Author: Dreamate Demo

-Who is Damiano Rossi?

How can someone define himself? It would be a useless exercise or the result of an inordinate ego. Of course, if someone carries out an artistic activity in any form, we are certainly talking about a person who needs attention. There is no doubt about this. So the need to communicate through sounds and images is definitely part of my essence but that doesn’t mean I seek consensus at all costs. My works have the ambition to act on several levels of reading and from a certain point of view they are not immediately readable, I am aware of this. But I like to inspire people to dig deeper than normal perception if possible (see how ambition comes back?), and I like to believe that someone out there can discover something about me through this extraordinary medium that is cinema .

-What prompted you to become a director?

I really can’t define myself as such. I have never studied directing or attended courses, even if only at an amateur level. I put together sounds, words and images trying to give everything a complete meaning. Just as I have always made music without ever having studied it at an academic level, I communicate sensations and if possible I try to make people think about issues that I consider important always having as a background women and all their problems. I consider this a pleasure and a duty towards a world that from a male point of view I often don’t understand and sometimes it scares me.

-Do you think cinema can bring about a change in society?

I think he’s already done it and not always in a positive way. Try asking someone young, and not only, what his favorite film is and you’ll get the answer. Also try asking who Tarkovsky is and you will get the answer, different but exhaustive. Of course we also need the first Fantozzi … but …….

-What would you change in the world?

Nothing. Everyone changes from if they want. No one ever changes because someone tells you to, and if that happens it means that something is wrong. Thought has thus flattened and discernment agonizes among the news bulletins of the various news programs or newspapers. It’s easier to rely on pre-packaged concepts than to go deep and opt for a totally personal point of view (I don’t mean right or wrong but free from conventional schemes). If this makes me an elitist snob, I take responsibility for it, but the lack of openness towards alternative concepts and visions is, I believe, the daughter of this society. And I say that not with anger but with absolute bitterness and concern.

-Where do you see the film industry going in the next 100 years?

There are independent directors and films of the highest level around the world but we need to understand what cinema really is and what it wants to bring into the future. In my opinion, if a film wants to transpose a novel from the last century or even older into images and dialogues, it doesn’t make much sense. In my opinion cinema should act first of all through images, then through sounds and only finally through dialogues. I think the mainstream is going in the opposite direction.

https://www.youtube.com/channel/UCYpj-bO8HvmYXEajton9Xpw

-Who is Sandra Mladjanovic?

It’s very difficult for me to explain myself in front of a large audience. I perceive myself as very complex, and I would try to approach the audience chronologically, maybe that’s the only way I can express myself. Essentially, I am a visual artist who lives and works in a very small town in Bosnia and Herzegovina called Doboj. There is Sandra before the age of seven and after the age of seven. I would divide that time into before and after the war in Yugoslavia and the dissolution of Yugoslavia. I don’t have formal education in the film industry, I’m just a lifelong fan of film and music. The COVID period brought me the most magical experience, which was diving in Egypt with a complete sense of the sea and the force of the sea. I secretly studied philosophy, but I didn’t complete it formally. I love stories that don’t have an ending and live on their own in time.

-What inspired you to become a filmmaker?

The COVID period has been the most traumatic experience for me after the civil war in Bosnia, which lasted for four years. My inner anxiety was awakened again, wondering how long this situation had to last and why. I even think that unconsciously, I escaped under the sea to avoid the disaster that had taken over the planet, even wider than the war in Bosnia. For many years, I expressed myself through photography, digital images, and other media, but they couldn’t embody the idea that had sound, image, and a more layered story. I looked for short forms, and the film I present to the audience is dedicated to a friend from Britain who is no longer with us in the physical world. He did not survive a lung transplant. It’s always a struggle for truth, which philosophically speaking, has no happy ending, and somewhere in that experimental practice, I give myself an answer and serve as a mirror of the existing reality. One accidental event was crucial for me to even dip my toes into the world of film. I submitted my first underwater film to the Underwater Film Festival in Neum, Bosnia and Herzegovina in 2021, and won the first prize for the best domestic film. That was a trigger for further thinking about film creation.

-Do you think the cinema can bring a change in the society?

I am not from the world of directors, screenwriters, and other film professionals, but a great influence in my life until the age of seven was the director Emir Kusturica with the film “Time of the Gypsies” and the story of people on the margins. I realized then that life is an uncomfortable story that must be lived no matter what happens to you. I knew early on that there is no free will in man, which may have been more influential for my upbringing. One thing is certain, that film in relation to the time in which it is lived and created leaves an indelible mark on the spirit that can live and exist in those who deal with the spirit, truth, situation… Also, Kusturica is not the only director I would mention, he is just from my country. I respect the work of Lars Von Trier, Tarkovsky, Bertolucci, Fellini, Pasolini, Paradjanov, and other great names from the world of cinema. I remember visiting Sicily in 2016 and the village of Savoca, where the famous Vitteli bar from “The Godfather” movie is located, directed by Francis Ford Coppola. I love to find a famous film location and relive a piece of it.

-What would you change in the world?

I don’t know how much I’m able to change anything, because so many times in my life I was unable to influence anything in an objective way. Change would be a great idea of control, and I am afraid of conditions that aim for control. My great life pain is that we are all one, and that’s my Achilles heel that I regularly succumb to.

-Where do you see the film industry going in the next 100 years?

I believe that the film industry won’t go far for me. I will preserve the values that I consider important, so an object or idea that doesn’t interest me won’t be too significant. The world is changing, and virtual realities, changes in film technology, entertainment, and commercial content follow it, but I know they won’t be significant for me. I will look for personal material that interests me in life, and everything else can go by me.

On Friday, June 16, Giuseppe Verdi’s “Aida” premiere was held at the Arena di Verona, the city that theater lovers remember for the tragedy “Romeo and Juliet”, the immortal masterpiece by William Shakespeare.

The show opened the season that celebrates the 100th anniversary of the most prestigious opera festival in the world.

Among the audience were the Oscar-winning Sofia Loren, also the godmother of the evening, and Matt Dillon, the main character of “Rumble Fish” directed by Francis Ford Coppola, to which WILD FILMMAKER, in collaboration with Christopher Coppola, will dedicate a Webinar.

Anna Laura Miszerak, the production assistant of WILD FILMMAKER, has dedicated herself to dance and opera and performed at the premiere of the Arena of Verona, which compared to sports, is like for a basketball player to play in the NBA.

Orson Welles commenting on Federico Fellini’s cinema, simply said, “It dances!”.

In two words, the great Orson had grasped the deep meaning of Fellini’s art. Cinema can be a dance and the steps are made of editing.

Therefore, we are proud to have an artist like Anna Laura Miszerak in the WILD FILMMAKER Team, who has created a perfect symbiosis between dance, opera and our innovative way of storytelling and making cinema.All this confirms the philosophy adopted by WILD FILMMAKER, namely that to change the present, it is necessary to know the past sincerely.

–Who is Sophia Kornienko?

I usually sign my animations as KORNIENKO コニンコー I like how my name begins and ends with “KO” (“little” in Japanese), a cherished symbol of the inner child that I strive to preserve within me. 

In my adult life, I’m a professional radio journalist and animated film director, using the medium of animation to tell real stories. I’m trying to look at current events from a timeless perspective and I believe animation can provide that lens, partially because we mentally associate it with our childhood — a timeless dimension that connects all humans.

-What inspired you to become a filmmaker?

I have always wanted to preserve the fleeting moments. I studied film and wanted to become a documentary filmmaker, but found it too invasive on people’s lives when I tried it. Animation based on original stories is a more gentle genre, also for the viewer, who may have become weary of the raw newsreel imagery. In my work, I’m trying to preserve testimonials as works of art.  

Having moved countries several times, we are a trilingual family. As a journalist and as a migrant, I have become aware of the limitations of verbal language. I have turned to animation in search of a means of non-verbal communication that embraces visual communication and rhythm. 

-Do you think the cinema can bring a change in the society?

Anything can bring a change in the society. The gentle flapping of a butterfly’s wings could bring about a tornado somewhere else on the planet. It’s called the butterfly effect. Chaos theory founder Edward Lorenz discovered that a tiny shift in the initial conditions (such as the perturbations created by a butterfly) can lead to significant changes along the way. His original research was based on studying weather patterns, but we have come to realize that such sensitive dependence on initial conditions is actually a property of any complex dynamical system, including a human or the human society. 

I like to think of my films and writings as butterflies, fluttering to bring about change. 

-What would you change in the world?

I want the bloody war in the heart of Europe to end, I want Ukraine to regain its freedom and I want Russia (where I originally come from) or what will become of today’s Russia to stop living in the past and and undertake a sincere phase of self-reflection, akin to Germany and Japan post-WWII.

On a more fundamental level, what I want most is a paradigm shift in terms of how much control we want to exert on other beings. I believe children and kids are the most discriminated group in the society today. It’s a crucial unresolved supremacy bias: the persistent belief that children aren’t people, that they can’t think and that their struggle isn’t serious. In today’s public discourse, it’s more acceptable to speak of training kids (positive and negative reinforcement) than actually listening to them and building human relationships with them. I think this distrust, disrespect and suppression of children’s will and autonomy is the origin of a lot of violence and mental health problems in the world. 

I want to see a less authoritarian world. I want to see a world based on horizontal relationships. 

-Where do you see the film industry going in the next 100 years?

The term “film industry” may not even be relevant a century from now. Ultimately, film is just one method of storytelling. I envision a future where digital storytelling converges, creating immersive and individualized experiences, as opposed to the collective theatrical ones we are accustomed to. When creating my animated short films, I keep this vision in mind, aiming for an intimate conversation with my viewer, who I assume will be watching on a personal device, alone. It’s an intimate conversation. 

-Who is Annamaria Talas?

I am a Transylvanian born science documentary filmmaker, a  Hungarian living in Sydney, Australia.

After finishing university I became a high school teacher, teaching biology, geography and philosophy. I was given the opportunity to teach freely and used that freedom to introduce my students to the intricate ways of how the world works. It was a lot less about lexical knowledge and much more about connections.

-What inspired you to become a filmmaker?

As much as I loved teaching, I saw a great opportunity in broadcast television by extending the classroom first to my country and later internationally.The medium was the inspiration and not just because it’s potential of reaching the minds and hearts of many millions but because of the powerful toolkit we get to work with: sound, vision, colours, moods, pacing, music, effects. Before becoming a dedicated science communicator, I saw myself becoming a painter or a designer. By making science films, in a way I get to live in both worlds.

-Do you think the cinema can bring a change in the society?

I love cinema. It can be magical. You walk into a movie theatre, you watch a film and if the film was doing its job, you come as a better person. So, yes, movies have the power of changing the world.

-What would you change in the world?

I would like to see a world where cooperation prevails, where we are driven by the desire of understanding each other, society and nature. A world, where young people don’t have to think twice about bringing children into. A world without out of fear of ecological and economical disasters. A world without war.

-Where do you see the film industry going in the next 100 years?

The future is stubbornly unpredictable. But one thing is sure, AI will have a huge impact for our industry as well. It will be both good and bad.

-Who is Joshua Cremer?

I am a 32 year old filmmaker from Belgium. More precisely from East Belgium, I grew up in the village Crombach. Since then I live not far from there in a small town called St.Vith.

After 6 years of clarinet lessons in my childhood, I played drums for another 14 years in different bands (mainly punk, metal and experimental rock). But towards the end I realized that drums and music alone were not enough as a means of expression for me and the hunger for filmmaking grew. And so, over the next few years, band and film projects mixed until 2021 and 2023, when I made my first completely self-produced films called “The Repairer” and “The Moment of Eternity“, where I am responsible for writing, producing and directing.

I have had the privilege and honor of working with the most wonderful team on these films:

Chris Eyre-Walker and Roger Arens behind the camera, music composer Dany Gallo, Anne-Sophie Velz for visual effects, my girlfriend Catherine Bettendorff in production, Marzel Maraite and Simon Zolotar as actors…..just to name a few.

The journey continues and we are now in the casting process for the next project.

-What inspired you to become a filmmaker?

I grew up with my father’s plays. I was allowed to see films with him which I was actually still too young for and afterwards there was always an exchange or a quiz about the film we had seen. That was wonderful and my love for film developed very early. At the same time, it was also the reason why my grades in school were bad, because daydreaming was more important and exciting than math and homework. My mother is also active in theater. Both of them are my first inspirations and shape me a lot until today.

I love writing stories, to drawing, making music and working in a team to create something new. All of that comes together in filmmaking.

For me, filmmaking, and art in general, is about constantly reinventing myself with each project, feeling new, and not putting limits on myself in my creative work. Because that’s what it’s all about in my opinion: Freedom !

To be vigile and listening deeply to your inner self and the world and not being afraid to let it out in a new form. And of course to keep the inner child always alive. Art is the fuel for freedom and catharsis. It all started with this feeling and desire and I couldn’t imagine working in any other way.

-Do you think the cinema can bring a change in the society?

Absolutely. I hardly know anyone who doesn’t watch movies.

The films we grow up with in our childhood consciously and unconsciously shape us throughout our lives.

Movies have tremendous power on so many different levels.

I’ll never forget the first time I saw “Jurassic Park” or “Alien” as a child. What an experience!

It was a total game changer. Movies changed my life and opened new gates, they were a refuge in dark times and will always give me strength.

Movies can be a lifeboat and a lighthouse at the same time.

A world without movies would be a damn bleak world…

-What would you change in the world?

Wow, that’s a big question. I think it’s quite a lot. And the current times we live in give us more than enough reasons again to constantly want to question and change everything. I often feel very ashamed of the behavior of our own species….

However, I’ve never been a big fan of just being upset all the time about what’s going wrong on our planet. It just eats up a lot of energy, and I don’t want to let the people who have too much power and are responsible for the bad things on our planet get control over me through that

I think every person should start with themselves first and think about what they can do concretely with their abilities in themselves and in their environment to save our “still” blue ball.

In a world that is becoming more and more disturbing and seems to be losing control, I prefer to create new worlds through films, where it can also be disturbing and painful, but I myself am in control of what and how it happens.

Filmmaking is my personal weapon to fight against our inner and outer demons.

I want to create places of retreat, but at the same time confront people with their deepest inner longings, fears and also with the beauty of the moment.

-Where do you see the film industry going in the next 100 years?

It’s sad that in current mainstream cinema or on the big streaming services, there’s always more emphasis on quantity than quality. The effects and the pictures are often insane, but a good, brave story is often missing…

A lot of things are unfortunately often not thought through to the end, too hectic and only designed for mass success.

I’m also annoyed by the constant remakes of old masterpieces that simply can’t be filmed any better. Unfortunately, this will probably continue in the coming years….

Fortunately, however, there are wonderful streaming services like MUBI and also more and more cinemas that offer worth seeing and courageous films by great and also often unknown independent filmmakers.

And of course, the screenings and the experiences in the cinemas themselves are the most important and cannot be replaced. There is no better evening than having a good dinner in a restaurant and then watching a good movie in the theater and talking about it all night afterwards.

So hope is not lost yet.

-Who is Anna Primiani?

Anna Primiani is an award-winning actress, writer and emerging filmmaker. She trained as a ballet dancer, studied classical music and in University she trained in theatre before moving on to acting for television and film.  She has trained as an actress across Canada and in the USA. As an actress, she continues to embrace opportunities to play diverse characters from Cleopatra in Disney’s “Treasure Buddies” and Kathy, in the emotionally charged, “She could be you“, about a mother whose child goes missing in the True Story of missing Tampa girl Jennifer Marteliz. This year her micro short film, that she co-wrote and starred in, “Let Forever Be” was screened at the MLC awards in Arkansas and won her several awards for best actress. Her short film “The Choice” that she co-produced, wrote and starred in is premiering at the 56^th annual Worldfest in Houston in April 2023. She will be seen this year in Hallmark’s “Team Bride” and Castle Rock Entertainment’s” Wind River: The Next Chapter.” She is in pre-production of her short film, “Weight”, that has won multiple awards in festivals this year including ​8 & Halfilm Awards.  She is also embarking on writing her first feature film, “Redemption”about a woman trying to escape a criminal organization that is trafficking young women. Anna believes in being a life long learner and taking the opportunites to grow and evolve as an artist. There are some exciting announcements coming soon so be sure to visit www.annaprimiani.com and support and follow Anna on Instagram- www.instagram.com/annaprimiani 

-What inspired you to become a screenwriter/ filmmaker?

Inspiration comes from experience, moments in life and ultimately needs to come from within. As an actress, I breathe life into someone else’s words, make the character my own to drive the director’s vision. I am inspired to bring truth to the words. However, sometimes as an actor, we are not given the opportunity to play a character we would like. So comes the desire to write. As a writer there are moments, stories, memories in my life that resonate with me and begin to formulate into a story that I want to tell and characters I want to portray. Writer William Faulker said “the only thing worth writing about is the human heart in conflict with itself.”

This has driven me as an actor, writer and filmmaker.  I have also said this before but, Kurt Sutter, creator of Sons of Anarchy, inspired me to have confidence to write what I want. During the pandemic he would share insights into his process saying “Don’t worry about what’s gonna sell or what’s popular…write from pain write from shame write from places that scare you.”

I believe stories from the heart are universal and bind us to one another. I am drawn to heartfelt stories that encapsulate that feeling. From there I crafted the short story for my film “The Choice“, dealing with sisterly love and devotion intertwined with illness and intricate end of life discussions.  “Weight” about a woman who returns home after the death of her father to face her past. Now as I embark on writing my first feature “Redemption“, it is a world out of my realm so it involves a lot of research and challenging myself to learn things that are unknown, uncomfortable and true. I like the challange. As a writer I can cultivate characters and a story I feel are worth telling and as a filmmaker, my goal is to bring these visions to life.

-Do you think the cinema can bring a change in the society?

I do! I think we have already been witness to the power of cinema, as well as social media and celebrities have on society both good and bad. I believe that films can be a powerful conduit to reach people worldwide. It can convey emotions and compelling messages, at times even if we do not speak the language the film is in, the message can be powerful. A film that comes to mind is “Good Will Hunting” not only is the acting stellar from Williams, Affleck and Damon as well as the writing, however it is the message that still stands the test of time. That on the surface some people might come across as violent or hateful, but if we take a moment to really listen, give people a chance if we care about one another, we can find that there is something deeper to all of us. I feel that there are films like this that reach an audience and have the power to change lives.

-What would you change in the world?

These days it’s hard to read the news. The violence and hatred that floods the media. I wish that we could learn how to respect and appreciate one another both in our personal lives and on a global scale. So many family and friends are divided by anger or inability to want to change, it would be nice for them unite in love, understanding and kindness. Again, like inspiration, change has to happen from within. Globally, I’m saddened by the hate, violence and war. It’s a human flaw to be driven by fear and hate.

-Where do you see the film industry going in the next 100 years?

Filmmaking has already evolved immensly in the last 100 years so I feel like the next 100 hold inifinate potential. I believe that The Volume, an immersive soundstage by Lucas Film has and will continue to radically revolutionize the future of the film industry. Northern Gateway Films, the Produciton company for Team Bride, located in Edmonton, Alberta also has a virtual stage. They are doing some really amazing things with their current films.  Filmmaking is becoming more fluid with the ability to use a stage to create some extraordinary virtual settings, controlling how a filmmaker can shoot and the scope of storytelling. Making some things more accessible to filmmakers to be able to shoot things on a stage rather than on location. That said, I hope that the magic ofd movie making does not dissipate all together. I also hope, post pandemic, that the experience of going to a theatre remains alive for the next generation of moviegoers. To immerse themselves in the story and the world that the filmmaker seeks to create. My kids are starting to experience this the magic of movies!! 

What does it take to join the army when you are 57? Very little. Just an invasion. Like in the world famous “Bella ciao” song.

“Bella Ciao (English) – Alderon Tyran ft. Janissa Lang – YouTube“

I have worked in a research institute, got my Ph.D. in Geography, then worked for an American chemical company, and altogether 17 years in the plastic processing and recycling industry – all that time practicing my language, writing, and drawing skills till I made all these kinds of creativity my profession. For about 13 years, I am a writer, screenplay writer, artist, and language specialist with a nice portfolio of really good projects, and certainly, many more to come. But later. Not now.

When I studied at Kyiv Shevchenko University in the 80ies, I attended the military department and finished my training as a First Lieutenant, with no practical experience of military service from then on. When the Russians invaded Donbas in 2014, I was enrolled in a reserve battalion but had never been conscripted till the 24th of February, 2022.  

That day, the air in Kyiv was shaking because of the air defense work since 04 a.m., and the gunshots from automatic rifles were heard where the enemy’s sabotage & reconnaissance groups were trying to spread havoc. The exit roads were jammed. Subway stations have turned into bomb shelters. And all that was not a movie. It was for real, although, still hard to believe. 

I just could not stay aside. I came to my local military enlistment office and enjoyed the shortest job interview I ever had in life. “Ready to go?”, a tired colonel asked. “Yes”, I said. That was it. For the two first months, I was a machine gunner in a new infantry battalion, and then transferred to artillery where I am a deputy battery commander. Still at the frontline. Still alive.     

I took several strange things along with me to this war – pencils, albums, paints, brushes, and even a flute. I have been making sketches and watercolor etudes. Last summer’s rains and the incredible mud we were sinking in made me think of soil and clay from the trenches as new artistic means. Indeed, these materials, although quite difficult to handle, are very expressive and demonstrate good adhesion properties. Later on, I learned that ashes from the firewood can also be added to the restricted palette.  Now I have got a series of interesting war etudes in this style and think about exhibiting them.

I also kept on working on some screenplays, expanding my portfolio, and collecting laurels. I wrote a couple of analytic articles and made blog videos about the war, its reasons, and its roots. I am perfectly certain that this war is one of the turning points in the world’s history – however, it is a separate topic.

Writing and drawing at war is not a problem. Concentration is. It is difficult to collect yourself and concentrate on this. There are too many things to think about in the first place, and certainly not enough convenience. The Internet is scarce, and the generators only work a couple of hours a day. But we try to keep ourselves civilized as much as possible under the circumstances. In our battery, we have got a shower, a kitchen, and even a washing machine. However, it takes a lot of effort to keep this civilized life running if you live in a forest line or in abandoned barns in the middle of nowhere, with too many things to be done in too little time, the enemy is close and artillery duels never cease. 

We have been lucky so far. In our battery, we have only one dead and several wounded. 

We are grateful to those who help and support us in our fight. I think we are going to win. We fight for our freedom and our future, while the enemy fights for their past – for the grandeur of their once-great empire. But we all know the winner when the future fights against the past. The future always wins because time is the strongest force in the Universe. But how much time do we have? That is what nobody can tell.