JOHN JOHNSON - INTERVIEW

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

I decided to become a filmmaker when I was five years old. I just love movies so much and was already acting but one night I woke my mother up at 4:30 am to tell her I wanted to be a movie director. The next day she called her friend the director Tony Kaye from American History X and asked him to give me a filmmaking class. He told me to watch Lawrence of Arabia and I did then take he told me to take photos of birds and things I liked and make a story from the photos. I ended up writing a screenplay and filming it that week! That first film was Bird in the Wild which ended up in 20 film festivals. I love every part of making movies.

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

I am inspired by Lord of the Rings, the Hobbit, 1917, Braveheart. My mom shows me so many films, classic ones and all kinds but I like fantasy/medieval films the best. 

Who is your biggest influence?

Tony Kaye is my biggest influence. He is a true artist and filmmaker.  I also love Peter Jackson. 

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

I didn’t really have any challenges. Maybe just having better equipment like a real movie camera and editing and another computer for it. I think I need more budgets now because I am ready to do features. There was no challenge because its just so much fun for me and I love it. Also I have so many adventures filmmaking.

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

My favorite genre is fantasy and actions films, I love sci fi and comedy too! I love any genre that has an amazing story of over coming something. I love all the landscapes and different history time periods.

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

My all time favorite is definitely Lord of the Rings, Avatar 2, The Banshees of Inisherin, Pans Labyrinth, Braveheart, Life is Beautiful (La Vita Bella), I just have too many to say!

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

I would want to work with Peter Jackson, Al Pacino, Martin Scorsese, Guillermo Del Toro, Martin McDonough, Sam Mendes, James Cameron!!!

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

I do so many things like teaching myself special effects and I also do college math and am writing my own equations. I love soccer. I am Italian, I build insane lego creations, what else!

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

My mom. I can add some other people too. But my mom believes in me so much. Also my Nonno. Plus I have more.

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

That filmmaking is awesome. I had to learn that writing features can get really hard to get through in the middle! There are also long days on set but I love that. I learned that making films is a lot of hard work from writing the script to editing but I love every single part 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?

It was easy for me to get started also because my mom is an actress and I would go on set with her and see everything. And she’s so encouraging to all the things I do. I have to conquer that there’s not enough time in the day for all the films I want to make and have in my head. I never want to go to sleep at night because I have too many stories to tell. Theres only 86400 seconds in a  day! Its not enough. There’s only 1440 in a day. There's only 23 hours 56minutes and 4 seconds in a day.  Its not 24. Don’t let teachers fool you.

What keeps you motivated?

I love all the things I do.  Everything motivates me.

How has your style evolved?

I went from cheesy and crappy to amazing. I made a lot of short films now I am writing features and series. I’m just growing up I guess. 

On set, the most important thing is:

Everything. But mostly being so happy to be there and being grateful to be able to make films with amazing people.

The project(s) you’re most proud of:

I am really proud of something I’m working win now called Legends of Montosskwye (Pronounced Montoskee) which is a medieval fantasy 6 film actions series about a boy and group of outcasts who have to stop an evil lord from taking over the Montosskwye Kingdom.  I’m also proud of the two features I wrote which Im determined to make! I also love to compose the music for films and sometimes like with the Pacino movie I write the script from the music I hear in my head.

The most challenging project you worked on. And why?

The most challenging was making my short Looking for Pacino because when I tried to actually film Pacino at a theater in New York City someone came and took my phone away right when he was on stage! I was so upset they wouldn’t let me film in there. My Nonno was with me and they took his camera away too. He has a big camera he literally sleeps with.

What are your short term and long term career goals?

I want to be an amazing person.  My dream  is to make beautiful films, art, music, math equations and travel the world creating amazing movies and stories. My dream is to be a light to show others they can also have their dreams. I also want to build my mom a house one day. I also want a lot of dogs. I want to keep making movies because it’s the placeI can put everything else.

Your next projects?

My next project is that I am producing a film with my production company called Bird in the Wild Productions (with my mom) it’s called The Music Movie and I wrote it for Al Pacino so we are working on getting it made. It’s about an orphan boy who goes on a road trip with a washed up musician. I also have many other things I will be acting in and also another film about an ancient Roman boy that I wrote. 

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

I am @giosuebottini on instagram! Thank you graze mille!

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

Hints of Hollywood were around me from a young age. A family relative, Tap Dancer/Actor Todd Miller, performed in many classic films, such as the Oscar-nominated version of A STAR IS BORN with Judy Garland.  Nudges continued as my high school sweetheart was related to the legendary James Dean. My ex-husband's father was A-lister Dustin Hoffman's Manager, and another ex-beau's kids are cousins to children of the famous couple Warren Beatty and Annette Bening.  Beyond connections, my first career was in the media. Day-to-day activities of publishing trained me on how to tell stories and use photography effectively. I worked in all departments from editorial to modeling to advertising for years. So not only was I surrounded by the entertainment business being showcased in glossy magazine pages like Hearst Corporation's COSMOPOLITAN or Conde Nast's THE NEW YORKER, but I was interacting with celebrities at times.  

Once I moved to Los Angeles, I eventually had the chance to be on the other side of the velvet rope at Red Carpet events. Film/TV shoots are happening everywhere you look and I was pulled right into it all.   

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

Two specifically built a bridge. One is PUBLIC ENEMIES (2009) with Academy Award nominee Johnny Depp about the 1930s American gangster John Dillinger who was from Indianapolis, Indiana, my hometown and state in the United States.  

The other is AS I LAY DYING (2013) with Academy Award nominee James Franco based on the 1930 book by William Faulkner, the first American novel of the Great Depression era. During the Great Recession, the most severe financial meltdown since the Great Depression, I left NYC where I'd been working on V & VMAN magazines and moved back to Indy. I hadn't planned to stay long but got engaged to a man born in Scotland and raised in the USA. As a baby, his milkman was none other than Sir Sean Connery when that was the Actor's first job.  

Worldwide we were pulling out of the Recession, so I had a "pink slip" to go back to Manhattan. Yet I'd lingered in my hometown for the hope of marriage. Instead I picked up an extra holiday job at Amazon. That's where I saw Franco's dvd for the Faulkner film come across the assembly line. Time stood still. It was a very real pivotal moment prompting me to question where I was and where I was going. 

Who is your biggest influence?

NO TIME TO DIE spy film "James Bond" Brit Daniel Craig. In 2013 I was breaking off my engagement when I saw an ad for his Broadway play BETRAYAL with his Oscar-winning wife Rachel Weisz. I went! Influential? Definitely.  By May 2014, I was on a one-way flight to Los Angeles with my big dreams packed. I'd been in LA before and dabbled with a few background gigs. Naysayers dissuaded me then. As I watched my baggage come off the conveyor belt, I knew I'd try harder this time. 

By June that year, I was enrolled in Studio 4, James Franco's Acting & Filmmaking School.  There I landed my first speaking role by  participating in several Franco films (DARK HOURS: ROXANA, DARK HOURS: TYPEE, TENN, THE DISASTER ARTIST, etc) and met classmates who would become collaborators on my own films as I would collaborate with theirs.

LA native Jeff Vernon has been on all 5 of my films as a Senior Associate Producer/Film Editor/Actor/Animator/Graphic Artist. I acted in his CRAZY LUCKY and THE GUILDED BOY and as his acting partner on other films, such as Jacqui Blue's LOVE & OTHER LIES. 

Former Studio 4 Instructor Kathleen Randazzo is another example. She portrays the "Sara" character in my feature FATE'S SHADOW: THE WHOLE STORY and short film version FATE'S SHADOW, while I was in her short APRIL which rolled into the feature TWELVE. 

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

Most independent filmmakers will say the same thing, I believe. Budget. It takes a village to make a movie, no matter what length. Mine were mostly self financed so they had to be created over time.  Large studios can afford all the help they need whereas smaller projects require casts to jump in as crew if needed. I wore many hats as the Producer/Director/Screenwriter/Actress/and a list of crew spots. 

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

All of my films have romance! Love is a universal language and the world needs more of it. If I can help heal others through the messages of these films then we've checked that box.  

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

SYLVIA starring Gwyneth Paltrow and Daniel Craig about the Poets Ted Hughes and Sylvia Plath.  Great cast and I'm especially tuned in to biopics about other writers. By nature, writing is my first calling. Wonderful to see Gwyneth acting alongside her mother Blythe Danner too. That work influenced decisions in producing both RINGS OF THE UNPROMISED and FATE'S SHADOW: THE WHOLE STORY. We have poems by award-winning Poet Tom Squitieri in each feature.  I also used stanzas of poetry by award-winning Poet Sandra Kaye for 3 of the FATE'S SHADOW Teaser Trailers and converted a poem by Oswaldo Rodriguez into a song for the RINGS film.  In addition, Hollywood Royalty Karen Sharpe is attached to both films as cast or crew and her daughter Kat Kramer acts in both. Karen is the widow of the 9-time Oscar nominated Producer/Director Stanley Kramer. Having a mother/daughter duo portraying the mother/daughter duo "Mary" and "Beverly" brought more reality to my FATE'S SHADOW script.  

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

Steven Spielberg from Ohio. As the highest grossing film Director of all time, he's on top of his game. One time at an equestrian event, I was going up an escalator while one of his family members was coming down one. We crossed at the halfway point. I took that as a sign that he'd be open to meeting me in the middle sometime only to ride back up symbolically someday. 

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

I love animals. I credited the ones seen in FATE'S SHADOW: THE WHOLE STORY on the credit roll even though they didn't realize they were caught on camera.

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

Our highly-trained Composer/Sound Designer/Sound Editor/Sound Mixer/Foley Artist R. Kim Shultz. He contacted me out of the blue from finding me on IMDb before our first film was made. He really trusted my abilities and he's created original music for every film since then. 

His wife, Singer/Songwriter Nina Kruse, performs 4 songs in RINGS OF THE UNPROMISED.  Her delightful voice smooths our scene transitions in magical ways. They're an award-winning musical partnership! 

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

Disrespect for female filmmakers is there no matter what we do, although we're making headway. It's really an odd phenomenon since women are more emotional by nature and films are intimate playing on people's emotions. 

Also making a film is a collaborative effort and women by design are more sensitive to others' needs. I've simply devoted more time and energy to being aware of behaviors and watching details to offset any negativity. 

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

Neither honestly. My passion for this industry is so strong that once I landed at LAX in 2014, I've never stopped going!  My agency said I had a clean record which is rare. Being punctual, following direction, knowing my lines, etc. Giving 110% is what I thoroughly enjoy! 

Juggling other life priorities to be balanced, like getting enough rest, will always be a challenge. 

What keeps you motivated? 

Seeing clips of the nominees' films at the Oscars. Some of the most incredible talent and skills are showcased on that stage's screen. Regardless of who wins, the event's room is filled with creative geniuses and their work touches the lives of millions of people. 

How has your style evolved? 

Our films have statistically improved in the festival circuit. People say they notice the difference. Oversights have been fixed. Also, what started as an idea for one film, such as mirroring effects, was enhanced for another. So I've polished my directorial approaches. 

For example, in the FATE'S SHADOW feature our Lead Kevin Caliber as "Zack" is unfaithful to "Eva" 5 times. In the final scene I say goodbye 5 times,  which only happened because our Sound Recordist Blake Christian asked me to do 5 takes saying "bye" to assure we got it. As our Film Editor Jeff Vernon pieced the ending together, I said: "Let's use them all!"  I liked my voice variations but it reinforced each of "Zack's" offenses.  When I wrote the final revision for RINGS OF THE UNPROMISED, I opened it with a car accident and closed it with screeching tires. That was deliberate instead because I love the mirror effect of matching feelings that we did for FATE'S SHADOW. 

On set, the most important thing is: 

Making everything run as smoothly as possible. A cast member's only thought should be what can I do or say to make this day be better.  

Our Actress Linney Allen and Actor Sergio Julian De Oliveira win top prizes for doing all they could for their acting roles, offering to assist with any crew tasks, and showing support for our sister films as well. I cannot thank them enough.

The project(s) you’re most proud of:  

1) FATE'S SHADOW: THE WHOLE STORY 

2) RINGS OF THE UNPROMISED 

3) THE WISTERIA MANOR (adapted from the novel by Jay Scott Nixon) 

4) V & F

5) FATE'S SHADOW 

All won awards in the film festival circuit and producing them has been extremely satisfying. It's my hope these stories enlighten others.  

The most challenging project you worked on. And why?

All of those films were the most challenging because we were going through a global pandemic or they were my first filmmaking endeavors. But we are past the worst of that health scare and I'm no longer new to the field. 

What are your short term and long term career goals?

Two more festivals are pending for RINGS in December; then we are wrapped with the circuit. All 5 productions completed their runs in 2023 so we are wrapping up the year with a bang! 

The next goal is to get them distributed and that will happen soon.  It would be fantastic to land a speaking part opposite an A-lister on an epic blockbuster.  Saying that to start manifesting it. Fingers crossed! 

Your next projects? 

Writing a script about a Native American Indian. I'm part Cherokee and would love to see a film dedicated to someone in my family. I've been thinking about it for awhile. My cousin Gauge Keiller is a fantastic singer and I'd like to have him perform as well as Nina Kruse too. Stay tuned! 

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

IMDb link for Michelle Arthur 

https://www.imdb.com/name/nm7393387/  

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

My background is in the theater and entertainment technology. I attended Full Sail University in Florida, where I learned many essential skills, most notably how to use Adobe Suite for photo and video editing. After school, I spent several years working in live shows at Universal Studios and acting and writing with Ken Eulo's regional theater group, the New York Acting Ensemble. During that time with Ken, I really learned the ins and outs of drama and story structure. From there, my wife and I moved to Los Angeles, where I tried my hand at writing comic books. I worked on my first book, Prophet, with artist Anthony Diecidue, which I published online and in print through my newly formed company, DangerKatt. Anthony and I would go on to create two other books, Moriarty and Red City, which would eventually be published by Image Comics, the most prominent independent comic publisher in the world and home of The Walking Dead. This afforded me a broader voice and visibility, leading me to write more screenplays and create my most recent graphic novel, Bloodworth, with Star Trek: Lower Decks artist Chris Fenoglio.

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

The big films that first made me love movies would be Raiders of the Lost Ark, Blade Runner, Heat, Apocalypse Now, and Tron. The original Star Wars trilogy, the first four Star Trek movies, and Rocky get an honorable mention. As far as movies that made me feel like I could get involved in filmmaking, it would be any number of the films that were part of the '90s indie boom, like Pulp Fiction, Fargo, The Big Lebowski, Twelve Monkeys, and many others.

Who is your biggest influence?

Ridley Scott and Michael Mann are huge influences, as they create films fraught with detail and authenticity. Their works look amazing in all aspects, but they are uniquely exceptional in that every detail is motivated by the lead character's story and who they are. The "lived-in" sci-fi universes of Alien and Blade Runner reflect the gritty souls of Ripley and Deckard. Both protagonists are not only part of the fabric but also weave the worlds around them into being. I recently watched a show called One Perfect Shot on HBO Max, where Michael Mann broke down a single shot from his epic bank shootout in Heat. Every moment he describes in that action sequence relates to the individual characters' motivations. There was no "I wanted to create this neat shot at this clever angle," but everything served the characters' personal stories. That's what makes those guys so great: the consistency of character and the worlds that they inhabit.I can say the same about Denis Villeneuve and his work on Blade Runner 2049  and Dune. The world-building and character crafting in those films are remarkable.

Also, since I'm a musician and my latest work is a music video, I have to talk about my most significant influences in that realm: Peter Gabriel and U2. Peter Gabriel has always been an artist on the cutting edge, giving you an auditory aesthetic you've never heard while folding that sound in with the latest art and technology, thereby giving the listener the sense of a lived-in experience in a vast world of sonic architecture. Similarly, U2 is a band with an entirely original sound and approach to music-making, and they consistently exhibit a knack for reinvention by crafting visual worlds for their music to inhabit. Think of the desert landscapes that evoke the desire and longing of The Joshua Tree, which they would later follow up with the cyberpunk-dystopian imagery of Achtung Baby and its "truth versus information" messaging. Finally, I have to include the work of musician and producer Daniel Lanois, who helped craft Peter Gabriel's So and U2's The Unforgettable Fire, The Joshua Tree, and Achtung Baby, as well as his own albums Acadie, For the Beauty of Wynona, and Heavy Sun.

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

I had a minimal budget when I sat down to create the music video for my song Lift Me Up. Second, I had an idea that I wanted to use newly available tools to create an animated, futuristic aesthetic, but everything out there was so new that I had to learn from scratch. I spent about a year digging into Midjourney, Stable Diffusion, and Kaiber.ai to learn and discover what would be possible. Lift Me Up is a rootsy, acoustic song that blends the aura of Paul Simon with the rustic Americana of Bruce Hornsby and the raise-the-roof anthems of U2. So, why would this song have a cyberpunk aesthetic? Most people would hear this song and call it "folk" (I'm much more keen on "Americana" as a descriptor), and most would expect it to evoke images of nature, of someone strumming a guitar and sitting by a flowing river. But I don't want to do that, because I prefer the hustle of cities over the quiet countryside. Besides, it makes sense that a rough and raspy acoustic guitar would shout to God above the din of dystopian urban blight. Additionally, since no one is paying me to do this, I'm gonna do what I want. I spent a lot of time taking photographs in downtown Los Angeles and Tokyo, as well as photos of guitars, pianos, vinyl records, and cassettes. I have an ongoing conceptual photo project called Map of the World that involves hunting for antique books, maps, and documents and taking macro shots of those. I incorporated that into this project so that Lift Me Up would become an extension of the MOTW mindset. I blended the city, instrument, and document photos in Photoshop, processed them in Midjourney, and then edited them again in Photoshop and Lightroom. I made over 1,000 of these images, which turned out to be slick, cyberpunk goodness. From there, I learned enough about Stable Diffusion and Kaiber.ai to animate the photos, which was a huge learning curve, but I was eventually able to create the shots I needed. I had DP Christopher Gregson shoot footage of me playing and singing the song, which I ran through Prequel and Stable Diffusion. Then, I created composites in After Effects and edited everything together in Premiere.

On top of that, I had to write the song and record it. My friends Dennis Morehouse and Alexx Calise produced the recording, and I played guitar and piano and sang lead and backing vocals. So, in the end, I did the lion's share of the work assembling the video, but the contributions of my collaborators Chris, Alexx, and Dennis were vital to the project. There would be no sound without Alexx and Dennis, and my face would be absent without Chris.

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

I like sci-fi and crime noir, and when you blend the two, you get a relatively new genre called cyberpunk. Cyberpunk has a lot to say about the condition of humankind and our relationship to a flawed and ravaged Earth, the result of our hubris. It also makes a quiet statement about our relationship with God: There is a darkness and mystery that is both melancholy and exciting, yet there is almost a transcendental beauty to the rain, neon, and towering buildings that makes one think about what is beyond.

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

I'm always back and forth between Raiders of the Lost Ark and Blade Runner, but relative to Lift Me Up and everything I've said previously, I have to cite Blade Runner as a primary influence. As I stated previously, the visual world of Blade Runner reflects the darkness of its protagonist, Deckard. He doesn't behave like a hero and does some terrible things, yet throughout the film, you get a sense that he is longing for something beyond the world that he inhabits. By the end, when we see Batty deliver his monologue and Deckard and Rachael get on that elevator into the unknown (at least in the Director's Cut and Final Cut), you get a sense that they are going to go on and try to find that something more. Again, that is what I wanted to express in Lift Me Up: The imagery of a massive megacity that can swallow souls juxtaposed with a raw expression of longing for God and a love for music that eventually lifts us above it all.

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

It's hard to narrow it down, but I draw from my previously stated influences: I would love to be involved visually in the work of Peter Gabriel to have my art be a part of his live show. I would also love to have Daniel Lanois produce one of my songs (or an entire album).

Additionally, Ridley Scott--if you are reading this--I would like you to direct a film adaptation of my Image Comics book, Moriarty. Contact my managers, David Server and Ray Miller, at Venture Entertainment Partners in Hollywood.

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

In the past, I worked as a transcriptionist for broadcast news and once created an interview transcript for the King of Jordan. 

I also love cats. But everyone knows that.

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

There are four: my wife, my parents, and my sister. I don't know why, and sometimes I think they're crazy for believing in me, but they just keep doing it. And I'm pleased that they do.

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

Just be prepared when opportunity comes your way. I lived in Los Angeles for about seven years before attempting to find an agent or manager. I did nothing but work all the time so that when I finally met a manager, I had already published two books independently. 

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

Getting started is relatively easy. Initially, you have ignorance on your side, which is a good thing. If you start on a new craft or project and expect good things to result, something good usually does happen. And that is a result of your passion overshadowing the tales of doom and gloom around you. Having the fortitude to continue forward is always the most challenging thing because if you spend any number of years in film/theater/book creation, you will deal with a massive amount of rejection, negativity, and disappointment. Just stay focused, keep going your way, and know when pivoting is necessary.

What keeps you motivated?

Mostly, I'm always trying to keep a sense of mission in my life. I feel like I have to do something that reaches out to people, and I will always keep doing that in whatever way God pushes me to go. 

How has your style evolved?

It's more about how my thinking has evolved. I started off thinking I was going to be an actor. Then, I became a playwright. Then, a screenwriter. Then, a graphic novelist, award-winning photographer, musician, and music video director. It's all about having a total artist mindset and embracing what is available in front of you at any given time.

On set, the most important thing is:

Preparation and focus. And having a team that is in step with you, collaborators on the same page making "the same movie," as they say.

The project(s) you're most proud of:

My graphic novels Prophet, Moriarty, Red City, and Bloodworth. The VR comic based on Moriarty titled Moriarty Endgame VR. My Map of the World photo project. My song and music video, Lift Me Up. I've also written a novel called The Aura, which I'm working on getting published. (If you work for Penguin Random House, Simon and Shuster, et al, I will reiterate that I am repped by David Server and Ray Miller at Venture Entertainment Partners in Hollywood. Thank you.)

The most challenging project you worked on. And why?

Probably Moriarty. While writing the first volume, I spent about three years shopping the project to publishers. By the time we signed with Image and finished the first issue to the time our hardcover omnibus was released, about five years' worth of blood, sweat, and tears were shed to make it a reality. And then an additional three years to make the VR version happen.

What are your short term and long term career goals?

I have no idea other than to keep living and making things people will see, enjoy, and learn from.

Your next projects?

Recording more songs, writing more stories, making photographic art, short films, and augmented reality. There's no end.

You can find me online at Instagram, Facebook, TikTok, YouTube, and Twitter as @thedangerkatt. My website is DangerKatt.com. You can find my music on Spotify and all other major streaming services HERE and watch my music video Lift Me Up on YouTube HERE.

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

I've been writing poems and short stories since I was a child, and my first one was published in a magazine when I was seven. After that, my friends and I founded a theatre, where I had to write plays. Then, when the playwriting was going well, I was approached by the film industry and started writing scripts for television series. I was the sole writer of a crime series, which I had to write 181 50-minute episodes between 1998 and 2002. As a writer, I was involved in the filming and it was clear that I would eventually direct a film. I directed my first one eighteen years ago, and since then I've directed 20 in total. But I haven't stopped directing in the theatre, and I still don't stop writing plays.



Films that inspired you to become a Filmmaker?

When we were teenagers, cinemas still showed valuable, meaningful films. The great films of Italian neorealism, or the works of Bunuel. At that time, the American film industry was also making great films, and it was then that the stars we still watch today were filmed. It was the beginning of the directors who are still making films today.



Who is your biggest influence?

Dino Risi is an Italian film director. Not much known today, I have seen all his films several times.


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

There were no challenges. I learned film technique while writing the series. In the theatre, I've been acting and writing, as I said, since I was a kid. For me, a film is not a challenge, it's a game and a pleasure. To do that, I need to surround myself with talented people, because film is a communal genre.




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

I like absurd lyrical films and I very often film tragicomic stories. Because I think that in today's world, comedy and tragedy are getting mixed up. And all this together is the absurd film.



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

Bob Fosse's ALL THAT JAZZ, I can watch it over and over again. It's dance, tragedy, lyricism, comedy and mysticism all rolled into one.

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

I would love to work with Tom Hanks one day, but the chances are slim.



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

I always seem confident, I always prepare thoroughly for every job, I know every cut before a shoot, so people think I'm easy to work with. I'm always afraid of the next minute, of the end result, of whether I'll be able to do something the way I planned. They say it doesn't show at all. But it does.



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

The Hungarian film director, Sándor Mihályfi, who first gave me the opportunity to make a big budget film the way I wanted to. Unfortunately, he is no longer alive. But the film has been very successful for a long time, I think I deserved the credit.



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

To learn to see through the eyes of the public. To make a film that reaches a lot of people, and to do that I have to forget the director in myself sometimes. It's good if the director can put himself in the shoes of the future audience, even on the set.



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

What I start, I finish, I work fast. I'm very lucky, all my films are independent films with full creative freedom.

What keeps you motivated?

The opinion of my family, and especially my wife. And to showcase my talent. The talent of an actor, cinematographer, set designer, editor, who I believe in even when others say otherwise. I like to bring out the talent in artists that others don't believe in, and I usually succeed.



How has your style evolved?


It's been said that I'm good at mixing the real and the supernatural. Indeed, for me, reality only adds up to the mysterious things above reality.

On set, the most important thing is:

So that the director is as prepared as possible. For every moment of the film. It often happens that I make changes based on the opinion of the actors or the cinematographer, that's natural. But there must be a concrete and elaborate idea against which you can change or improvise.



The project(s) you’re most proud of:

My film DARKING WAY, made three years ago, has since won three hundred and fifty international awards around the world.



The most challenging project you worked on. And why?

My first film, which I shot on 35 mm raw, with very professional collaborators who had already made a lot of films. I had to live up to them, but I think I succeeded.



What are your short term and long term career goals?

I always have a dream, a story that I want to make into a film or a play. Much more than can be created in one person's lifetime. No matter how the years go by, if you are haunted by your dreams, and there are many of them, you don't feel the time. That's why I don't have a short or long term career goal, I'm not interested in careers anyway.



Your next projects?

In Hungary, I am now making a documentary about people who have suffered extremely tragic fates. After that I'm making a feature film again, a historical film about 1356. But before both I'm shooting a short feature film, because I've never done one before. It's a short story by a classic Hungarian writer about an old man walking along a city riverbank who meets his 18-year-old self. And the boy asks him what his dreams were at the time and what he managed to achieve. It will be a passionate short film. And I have a big dream for which I want to get an international producer. A dance film in which artistic dancers from many countries of the world would come together to tell a story that is completely new and has never been filmed before. Maybe someone will read that interview and be interested.



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

I have my own channel on YouTube, where most of my films are also available with English subtitles.

(1) POZSGAI ZSOLT - FILMS, INTERVIEWS ON VIDEO - YouTube, Facebook and other sites where I can be found by name. I am the founder of the Pápa International Historical Film Festival, the website is www.pihff.com It is worth entering films, because we host the creators of the finalist films for a few days, we pay their travel expenses, so they are our guests. And it's a great opportunity to get to know each other. But I also welcome any enquiries at horatiofilm@gmail.com.

I'm not closed to the world, I'm open to all new things, so all my contact details are public.

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

I'm an independent urban book author and filmmaker from Philadelphia. In 2012 , after the murder if my younger brother I decided to write abd direct feature films.

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

The film that mostly inspire me is Cooley High

Who is your biggest influence?

My biggest influence has abd will always be my mother.

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

Getting the right actors is my biggest challenge. 

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

My favorite genre is urban culture. I feel it's my job to bring the realities of the ghetto to life.

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

My all time favorite film is abd will always be Cookey High. It touches the pure essence of life in the ghetto. 

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

I would love to work with Nicolas Cage. He is a great actor!

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

I'm an all around artist.  I love to draw, write and create 

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

My mother, she passed a few months ago, but she has always believed in me.

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

The most important lesson I've learned is to build a great team of people that love what they're doing. 

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 start or finish when you love what you do. 

What keeps you motivated?

I'm self motivated, growing up in the ghetto it's either finish or fail

How has your style evolved?

As a film maker I've grown on all levels. Each new film teaches me something new 

On set, the most important thing is:

The most important thing on set is having everyone on the Same page 

The project(s) you’re most proud of:

The film I'm most proud of is my film NOBODY'S SON, available now on TUBI

The most challenging project you worked on. And why?

The most challenging film I've worked on is my film A COMPLICATED AFFAIR, it's also on Tubi. I had to do it all, write, direct, cast etc.

What are your short term and long term career goals?

My short term goals is to keep creating great urban content.  My long term goals is to one day become one of the biggest indue film makers ever.

Your next projects?

My next project is called THE ULTIMATE HIGH, it's coming in late December or early January 2024

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

 I can be reached on Instagram: @jimmydasaint1 

Twitter @Jimmydasaint1 

My website is: www.dasaintentertainment.com 

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

My parents were the ones who opened the doors to Filmmaking for me at an early age. They showed me all kinds of movies from Disney’s Pinocchio to Predator. My mom would show me the classics while my dad focused on sci-fi, horror and action films. 

I remember watching Terminator 2: Judgment Day with my dad and brother and crying when Arnold’s character (The T-800) sacrificed himself at the end of the film. Afterwards, I remember my dad telling me someone wrote that movie because it was their job. That was the moment I knew I wanted to be a screenwriter. When I found out people could this for a living I knew there was no turning back.

Films that inspired you to become a screenwriter?

The first films that made the initial impact were the original Alien (I first saw the original Alien when I was four years old) and Star Wars. Those films showed me there was no limit to what kind of stories someone could tell. You could write anything about anything.

Films like The Dark Crystal and Batman: Mask of the Phantasm allowed me to see the emotional depths stories could take but still be so beautiful and inspiring at the same time.  As I got older, films like Casablanca, Midnight in Paris, The Shawshank Redemption, The King’s Speech and Wolfgang Petersen’s Das Boot confirmed my inspiration and drove me to actually begin writing full length feature screenplays and short stories.

Who is your biggest influence?

I have a long list and it varies with whatever project I’m working on or moment in my life. 

That being said, Stanley Kubrick will always be up there for me. Kubrick changed the definition of Film. He opened doors we never knew existed. He’s one of those rare filmmakers when you sit down and watch one of his movies you’re actually transported into another world. Very few have that ability when it comes to storytelling. Everything he made is genuinely perfect. I keep the lessons he taught us regarding storytelling with every project I work on. He knew what film really was and we need to be grateful for that.

What are some of the challenges you face in writing your own scripts?

Constantly questioning or critiquing myself. Always asking if this story is worth telling or why am I interested in making this into a script. It’s beneficial when I’m going through a rewrite but it’s more harmful if I have that mindset before I even begin writing.

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

Drama. There’s something about taking real life experiences and creating characters to react to those situations. It’s always a learning experience because each character is going to do something even I can’t expect. I do enjoy dabbling with science fiction or fantasy but there’s something about drama right now that I can jump into and do something different with. 

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

I have a top ten list that changes a lot but Alien will always remain on that list. It’s a film I revisit every year and still find something new to be fascinated with. I think it’s the world and sense of isolation along with the cast and crew who brought Dan O'Bannon’s original vision to life.  I’ll never stop arguing how Alien has some of the best acting of all time. The chemistry between the performers is so natural. 

The film has some of the most incredible practical effects ever produced that sadly aren’t used in a lot of media in this day and age.

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

I have that dream list of Directors, Producers and Actors and Actresses every filmmaker has the goal to work with at some point in their career. I would say at this point it would be incredible to work with Eva Green. She’s been in some incredible films and television shows and each piece she’s in is so different from the last. I’m excited to see her new film, Proxima. I think she could bring some amazing ideas to the table that would only strengthen a script’s goals with story and character.

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

I try to practice American Sign Language daily.

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

There’s two people actually, my mom and dad. There were points where I wanted to give up and stop and they were the only ones who believed in me when I couldn’t even believe in myself. They pushed me forward during some tough spots. I wouldn’t be who I am today if it wasn’t for them. 

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

The most important lesson I just recently learned was to believe in myself as a writer in order to tell a great story. I use to be very hard on myself which reflected on the quality of my work. It was a constant struggle of always underestimating my abilities and what I could do. 

Once I overcame that barrier, my writing drastically improved and what I wanted to say came out the right way on the page. Now I write pieces I’m proud of and can see that they resonate and connect with an audience from the recognition I’ve been receiving. 

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

I would say keep going. When you go down certain roads in life, obstacles get in the way or you make excuses to stop what you’re doing because it isn’t “logical”. I think those moments are great for reflection. 

What keeps you motivated?

I’m always reading books, writing scripts or stories, watching films and spending time with friends and family. I think everyone needs a healthy balance of input and output. One can’t dominate over the other.

How has your style evolved?

Early on I was too focused on world building as well as hitting story beats at the right moments. Now, I focus on the characters and their journeys as well as their emotional struggles. A writer needs to create characters readers can relate to and connect with naturally. If you don’t have that or you try forcing themes, ideas or agendas on to the reader or viewer, no one will care about your story.

The project(s) you’re most proud of:

I’m currently excited with the recognition and nominations The Lost Track is currently getting. It’s a good small step forward in my career.

This was a tough project to land but thanks to classes and my professors from Boston University, specifically Professor Marc Weinberg, I was able to tell the story right.

The most challenging project you worked on. And why?

There’s a recent feature script I just finished that was one of the most painful scripts to write. Strangely enough, it was one of the fastest scripts I’ve written as well. I can’t talk about the plot but it sadly reflects what a growing number of people in society are facing each year. 

What’s keeping me going with the story is the overall message. Yes, these characters are put through Hell and back but in the end the overall journey makes them stronger as well as helping others in similar situations.

What are your short term and long term career goals?

Short term, I would like to have my short script, The Lost Track, produced into a short film. It would be a nice step forward if I can find the right Director and production team to bring the story to life. There are certain features I’ve written that I would love to be picked up and produced. If I can have one of my scripts made into a feature film I would truly be grateful.  I also wish to publish a book of short stories in the future. It’s been a little project I’ve worked on over the years and hopefully one day something can come out of it.

Your next projects? 

There’s a script I’m working on with my co-writer from Boston University, Bayleigh Von Schneider. She’s out in LA while I’m in Chicago. It started out as an idea she had that grew into a full outline after a three hour meeting of us talking and laying out the story. I’m excited to see where it goes.  I have a TV Pilot Script I’ve been getting assistance with from attorneys to make sure it’s accurate as well as compelling for readers and viewers. Lastly, I just finished feature script but as any writer knows, there’s always rewrites. The writing never stops.

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. 

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

I  developed a passion for movies when I was very young, and as a kid, I  was so obsessed with movies that I was always trying to reproduce the  scenes in it. Being raised in a small town, I never thought I could make  my dreams come true, but one day a teacher of mine told me that I was  born to become a filmmaker, and from that moment I could not stop  thinking about it. At first, I got scared and tried to push it back.  Since my academic background was very technical, I decided to study  Electronic Engineering and forget about being a filmmaker. But I was not  happy, so I decided to take my destiny in my hands and move to Rome to  start my career in Filmmaking. 

Films that inspired you to become a filmmaker?

Many  are the films that made me desire to become a filmmaker, but the  triggering point came with The Lord of the Rings. I was so impressed on  how much effort, life time and passion people can put in something as  simple as the making of a movie. I was amazed that because of a movie  people had to change their life completely, spend most of their time in a  new country, learning a new way of life, learning new skills, and  creating new long lasting relationships. I loved the idea that just  because of a movie, the people involved gained so much more experience  in their life, that they would not have achieved otherwise.  

Who is your biggest influence?

That’s  a tough question. I never felt I had a specific person influencing or  inspiring me. I like to get a little from everybody.   

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

Definitely  finding the right people to work with. Very often I found people that  either expected me to tell them everything they had to do in their job,  or people that wanted to take over my job. Finding the right people to  work with is key, and very often I prefer to work with people that are  not professionals, because they have a genuineness and passion that very  often professionals have lost.  

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

I  don’t have a favorite genre to work in. When I approach a project, I do  it with the intention to explore a specific theme, and talk about  something that is important to me. Some themes that are recurrent in my  projects are the relationship between human beings and our disconnection  to ourselves and others; the connection between past, present and  future; dreams and delusions; and the analysis of the solitude that  affect all of us indiscriminately.  

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

It  is hard to pick only one, but maybe I would say Rear Window. I love  movies with a mystery to solve, but that also do a deep analysis of us  as human beings. That movie is full of symbolism and everything that  happen on the screen is extremely connected to the inner journey that  the main character is constantly going through. What I love of that  movie is that in the surface it seems a very simple movie, but the more  you analyze it, the more complex it becomes. 

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

I  don’t like the idea of working with people that are recognized and  already successful. I think that having famous people in a movie can  very often take away the audience from the story. People in the audience  would constantly expect that movie to be something specific because of  the previous career of that actor. I don’t want that. I want my audience  to be raw and not to expect anything from my movie. If I could work  with anyone in the world, I would like to work with someone that is  genuinely passioned about moviemaking and willing to experiment and  grow.  

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

Most  people see me as an extrovert person, who make jokes about everything  and that cannot be serious about anything. Careless many would say. But I  am actually very reflective, focused and I think more than I say. I am  very sensitive but I try to keep it a secret most of the time.   

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

That  would be my cousin Valentina. She always supported me and my desire to  become a filmmaker and she was there with me when I went to Rome the  first time to see my future movie academy. We also did a music video  together where she was the dancer performer, a video that talks about  becoming adults and the difficulties of making dreams come true. 

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

The  most important lesson that I learnt as a filmmaker is that being  prepared and alert in life and on set is the most important quality  someone could ever learn. If you are not prepared on set, you will have  delays, and these delays will necessarily burn through money. But also  no one wants to waste hours doing nothing because you didn’t do your  homework, so if you want to keep good relationships with your coworkers,  you need to be prepared and know what you are doing.  

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 the most difficult thing is to get started, but sometimes to keep  the passion alive and keep going is hard too. For me, it definitely was  more difficult to start. I had to leave all my family and friends, and  had to start a new career in a place where I didn’t know anyone and the  only person supporting my decisions was my cousin. But when I was living  in Rome I found it hard too to keep going and maintaining my passion  alive as well. Rome is a city that can drain you, and after few years I  was left with a lot of questions of why I was doing what I was doing.  Because of that, I decided to move to Australia to start again from  scratch and in few days I found my answers again.  

What keeps you motivated?

Now  I live in Los Angeles and I work as a facility manager of an historic  movie theatre with a lot of premieres and events. Challenges is what  keeps me motivated, and in my job there are many. Doing this job and  seeing the passion that the audience people have, keeps me motivated not  only as a manager, but also as a filmmaker. Being a manager in such  important venue keeps reminding me why it is important what I am doing,  and knowing to make a difference in the life of people is priceless.

How has your style evolved?

I  am not sure I can talk about evolution in my style. Definitely my  technique got better. And, especially thanks to the experience that I  earned as a manager, I learnt how to choose more wisely the people  working with me and how to direct them more confidently. My two careers  as a manager and as a filmmaker go hand in hand, I learn from one and  practice in the other one, and vice versa. But I feel that all my  videos, even the very first ones, share a common style and theme.  

On set, the most important thing is:

Being  focused and definitely being on track. I don’t like being late on my  schedule, I prefer to shoot less and being on time, then having more  footage for me to use and not meeting the deadline, and have everybody  angry with me. I also feel, as a director, that the best shots are the  first ones, because they are more genuine. Every time I shoot a scene  multiple times, trying to get the best performance ever, I think I get  it in the last shots, and then in editing I realize that actually the  best one was one of the first, so now I rarely shoot more than 3 times a  scene. 

The project(s) you’re most proud of:T

The  project I am most proud of is the one I shot with my cousin, the music  video "Safe in the Storm” by Little Galaxies. I shot that music video in  a failure time of my life, and because my cousin was experiencing the  same, we decided to shoot a video, that would eventually become a music  video. The idea was to film whatever we thought we had to film, and  then, after finishing the editing, to find someone to make the music.  After few musicians that fell through, I found online this song by  Little Galaxies and I fell in love with it. I wrote to them asking if  they wanted my video to become the official music video of their song,  and they agreed. I didn’t even had to change any frame of the editing,  just adding a minute at the end, it was simply meant to be.   

The most challenging project you worked on. And why?

Definitely  it was a cover music video that I did for Jameson Tabor. It was one of  our first projects together and everything went just wrong. We had  everything ready, and once we started shooting, we got kicked out of the  location and couldn’t find another one on the same day. Once we found  the location, we lost our main actor. Once we found the actor, we lost  our DP. When we finally managed to shoot the music video, the SD card  where the files were saved got corrupted and we have lost half of the  footage. That project was simply cursed!  

What are your short term and long term career goals?

My  short and long term career goals is definitely to continue my career in  the movie exhibition business as a manager and find more ways to  showcase new talents on the big screen, and also to make my first  feature movie as a director. As a long term project I also want to open  my own movie theatre and open a museum of movies in Rome.   

Your next projects?

I  just released my last music video for the Little Galaxies called “It’s  Natural”, and another one for Jameson Tabor called “Black Dust”. I will  now send these out to various festivals and I am also writing my first  feature movie.  Your social media account:Instagram @lasava.alessandrini