“We owe it to ourselves to go out and do it!” – NFTS graduate Shady El-Hamus talks film directing

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Do you want to know a lot about directing films? Then chat with Shady El-Hamus, a recent graduate in directing fiction from the National Film & Television School (NFTS), or modestly read on and decrypt the messages below.

Shady’s short films focus primarily on relationships within the family and how pressures from one’s background, social status, and psychology all impact one another. After watching Over Zonen (About Sons), winner of the Dioraphte Award at the 2012 Netherlands Film Festival, I felt compelled to contact Shady and discover more about where he came from and how he manages to create such a compelling drama in the space of 15 minutes. The film secured Shady a place at the NFTS in the UK to study his craft in safekeeping for two more glorious years.

There was no one anecdote that secured Shady’s interest in filmmaking, rather both his parents have been writers and actors for years, so an impressive feat for accomplishing artistry must come as second nature. More specifically, Shady always loved storytelling and film fell into this love quite naturally. But, at eighteen, he admits not entirely understanding much about the process other than that a director essentially tells the story. However, the film school in Amsterdam (a 4 year BA) divides writers and directors – a long time to commit to one discipline! Despite enrolling in writing, Shady’s desire to direct his own scripts surpassed the schools regulations and he was able to convince the school to make Over Zonen. Without this go-getting attitude, film directing (and NFTS) would never have happened – I believe this is the case for anyone getting into the business – you have to have an element of single-mindedness that allows you to do what it is you actually want to do.

In a dream world, Shady does want to find a co-writer, another mind that can gel with his own to explore the many themes that he is curious about. Two minds can be greater than one. If you find someone with qualities you lack, for example, then it is likely to be most prosperous working with another writer. Let us not be misinformed, Shady is adamant about his love for collaborating, it is clear from his thoughts that it would not otherwise be possible to become a director. A director works with many people, something that Shady believes should be an enjoyable experience and come effortlessly, collaboration as a kind of disclosure. Shady targets another interesting thought that you have to be positive in order to be and stay creative. He then goes on to say that communication should go beyond language. It is a matter of getting other people inside your head. Whether right or wrong, this director understands how to work and evidently knows how to achieve what he wants – a bridge more fundamental in the craft than arguably anything else – essentially understanding yourself, “your mind”.

Shady has been fortunate (and wise) enough to focus solely on directing his films without wearing the producers hat too. The producer is not just the person to hold onto all the logistical and budgetary baloney and to force him or herself away from screaming in public, but actually to aid the director in vision, according to Shady’s welcoming experiences. He believes a producer should guide you in the right direction, “to keep you on the right path” throughout rehearsal, production, or whenever. But, the producer needs to understand first what the director is trying to achieve, and then help him to reach that specific goal. Shady is incredibly humble and talks about a habit of getting carried away with actors, or being overcome with excitement in the moment, and, therefore, finding someone who can remind him of a scene’s essence, or the core of the film, broadly a sustainability, is the most valuable asset that a producer can have.

When talking with Shady about actors, he underscored some central characteristics that are essential to a director. He explained his method, but then concluded with the philosophical truism that “everything will always be different.” And, therefore, the director “must have a very progressive state of mind.” It sounds quite simple really – just don’t be a conservative! But, we all know it is never that easy to give up that little piece, or a core idealism, that you wrote on that one long stormy night at 3 in the morning. Another interesting point is raised when thinking about the language used to engage with actors. It should never be from an audience’s point of view, but rather always that of the character. For example, “This guy is an asshole,” shouts a young lad at the screen – a very judgmental comment, but the director should not shout at the actor, “play an asshole!” There is no one way an actor can know how to play an asshole. The character just needs to know the why of what he is doing and the audience can judge in any which way they feel is appropriate. A director would be at a complete loss if he or she started making direct judgments about a character. Give Shady a message if you need this bit explained better!

After a chat about our favourite filmmakers, Shady talks crucially about coming at autership and cinephilia, as it were, from a place of theme. Watching a director for whom you recognise a certain theme within. “To me, that means that they have something to talk about.” Theme is not like style; style resides on the surface, whereas theme runs deeper, and ever deeper. It is enthusing to hear Shady talk about theme with such profundity. “The story is the vehicle, the ride… the theme is the core… not present, but existing in there somewhere.” Shady also believes that it is theme that essentially allows a film to be “timeless and universal”, look no further than Yasujirō Ozu for a few examples. It seems there are no bounds to the philosophy of film and its makers!

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The reality is that the director is on a suicide mission. They have to clench the confidence to carry a bag of elephants up a mountain and not be told otherwise. No matter what it is that they are carrying, it has to SAY SOMETHING. “What is it that you want to tell me?” Shady realises that a film had better be good and say something if you are asking people to pay a tenner and relentlessly sit in front of a big screen for two hours. This is the responsibility of the director. A director needs to be truthful if they are taking on this task. If not, then “why the hell are you saying it?” There needs to be a REASON, “you need to know what you are saying, and you need to know how to say it.” There really is now nothing more to say! That is directing folks!

Here is an overview of talking points and insights from our chat:

  • Preparation is key for the director – Know what you are saying and how to say it!
  • The task of the director is to get other people inside your mind. This is the art of collaboration. Enjoy collaboration – You have to be positive in order to be creative!
  • Becoming a director is a gradual process of discovery. Shady discovered directing by screenwriting and views this story component as essential to directing. In other words, learn to write too!
  • The importance of theme – the story is the vehicle for the theme that runs far deeper than any style. Theme is often what resonates most with an audience’s understanding. Remember: understanding and enjoyment are two separate things, for example, one might connect with Tokyo Story thematically, and yet be more entertained by Mad Max: Fury Road.
  • For young Tarantino’s – the story will determine your style, not the other way around!
  • The director’s responsibility – the material needs to be personal in order to be truthful. Although, personal does not need to mean autobiographical!
  • Actors are collaborators too. Shady uses the analogy of giving road directions when speaking to actors – be clear and know where you are taking them. Also ensure that the actor understands what you as the director want to achieve.
  • The producer is not an enemy, they are there to guide you in the right direction and keep a tab on that core driving the film.
  • Last advice: Stick to it and make sure you are prepared; rarely does one get a second chance in film directing!

Be sure to watch Over Zonen online, for free, right here:

 

NFTS graduate Daniel Montanarini on film school and becoming a FILM DIRECTOR

nftsFilm school or no film school? I won’t begin to give my own answers to this debate, and any answers are almost decadent after the spoken words of Paul Thomas Anderson: “You can learn more from John Sturges’ audio track on the ‘Bad Day at Black Rock’ laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.”

This is very true – we live in an age of information overload – but is this a good or bad thing? Hence ‘overload’! Can film schools not condense such information and give you a clear direction? Information to one side, the practice is probably the best thing you are likely to get out of film school, so let us look in more depth at the practice film school can offer.

I caught up with Dan Montanarini – who has consumed all of these experiences – and was fortunate enough to pick his brains on the subject of film school and filmmaking in general. Dan is a recent graduate in directing fiction from the prestigious National Film & Television School (NFTS) in the UK, so this article will be outrageously bespoke towards the NFTS film school. First-hand apologies.

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Dan’s first short film The Guest, starring Olivia Williams, premiered at the Krakow International Film Festival and his graduate film Seahorse will be making the rounds later this year. Below is my (very particular) interpretation of this conversation with the very occasional quote from Dan thrown in to testify his presence.

From 14 Dan knew that he wanted to direct films, but what was the next step to be? There are two things to take into consideration when approaching such a mammoth task as film directing: how to crack the industry open and secondly, perhaps most importantly, how to ground yourself in the craft and the magnificent history that precedes you. Film is an “art form” – study the history and theory of storytelling and aesthetics. Dan expresses a hungry appetite for the world that film occupies, which means watching a lot of films and exploring film culture. You can’t get away without watching lots of films folks. This should be a task to relish in. Of course, a director should enjoy the physical elements of life on a film set, but equally essential as to finding your feet as a film director is being able to talk of your place in the surrounding culture.

Like anything in life that requires making something happen, it won’t transpire at the flick of a switch. Dan graduated in English literature and film from Warwick University and went on to find a full-time job. While earning his living, Dan produced and directed his aforementioned film The Guest on the side. And here is where film school comes in; it is a time to focus solely on making films without the burnout that one encounters trying to do everything at once i.e. maintaining a ‘normal’ living. However, Dan had never planned on the film school route because he had the sense that if one needs £10,000 to spend on film school then why not make a film yourself? Along the lines of the old Rodriguez and Tarantino motto I believe. But isn’t this a restricting approach to the matter? As Dan explains, film school offers far more opportunity to enrich your craft then the piggy bank; he had two full-scale set builds at NFTS!

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Getting into NFTS is almost entirely based on your short film. It needs to be good. If it is good enough then you get an interview. Dan says that the interview was actually a very pleasant experience; NFTS looks for honesty in their applicants and play to a focused, yet relaxed environment. A quality any great director needs is surely to remain relaxed with an all-pervading sense of focus. Once at the school, you are free to explore your craft with great freedom. While the contact hours are very decent, Dan is sure to note that the tutors do not impose regulations. They do, however, provide detailed feedback and hold an intense reviewing process. From rushes to sound lock, every step of the phase is thought-out and given attention to detail. It looks like film school must do one thing well: harden you to feedback! When was the last time you received a fleshed out piece of feedback on your own film? Go to film school and you will never have to force someone to watch your film again!

But, how does one keep their own direction with all these opinions? Well, as Dan clarifies, don’t feel pressured to have all the answers, be honest and you will learn quickly. By staying flexible you will eventually be lead towards your goal – “Know that it is going to come, it is going to happen.” A director does not need to always provide the answers, they just need to be confident in what they do and don’t know. This sounds well, but what happens when a director says, “I don’t know?” Quite simply, remain open to an idea and take it on board sensibly. Directors are not super-humans, but super-talent does often surround them – use it!

What’s the best method for working with actors? Give them the script, understand their interpretation, let them rehearse it and then work with them towards your vision. There is no right way to do this, the environment, the story, and personality of the actor will inform this. This is Dan’s view and he goes on to talk about other directors, including a screening he attended of 12 Years a Slave with Steve McQueen who gave some miraculous advice: “I am a director and not an illustrator”. I.e. you cannot be too rigid on a film set; rather you should work with what you have, in the moment, so to speak. A film director needs to direct on the day, not everything can be done before (unless you are Hitchcock). Every director has his or her own way of working, which must be a paramount reason for the source of beauty and wonder that comes with this craft. Each director is unique – an art form, indeed.

 

Here’s an interesting method of directing that Dan picks upon, but, let’s be clear, does not salute to himself: letting the actor working it out for themselves until they inevitably reach a point were they become desperate for direction. Who else would play these psychological games but Lars Von Trier, or so it is rumoured. But, have you ever seen a bad performance in one of his films? More likely, the answer is to be a blistering performance of harrowing proportions – a very good thing for drama! Film directing is a form of manipulation, and working with actors is no different. There is some honesty in this approach however, not least in the opportunity to wholly understand what your actor can bring to the scene in his or her own capacity. Nevertheless, it is up to each director to eventually find their own way.

Dan continues to talk about his love of movies and directors, moving on to the one and only Martin Scorsese – an obvious choice, but a choice that makes sense for a first-love. Hearing Scorsese talk about the movies is like spreading jam on toast or taking a close shave with a clued-up razor. It raises cinephiles to an ecstatic level of insight and comprehension. If you ever run out of steam in this business, or feel lonely, spend on hour on YouTube (or preferably a criterion Blu-ray) with Scorsese talking about the cinema – but, if you aspire to be like Paul Thomas Anderson then make sure you stay equipped with John Sturges also!

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Perhaps the next step to reignite your imagination with dreams, memories, and alternate realities would be to stop in with Fellini. Dan talks about his first experience as akin to being “stabbed.” Not quite spreadable, but an experience far closer to reality, as Dan explains the mixture of memories and textures of reality on display are for more adjacent to the thought-patterns that occur in our own everyday existence – undeniably, a truism of lateral proportions. Finally, if you are really looking to challenge your taste, a desire for Luis Buñuel’s spectacle of curious and sometimes laborious cinema will serve well.

Can you think of ten minutes that changed your life? This question was asked to Dan during his time at NFTS and is a great way to connect with your beliefs and potentially re-write your past. Film directors must find something personal in the material that they work with. Therefore, it makes perfect sense that they must understand the nuts and bolts of their own lives and the various transformations occurring within. You might be thinking why ten minutes and not, more likely, a split-second (a tragedy) or a few months (a romance), but ten minutes of change and we have a movie scene! Give this one some thought.

What happens when you finish film school? Other than being highly versed in your craft, full of debt (bear in mind NFTS has super scholarships for British citizens) and geared to rev any film production to full virtuoso, you must, quite simply, just keep going. You may find yourself in the position of Lars Von Trier’s actors: you have no idea what is going on, but you eventually find yourself acclimatising and succeeding with sheer greatness – trivial, but somewhat true. A director can only keep developing their ideas, stories and writing. A director must be ready to present their greatness. Think beyond your present moment (even if Eckhart Tolle tells you not to); be aware of the past, present and future. Where are you from? Write about this. Where do you want to be? Write about that journey. Who was your first love? Write about that. These are all ideas that Dan wants to inspire and he reminds me that we are all living and, therefore, we all have telling stories to tell. We mean, all of us.

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To sum up with some key ideas and NFTS specifics:

  • Film school may be a fantasy factory, but it also requires serious hard work:
  • Rigorous review processes include showcasing each step of a films maternity to the entire school of students and professors for merciless feedback:
  • Confidence building. Tougher skin. Objectively shrewd.
  • You can find your own voice: teachers will adapt to each individual while keeping the student open to new experiences and ideas.
  • On set: “you have all these talented people around you, why would you not want them to contribute?” Enough said.
  • Actors – discover first what you are working with. Points highlighted from Steve McQueen and Lars Von Trier.
  • Scorsese will make you fall in love with cinema. His conviction is infectious.
  • Be confident even if you don’t know the answer – it is okay not to know everything! Enjoy directing!

In the best sense, watch this curious and unruly short film from Dan below.

 

Visit Dan’s website here.

You can also join him on Twitter.

 

 

Elstree Film Design and Rob Finlay

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After hours, days and weeks of emailing production companies with a keen interest for work experience, it is often that you don’t end up hearing back. You might send them a second email, if you could still remember the details. Elstree Film Design  (EFD) have no such hospitality, they replied within minutes and, after the initial shock, things progressed: a phone call. Here is something that was made very clear to me at EFD, don’t waste your time with fancy emails because calling is ten times more effective. If I’d called the company first, an instant interest would have ben expressed on my part and no doubt a clear resolution to the matter by the end of the call, no treading on mailbox eggshells. However, it is never easy to confront a cold and icy line out of blue water, yet such is the task of life, so lets make it easier for ourselves by picking up the phone.

I met up with Rob Finlay, the company director and a great musician as well as a filmmaker, who inspired me to talk passionately about film. I quickly developed a keen understanding of the work Rob does at EFD and his productive, forward-thinking and tactile approach. For a company who started on the corporate scene only two years ago they are making clear waves in the sector and have exciting prospects for the near feature. With a prolific output, a prime and crisp location, and a small dedicated team with big minds, I hope to visit EFD again very soon. All I can say, is the work experience was thoroughly enjoyable, flexible in the productive sense of the word, and.. get your placements in!  There are only a few companies in this industry who have such warm open doors; they care for the future, remember their pasts and are highly intelligible workers of the present.

To finish this blog post, I have an exciting recording of a Skype interview I did with Rob. I also have an innovative music video embedded, a fantastic project that I was fortunate enough to help develop alongside EFD. Find the interviews on my YouTube channel here, or the full interview embedded below:

Music video: Rob Finlay – Call Back the Day

Visit Rob’s personal website here for more cool videos.

Or, and finally, Visit EFD for a leading service in corporate video!

Film Producers – “What Don’t They Do?”

Christine-Vachon

(The title quote is from a book called Shooting to Kill: How an Independent Producer Blasts Through the Barriers to Make Movies That Matter written by Christine Vachon – above).

Christine Vachon, a film producer who gave life to such stimulating independent films as Happiness and I Shot Andy Warhol (plus many more), gives a fine insight into her working life and the countless scuffles of the filmmaking process. Ultimately, the book is a reflection of her practice as a film producer and a rousing discussion for aspiring filmmakers to get ahead of the game, which moves ever so fast.

Christine’s grounded and somewhat taxing approach is actually refreshing to hear and she offers predominant insights into personal experience of film havoc, despite her wonderful success. It is essentially real; diary interludes offer a further taste of Christine’s approach and the inevitable tasks of filmmaking. Though, the discourse can at times be overtly self-conscious, it doesn’t set out to be a clear and concise guide of A to B, it is a meditative medium after all.

Whilst running through the filmmaking process in chronological order, Christine is generous in her offering. She provides full-budget feature film write-ups, cost reports and production reports etc. Whenever something is clearly daunting for the reader, she lightens the mood with her witty thought on the subject – “Stay sane and embrace the madness.” Descriptions like, “No cut is painless; the trick is to avoid slicing a major artery” (on budgeting whilst Shooting to Kill) are memorable and entertaining for the reader. Frankly, there are a number of quotations one could pull from this book and use as stimulus or however else you like to use intuitive information.

I wish to note a few points in the book that struck me as areas for deeper thought (not relative to practical tuition, however). Christine briefly mentions (to paraphrase) that she is intrigued by how disparate the continuity between a movie itself and moviemaking process is. The parts that make up the constituents of a film have obsessed film theorists as far back as Eisenstein (such as the process of montage editing), so yes, technical aspects of filmmaking have been studied in regard to continuity. But, the aesthetic of actually being on set (actually making a movie) – the chaos – is absurd in its discontinuity. How can cinema appear so pure on the screen? This is, of course, the magic of filmmaking (and all the hard-work that goes into it!).

Furthermore, Christine notions a lot towards the personality a film producer should have towards their work. It varies, but she gives some valuable thought. Of course, respect and equality reigns on set, yet balancing this with authority and sixty egos is no easy feat. Of the finished film, it is understandable that the producer and their team will expect everyone to think it amazing, how couldn’t they after their concentrated long-hours? Christine says, “Not everyone is going to like it, nor should they be expected to.” If you want to produce controversial work, or work that is going to be seen for its difference (often the only way in a saturated independent market, like today) then you have to keep a level head and respect peoples opinions. Okay, if it’s your last chance at a distributor and they read it completely backwards, feel free to go out into the backyard and scream a little.

Find Christine on Twitter.

Her book can be bought on Amazon by clicking here.

A New Generation of Filmmakers

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The 1990’s gave us a new wave of independent cinema icons. Richard Linklater burst onto the scene in 1993 with his socially irresponsible and irresistible Dazed and Confused, Quentin Tarantino with his simply “bad-ass movie” Reservoir Dogs (1992), Kevin Smith with his weird and wondrous Clerks (1994) and, perhaps most significantly (at least in terms of working around a micro budget), Robert Rodriguez with his entertaining and striking El Mariachi. There are plenty more innovating directors I could list (Steven Soderbergh, M. Night Shyamalan, Danny Boyle, Larry Clark, Edward Burns etc.), but I’m sure you follow my bearing.

There has since been the likes of Wes Anderson (Bottle Rocket, Rushmore), Paul Thomas Anderson (Hard Eight, Boogie Nights), Darren Aronofsky (Pi, Requiem for a Dream), Christopher Nolan (Following, Memento) and Alexander Payne (Citizen Ruth, Election) all emerging as significantly powerful and vital figures in independent cinema from the late 1990s. All these directors indeed still continue to make great films, even if the forte of their later work (Nolan and Aronofsky in particular) has been pilfered by Hollywood into blockbuster fair.

Here, I am arguing that there is a gap, a space for a new generation of filmmakers to make micro-budget films. It has been twenty years since Tarantino made Pulp Fiction and studios began taking independent cinema seriously and creating separate branches for distribution (Miramax Films, Fox Searchlight, Focus Features etc.) This gap for new talent is filling up fast (just look at what Steve McQueen and Martin McDonagh have managed to achieve in the last 10 years) and it is time to step on that bandwagon.

That is why, my friend Chee Keong Cheung, who has written, directed and produced three successful feature films in the climate of the 21st century, wants to help support a new generation of filmmaking talent. He has teamed up with Carlos Gallardo, the producer behind the El Mariachi trilogy and long time friend and collaborator of Rodriguez to bring you a masterclass in filmmaking. Better still, Mark Strange, who has worked alongside action legends Donnie Yen, Jackie Chan and Cary Tagawa as a stunt performer, fight choreographer, actor and producer will also be attending. These three stimulating individuals are offering an intense full day of discussion and teaching for only £99. This is the masterclass.

Intense-Masterclass

These guys know the independent film business. From signing distribution deals to negotiating releases they have been through it all and come out on top. This masterclass is for people who are serious about the film business and furthering their career in film. Yet, it is also ideal for writers, directors, producers, film students, and even casting directors or line producers who are just starting out in their careers. Carlos, Chee and Mark have played their cards in all areas of the film production process from special effects and stunt performing to executive producing and financing. Learn about the films that re-defined cinema and learn how to put your stamp in todays market. Cinema is forever changing.

Find out more and book tickets for the masterclass here.

Watch this El Mariachi tribute below:

The Limelight Index: Maria Reinup – Writer/Director

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Maria is a bountiful and passionate young female filmmaker from Estonia. I had the pleasure of seeing her powerful short film Mai last year at Leeds Film Festival. The film is an incredibly impressive debut and completely blew me away. Fortunately, I have been able to catch up with Maria and ask her a few questions about her passions for film and the future of the industry.

She is currently wrapping her second short film, stills from which are shown below. (Stills by Andre Visnapuu).

When did you first become interested in filmmaking?

I am not the kind, who can recall wanting to make films since their childhood. I had TV at home until I was 6, then it broke down, my hippie-father sang “hallelujah!” threw it out and I never had one again. It took me a while before I got used to the audiovisual medium. Over the course of growing up – there was three influential films and the course itself that led me into the point I realized – filmmaking is for me. The Matrix was the first film I saw on big screen, then some years later 2046, which absolutely blew me and then in a few more years I got to see Bicycle Thieves. In some odd way, seeing these three films – the possibility to bend reality (not to say the future), the vision to make paintings alive and the fact how movies can touch you – was my early film school. Meanwhile, I did every job there was – from selling diapers via phone to being a chef in Barcelona. And it was when I was living in Spain after graduating high school, that I started noticing my diary I kept at the time was filling up with ideas for clips, videos or films. Then, on the set of my first music video, I felt it, I felt the magic.

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How did the idea for your short film Mai come about?

The story of Mai is a story that happened to me. I took the last bus from the suburbs of the city and there was just a friend with me on it that left after one stop. Two drug addicts entered, one of them in a really bad condition. And it was just the drug addicts and I. The bus driver did not care, nor did the people who slowly started to fill up the bus, as we were driving towards the center. I remember being there, when I had already called the ambulance, waiting for the right stop and thinking, “Really, is ignorance a bliss?” The fact how little we care… I don’t have words for this.

How did you attain distribution for your film?

In Estonia there is a quite unique deal for the short films – the professional shorts are compiled into one screening under a suitable name and then they hit the cinemas, marketing done accordingly. So for example, Mai was in the cinema together with 5 other shorts from the past 2 years. As a big production company, Allfilm, produced my short, I had not much to do with the distribution, the producer and the company took care of that. Also, they do most of the festival circulation.

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What are your plans for the future as a filmmaker?

I am currently in post-production with my second short, called Mann Tanzt. This is a very different film from the themes I am usually interested in. It’s about a man who finds a glowing cube in the middle of nowhere, and when he enters it, he realizes it’s a phone booth. Also, I am writing the script for my third short, which we will hopefully shoot this autumn. It is a story about two young women meeting through couch surfing at the verge of different difficult events in their lives and those getting mixed up. Slowly, but firmly, I am developing my first feature with a wonderful co-director Anna Hints, which is a very personal film under the working title I am, if everybody likes me and a script for another feature – a revenge picture. So, that’s easy. I have no other plans than to make the films I want to do. What bliss it would be if I could make films until I die and make a living in doing so.

Do you have high prospects for the Estonian film industry?

Estonia gained its independency after the Soviet Union collapsed in the beginning of the 1990’s. Along the old system falling into pieces, we lost the handicraft and big studios that we were used to being connected with (film stock tickling the 35mm cameras, films were made year around, big productions).  Not only did we have to build up our economy again, we also had to redefine our cinema – its funding systems and in a way, our cinematic language. Its about 15 years from the day our Film Foundation was established and gave out its first production grant. The system is developing and getting better, a change is thus happening, along with the fact that the generation of the Soviet titans (filmmakers who worked with Tarkovsky, or on the productions during Soviet times) is about to fade and the gap will be filled with the new generation. So the new era is almost here, but a reality check is always helpful – Estonia is a country of 1.4 million people (audience numbers equals money) and with no proper distribution system, meaning digitalized cinemas (which until today is just a few screens), distribution is not really working hand in hand with the productions.

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Why is it you love films and making them?

Besides being a filmmaker, I am also a festival programmer – my job is to watch movies. With both of these positions I find myself falling in love with movies over and over again. I love everything about it – from the making of films, upon seeing one on the big screen, but why? To me there are three simple reasons for that: as a young filmmaker I sincerely and really believe that you are able to deliver a message that matters and thus might be able to change something. I see the art of escapism and the need of it. Last but not least, to either make people think or entertained, or both, is simply wonderful and above all other mediums to me.

If I ever had a super power, I’d like to time travel. Damn, dreaming of that makes me itch. In a way watching films is like scratching that itch – suddenly I can not only time travel, but I can be anything! A taxi driver or a small happy pig, see places all over the world, get introduced to different cultures, to the fears and dreams of the humankind. How is that something you don’t love?

Finally, any advice on the industry?

I will say one thing: success means hard work. And a personal touch to this – it starts to make sense when you realize that you have to really love your work first.

Below is a short teaser for Mai (unfortunately it isn’t subtitled but you will sense the urgency!)