up. If I am happy, it enjoys life with me.

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

Interview

Courtney Townsend - Interview

Courtney is a big-time lover, a soul stirrer, a believer in the power of food, a good mama, a full belly giggler, and an eternal adventurer. I am an Oakland, California girl born to Nebraskan parents. I’m a graduate of both Spelman College and Clark Atlanta University in Atlanta, Le Cordon Bleu (cuisine & pastry) in Paris, and of two natural labors (yes, that was hard work so I included it) in Los Angeles. I live to help souls discover their radiant value so they can live the fullest life ever. All roads connect from TV production, podcaster, life coach, creative director, media chef, culinary arts professor, and an entrepreneur. My professional ventures include; a multi-course catering company, real estate restoration, curation of cultural & educational festivals, and culinary stage & film production.

Tell us about your background and when did you decide to become a filmmaker?

I was the kid that was always in the drama club but let it go as a young adult. For me, to gain even small roles, acting appeared too difficult with too many disappointing barriers to entry. Much later, when my children expressed interest in acting their coach asked if any parents could assist with a scene. I volunteered, followed direction, and afterward, the instructor suggested that I get headshots. Shortly afterward, I joined Look Talent in San Francisco.

With my own varied projects and truly taking the jump with my dreams whether through my mini short Blind Faith and even my cooking channel Courtney’s Food Fixx on IG as an influencer, I applaud the dynamic Bill Duke. Sometimes it's that last adjustment of the lens that ignites the flame. In an interview on Youtube, he so eloquently and simply dissected the diminishing opportunities in Hollywood as you add in being Black, age, your shade, your weight, being an unknown, etc. He “yelled” that there was no excuse in these times but to do it yourself. I thank him!!! Because that's exactly what I did and there's a vault of more to come.

Films that inspired you to become a filmmaker?

There are probably too many films to list. So many films have inspired and incited me to a range of emotions and actions. Sometimes simply thinking “perhaps I can do that” to a desire to feel the interaction of the characters in a scene to a movie that jumpstarts new visions in your own projects.

Several of my favorites were caught as a child on a rainy Saturday afternoon well after they were thought of as cool.

I adore the cadence, ease, and comedic timing of an Irene Dunne as she teams with Cary Grant in My Favorite Wife. A clever and beautiful woman seems so rarely honored these days by a handsome man.

The Long, Hot Summer is simply intense with the mashing of technicolor, playing off the quick and slow manipulation of Southern banter and the fiery, fury of beginnings of Joanne Woodward and Paul Newman. I simply cannot take my eyes off the screen when I watch this film.

Ordinary People (Donald Sutherland, Mary Tyler Moore, Timothy Hutton) blew me away when I was young. It is so uncomfortable and itchy to the touch. Everything is not as it seems from what is family to wealth to emotional unavailability to beauty to the stigma of mental health. So Robert Redford as a director. As I was just learning about the limitless boundaries of mental illness in my own family’s daily lives, Ordinary People offered another voice.

Not just an inspiration from youth but the present day is the pain, appreciation, societal depiction, and deception (as sadly exists now still), combined with the complexity and the range of actors Diahann Carroll and James Earl Jones in Claudine. Simply put, the systematic oppressive machine strategically tries to get in the way of love, when love and life are hard enough. And Claudine is only punctuated by the soundtrack...the hands-down genius at the helm of Curtis Mayfield showcasing the sounds of “what home feels like “ of the amazing Gladys Knight. That album Is love!

When I think of the Now. When I think of the social unrest, visible effects of invisible influences, America and the world’s Black Lives Matter movement (beginning to finally be heard), both the losses for all and the inequity of the sweeping numbers of COVID 19 especially for African Americans and Indigenous communities and not to mention the political climate, I can only hear Octavia Butler

“That’s all anybody can do right now. Live. Hold out. Survive. I don’t know whether good times are coming back again. But I know that won’t matter if we don’t survive these times.”

Who is your biggest influence?

There's always the concept of dexterity and flexibility. Can you or can't you. Are you limited to just one of your great talents? And by expressing more than one, will that hold you back?

In the world of creative exhibition, a Paul Robeson or an Oprah Winfrey, aptly and deftly, answers that question for me. They are a huge influence in the area of displaying excellence, spirituality, and humanitarian drive while pursuing a passionate commitment to their on-stage crafts.

They represent a resounding “yes” when the world can often yell “no.”

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

“Knowing” the western must be completed and the difficulty of living with that gnawing feeling of it needing to be birthed, while periodically wondering was it out of reach.

Second, was reducing the production vision in my mind and devising a plan to cleverly create an experience utilizing more of the Universe’s natural elements than what technology could provide.

My greatest challenge was convincing a group of dynamic women who are not actors with very important 9-5 lives to join this journey. My capturing of the rarely mentioned history of the Black Cowboy/Western where all the clashing intersections (social status, religion, marriage, and racial mixing prejudice) must be put aside for this group of women to unite for their own survival.

We need only whisper about getting them to fly across the country to the great outdoors of Northern Nevada to film just outside a ghost town and in cemeteries during an annual motorcycle rally. Can you say hilarious!!!

The breathtaking and sometimes cursing desert with the increasing wind speeds and dropping temperatures, could not stop these women from delivering.

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

I prefer dramas. I like films that reveal the inner workings, frailties, and triumph of the human soul.

To me, the drama category always includes a well-staged western. Well-timed sweeping vistas, a great score, the harshness and beauty of the elements, an appearance of a battle of good vs evil, and the protagonist’s inner demons somehow running afoot to add complexity to the ultimate battle.

I've just learned that The Harder They Fall is in production. A Black Western starring Jonathan Majors, Idris Elba, and Regina King. I know the storyline involves revenge and I am over excited to see what this powerhouse cast will unfold.

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

I cannot name one honestly. A few films, I can watch over again. Your question solidified that I (re)select those movies to marry the desired feeling or emotional outcome rather than being ultimate.

Yet, I must say that the movie The Curious Case of Benjamin Button touches me in many different ways- as a mother, a believer in love, a phoenix, and an adventurer. It's understanding the layers of acceptance, the appearance of time, and the infinity of unconditional love.

This film is a quiet gem.

From its onset of the “face that only a mother can love” and that mother being a Black woman that owns a rooming house in the South. The early resilience of a soul that only looks ahead. The delicately handled crossing of time and age of two people. My goodness! A woman holding onto her protection of self-love to painfully walk away for her own preservation to in turn become the caregiver for that lifetime of love.

So well casted- Brad Pitt, Cate Blanchett, Tilda Swinton, Taraji P. Henson, and more.

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

This is always the tricky dream question. It's like building an ice cream sundae...the toppings change as quickly as do the ice cream choices. Romance. Drama. Comedy. Action.

Some incredible established and up and coming actors and actresses that I’d be honored to work with:

Christian Bale

Regina King

Daniel Craig

Tom Hardy

Danai Gurira

Maggie Smith

Awkwafina

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

I believe in true love.

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

My Mother- She always wanted me to be free. No matter what, in her power, she would clear the way for my dreams.

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

The most important lesson is also the greatest gift.

You must show up with your whole self. That is the greatest challenge. I cannot show up for a scene with my children on my mind or any other personal pulls. Whether insecurities are on my shoulders or there is friction on the set, it all must be erased once the director yells action.

It was difficult at first- especially for productions with no budget. You have a pure opportunity of providing your best when you suspend time and there is no future and no past.

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

It’s more difficult to keep going. Depending upon your life and lifestyle and those around you, it’s easy to get pulled back out of focus. If you’re not rooted in the film world, earning money or enough money to concentrate solely on this love, it’s easy to allow voices to discount your heart's journey.

For me, I have to step away from the “normal” world and allow sections of time for my thoughts to float- not a scheduled hour here or there scratching off a line on a to-do list. Those sessions are necessary to gain direction.

It is exactly what allowed me to hear and to wait to put the Blind Faith project aside. I had to conquer trusting when to wait to gain its intended gifts.

It brought the right people and the right time. In which, rushing for me often provides the direct opposite.

The clarity of Blind Faith showed itself within the collaboration with Director and Producer Joslyn Rose Lyons. Having a synergistic connection of what it's like to do the work, to push through for something unknown, something greater! To face our shadows is to reach for our life and in hopes to find the true light.

What keeps you motivated?

Probably the dancing spirit in my heart combined with my day-to-day.

What I eat and how I sleep determine the quality of my days. I organize myself to sleep 7 to 8 hours with the beginning half of my day dedicated to replenishment and clearing my system and mind. I can avoid medications, allow my own body to heal itself, and keep my immune system strong by these two approaches alone.

I hold my dreams close to me through prayer, meditation, and by keeping my inner circle clear and clean. Just like my knowledge of food has been attained through formal and years of self-education, so has my study of the mind and emotional states. For me, personal life is like a constellation system. I’ve learned that if a friend or a relationship is constantly out of orbit then I become the same losing direction.

It's not profound, I find that making visions come to fruition is amplifying what works for you. Through trial and error and intuition, I’ve learned to dedicate my resources, my courage and trust myself to show up for my family and myself first and for those I love. Not every step wins but I keep forging ahead making time to kiss myself along the way.

How has your style evolved?

In film, I have always enjoyed intense drama most. A character's opportunity to express what they may not have had the courage to say in real life.

Yet, as I continue to develop I touch more layerings of laughter, welcomed comedic absurdities of life and silent moments when no words are necessary.

On set, the most important thing is:

To Listen. To the director and then your intuition.

The project(s) you’re most proud of:

Instruction and inspiration on nutritional approaches and snacks for an executive team collab with Endemol Shine productions. I adore sharing ways to assist every day to be more joyful.

A recent opportunity to join The Hieroglyphics Crew/Souls of Mischief. They birthed a long-awaited film project playing on the shadows and light of life to support an upcoming album release. It was great to connect again on set while wrapped in safety protocols.

As well during the quarantine, it brought me immense pleasure to offer culinary instruction to children through my @kidsculinaryfixx project.

Watching their advancement in being responsible for themselves and their nutrition while exchanging energy and smiles was life-giving.

The most challenging project you worked on.

And why?

Zora Neale Hurston says it best “The present was an egg laid by the past that had the future inside its shell.”

One of the most challenging projects I’ve worked on is launching a digital business with my son just days before COVID 19 quarantine. The most challenging and the most rewarding. As we both learn individually and together, like all partnerships, being available to have and hear the hard discussions and remember to still walk away each day in love is hard.

It took a good moment for me to identify when not to bring Mom to the business meeting and for him to leave son in the other room. We are growing.

There is the camera and there is the real life of the everyday. We are grateful for each other.

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

In film, to continue to work on soulful independent projects with other creatives. They offer the opportunity to contribute to and learn from artists.

In the live digital space, to continue to have spiritual exchanges about current constructs that must change for the betterment of humanity. A connection with Guru Jagat and Rama TV through our @comingintograce, my son and I received a recent invitation. (It was especially cool for my son since he was educated and certified in Kundalini Yoga in India for high school.) We believe as many conversations across communities can only make us all closer.

Long term career goals...

My son and I have script concepts that we are excited to develop- intersections of generations and family goals.

To join casts for feature-length productions.

Your next projects?

Currently relishing in a recently launched podcast that I have the honor to host with my son, Ash. It's called Coming into Grace. The discussions are focused on the beauty of Black Men- how they collectively connect and individually shine. Featured exposes of musicians and artists in collaboration with the Museum of Light have spotlighted DJSharp (official DJ for the Golden State Warriors) and RobYoung for RobYoungMusic. All of the stories from our guests are so insightful and inspiring, I believe a pinch of something good for most anyone.

On @CourtneysFoodFixx channel, a fun holiday project to tickle the soul around the history of cocktails plus an upcoming project about the nourishment of food and family connection.

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

Please join our podcast @Comingintograce on IG

For inspiration and avenues to connect with Courtney, join @Courtneysfixxmag

Please follow @Courtneysfoodfixx on IG for fun encouragement to cook at home more and add fuel for your fullest life.

Interview

Joslyn Rose - Interview

Joslyn has a relentless legacy of work in hip hop, directing music videos and music-related content and documentaries. The director producer has string of credits including Tale of the Tape (2020), Same Energy (2018), BET Experience: Celebrity Basketball Game (2017), Def Poetry (2002), Soundz of Spirit (2003), Rap City (2000), Mali Music: Beautiful (2014), The Message TV Mini Series (2014. Lyons has contributed to documentaries, films and television shows for HBO, MTV, BET, VH1, Discovery, PBS, MSNBC, Warner Bros., and Oprah Winfrey Network.

Tell us about your background and when did you decide to become a filmmaker?

I studied film production and film theory at CCA (California College of the Arts) and UC Berkeley. During my studies, I interned at an Emmy Award winning production company, and that’s where I started making my first documentary feature Soundz of Spirit, which eventually premiered at HBO Urbanworld Film Festival in NY and won Best Music Doc at the New York International Film Festival. I have a passion for music, and I grew up in the Bay Area, so music was just part of my community.

Films that inspired you to become a filmmaker?

Do the Right Thing and Amelie are both great films. I actually got to have dinner with Spike Lee and his composer Terrance Blanchard at the Blue Note Jazz Club in New York, after working on a production for Showtime with him. I remember at the dinner he was scribbling notes on a napkin. I realized then that he never turns it off. His film ‘Do the Right Thing’ is one of the sparks that ignited this journey in cinema for me. I admire Jean-Pierre Jeunet, the use of magical realism in his film Amelie, has always been part of how I relate to storytelling. I had a chance once to ask him what would be the one piece of advice for filmmakers, and he said “use everything in your toolbox”.

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

My latest short film 'Looking Glass" at the time of conceptualizing this piece, 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. It was challenging to make a film that explored concepts that aren’t easily associated with visuals, such as fear and doubt, hopes and dreams. They are abstract visually, so I tried to create characters that would be symbolic of these concepts/themes. I leaned into unique techniques to tell this story, for example using narration and not having a dialogue, or props, and even editing choices, that bent the rules of this world, and magical realism.

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

I have a passion for exploring the creative process, music, and social justice, so I have always been drawn to documentary. One of my favourite projects I've worked on is “Truth to Power". I’m the impact producer on this documentary, it premieres at DOC NYC this month. It’s About the courageous voice of Rep. Barbara Lee, and features powerful interviews with Alexandria Ocasio-Cortez, Van Jones, Danny Glover, Corey Booker, and Alice Walker. Another is Same Energy, I created this show with Matt Barnes and Uninterrupted (LeBron James digital Platform), it features Marshawn Lynch and 2Chainz and explores in-depth conversations about mental, physical, and spiritual strength. I produced a short doc with Common and his Imagine Justice organization, which is dedicated to empowering communities and fighting injustice. I also love scripted filmmaking, there is so much room to grow when we can bend the rules of the world in fiction.

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

It's a tie between Do The Right Thing and Amelie. Both hero's journey, both cinematic masterpieces. Cinema can address real issues in a way that allows people to relate to a make believe world, it's less personal so we can connect without as much judgement to the story or characters, while still digesting messages. Film has a way of opening up our senses to new ways of seeing things, feeling things, sparks new insights. Some of my close friends in the Bay Area have made some incredible films this past few years that have done just that, Boots Riley made “sorry to bother you” Rafael Casal and Daveed Diggs made “Blindspotting”, these types of films create change by opening up conversations we might not have had. Finding the extraordinary in the ordinary, and seeing things in a new light. I love this quote by 2PAC: “I'm not saying I'm gonna change the world, but I guarantee that I will spark the brain that will change the world.'

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