Nadine Mann - interview
Nadine Mann is a Director/Screenwriter who hails from The Bronx, New York. Nadine has spent over 20 years studying the craft of screenwriting at Gotham Writing Workshop, N.Y. School of Visual Arts, among others. Although Teachers in grade school and college suggested she pursue a career in writing, she opted to become a Fashion Designer. She studied Fashion Design and Illustration at the High School of Art & Design, and Pratt Institute where she graduated. Nadine studied counseling at Lehman College and Clinical Psychology at City College graduate school. She had a long professional career in the Mental Health /Social Services field. Eventually she decided to pursue a career as a Screenwriting, following a life-changing even she felt should be a movie, and no one could tell the story like she could. Nadine received a Diamond Homer Trophy from The Famous Poets society. She had poetry featured in the Anthology "Rhymes of Greatness", and pamphlet "Passages of Time”.
When did you realize you wanted to be a Filmmaker/Writer?
I realized I wanted to become a Screenwriter after experiencing supernatural occurrences during a vacation to Jamaica. It was a story I felt should be told, so I decided to study the craft of screenwriting. I took a dive into filmmaking after a reading of my short film script “Change Gonna Come”
in a New Works Lab Zoom meeting. This group is part of the organization New York Women In Film and Television. It received applause, and I received urging from fellow writers to get it made. A few months later my first film “Change Gonna Come” premiered. I was the
Screenwriter, Director, and Executive Producer of the film. I was weary of waiting for something to happen, and decided to make things happen.
Do you remember your first time at the movies?
I don’t remember my first time at the movies, but recall I loved the movie “The Sound Of Music” and had relatives take me to see it repeatedly. I could sing all the songs.
If you should change countries. What country would you want to work at?
I’m open to work anywhere. However, I’m certain I would feel more at ease in London or Paris due to their strong support for creativity, and the arts. I haven’t visited either one but intend to one day.
Two films that have marked your life for better or worse:
1- 2- The Wizard Of Oz : The Wizard of Oz is my overall favorite movie. Back in the day before cable, The Wizard of Oz used to come on TV once a year, with big fanfare. As a young child, I adored Dorothy but was frightened of the Bad Witch…because she
was GREEN. Later after maturing, I liked it because I was in awe of the creativity. This film was unparalleled with other movies for quite some time. Field Of Dreams: This movie addressed the afterlife, spirituality, integrity, and being a dreamer. I recall feeling elated after viewing this movie. As if I had been on a
spiritual journey. “Build and they will come”.
What do you think about Acting/Filmmaking Schools?
I firmly endorse continuing education. I’ve taken numerous courses at Gotham Writing Workshop, New York School of Visual Arts, ABFF Masterclasses, etc. Courses were taken in Screenwriting, TV Writing, Comedy Writing, Songwriting, Acting, Producing, Directing, etc.
You never know where opportunity will present itself. Therefore, you should be ready, so you don’t have to get ready.
Have you ever hated your ambition?
No, I’ve always been an ambitious person. I enjoy setting and achieving goal. I have to be involved in some form of creativity for fulfillment and as a release, I’m good at multi-tasking. I tend to get more complete when working on a few tasks than focusing all of my
energy on one project. Until it’s fine tuning time.
Francois Truffaut used to think that “Film Lover’s are sick people”,,,was h right?
Film Lovers who like gory horror movies may be considered sick by some, although I view them as thirsty for an adrenaline rush. While others go to the cinema to escape into another world and environment for a couple of hours.
Close your eyes…If I say Cinema what do you see?
I envision inside a 4DX movie theater. Which is a fully immersive cinematic experience which makes you feel like you’re part of the movie. This includes motion seats and environmental e ects like wind and fog. I anticipate there will be more of these theaters
built.
Who’s the Director/ Actor/Writer who taught you the most?
Hands on, Vega Montanez is the Director/Actor/Writer who taught me the most. He was essential to the making of my first short film “Change Gonna Come”. He was the Producer, Sound Specialist, Editor, etc. Vega guided through Pre Production, Production, and
Postproduction tasks of a Director. Prior to this film, I thought a Director just directed scenes. I didn’t realize a Director approves everything ie cast, crew, , hair, wardrobe, props,
etc. In addition to making a shot list, deciding on lighting for a scene…it’s a lot.
What’s my biggest dream and worst nightmare?
My biggest dream is that my films will be considered significant enough in the film industry so that they’ll be heralded 100 years from now. They’ll be studied in film schools and featured in exhibits for exemplary cinematic value. I think big.
My worst nightmare is the world won’t get to enjoy all the stories and characters in my head, and in my scripts. It’s extremely di icult to get an Agent, as well as financing for feature films, in this highly competitive industry.
Howi important is it to have Cinematographic Culture?
Cinematographic Culture is particularly significant regarding social reflection and Impact. Presently, social polarization is snaking its way through nations. Therefore, it’s important to
give people a voice. Everyone and everything have value. Shared di erences, pros and cons enhance cinema and applies a time stamp on an era.
What would you like to improve as a Filmmaker/Actor/Writer?
As a Writer I’d like to improve on more character development of all characters, as well as having less characters. There are Producers who look for scripts with minimal cast.
As a Filmmaker/Director I’d like to learn more about light, sound, and film equipment to communicate more e ectively with the professionals who operate them. I’d also like to experience working with a large sound stage, and special e ects. Ryan Coogler’s film
“Black Panther” has inspired regarding going that route.
A Big Producer gives you the chance to Direct the remake of one of your favorite black and white movies, what film do you select?
I select the movie “Imitation of Life” (1934 and 1959)- A fair skin Black woman lives her life passing as a White woman. This enables her to get everything she wants in life, except she must sacrifice a relationship with her Mother. The runner up would be the film”- Black Like Me” (1964)- Based on a true story, a White reporter darkens his skin to poise as a Black man, so he can discover how Blacks are truly treated in the South during the Civil Rights
era.
Who’s the person that keeps you motivated?
I’m fortunate to have several friends, peers, and family members that motivate me. I’m especially motivated by viewing social media posts from peers who were in the Facebook
group “Hollywood Career Challenge”. I now, see their names in credits for movies and T.V. series. For a long-range objective, I’m motivated by Tyler Perry regarding the versatility of the many
projects he’s able to balance successfully, and seemingly effortlessly.
Alfred Hitchock said to create a good film. You need a good script. Do you agree?
I absolutely agree, which is why I have coverage done on my feature scripts as well as reviewed by a Producer or Story Analyst of a network before presenting them to anyone. I strive to provide an excellent script with commercial value. My most ambitious project, short range objective, is to develop 3 T.V. will be an animation series.
series. At least one.
Do you think sadness or at least melancholy leads to more creativity?
For me sadness can attribute to writing Thrillers or revengeful scripts. However, at these movements it would be more beneficial to write a rags to riches story, or comedy to pull you
out of a slump.
What do you wish for yourself as a Filmmaker/Writer?
I wish for myself a successful career encompassing Feature Films, T.V. Series, Reality TV, Songwriting and Stand-Up Comedy. Although I consider myself mainly a Screenwriter, I’m willing to apply other hats such as Director, and Producer to bring projects to fruition. I’ve
invested too much time to turn back. Failure is not an option. I’m convinced persistence will eventually triumph.
Leslie Anne Lee - INTERVIEW
Leslie Anne Lee is a storyteller of fire and feeling—an author and screenwriter whose work lives at the intersection of myth and memory, romance and ruin. Known for her sweeping fantasy series The Legends of the Vale, Lee crafts worlds that breathe: places where gods fracture, love defies fate, and even the darkest souls ache to be understood. Her writing is marked by a lyrical intensity and cinematic scope, weaving poetic prose with emotionally charged storytelling. Whether on the page or in screenplay form, her narratives pulse with tension, intimacy, and transformation. Characters are never simply heroes or villains—they are haunted, human, and beautifully flawed. Lee’s feature-length adaptation of Child of Dawn has earned international recognition across film festivals, signaling her growing presence in the cinematic landscape. Yet at the heart of her work remains a singular devotion: to tell stories that burn—stories that linger long after the final line, like embers in the dark
What’s the moment that tested your resilience the most?
There was a long season where I was pushing Child of Dawn into the world—not just as a novel, but as a screenplay I believed could live on screen. I kept hearing versions of “almost.” Almost good enough. Almost marketable. Almost there. And that space is exhausting, because it doesn’t give you closure—it just keeps you suspended in doubt. That was the moment I had to decide whether I needed external validation to continue… or whether belief in my own work would have to be enough. I chose to keep going. Not because it was easy, but because stopping would have meant betraying something I knew was real.
If you had to defend your artistic vision in one sentence, what would you say?
I create stories where love is fierce, flawed, and often dangerous—because I believe the most meaningful transformations don’t come from comfort, they come from fire.
Who challenged you the most creatively?
Hands down, my friend, Phillip. He challenged me to move from Historical fiction to contemporary and then into the world of fantasy. He critiques everything, but remains the most faithful and best of friends.
Do you think controversy is necessary in art?
I don’t think controversy should be the goal, but I do think truth should be. And the real truth, especially emotional truth, often disrupts people. If your work never challenges anyone, never unsettles anything, it might be beautiful—but it’s not transformative. I’m not interested in creating something that everyone agrees with. I’m interested in creating something people feel.
What’s a limitation that actually helped you grow?
Working within limitations—whether budgetary, structural, or even time constraints—has forced me to become more intentional. When you can’t rely on spectacle, you learn how to build tension through character, dialogue, and atmosphere. You learn how to imply instead of show, and sometimes what’s implied is far more powerful. Limitations stripped away excess, making me a sharper storyteller. I am always being told, “I can’t.” So I turn around and say, “Watch me.”
Have you ever felt creatively misunderstood by critics or audiences?
Yes, especially when it comes to how I portray love. My stories don’t present romance as safe or idealized—they present it as complex, sometimes dangerous, and deeply transformative. That can be uncomfortable for people who expect something more traditionally “romantic.” But I’m not writing fantasy to escape reality—I’m using it to reflect it. And sometimes that reflection isn’t easy to sit with.
What’s the emotional cost of telling deeply personal stories?
The cost is that you don’t get to hide behind the fantasy. Even when the setting is mythic, the emotions are real—pulled from real fears, real longing, real grief. Once you put that on the page, it’s no longer just yours. People interpret it, question it, and sometimes even reject it. There’s a vulnerability in knowing pieces of you are embedded in something that’s now open to the world.
If you could erase one fear from your artistic life, what would it be?
It would be the fear that the story won’t reach the people it was meant for—that it will exist, but never fully connect. Not failure in the traditional sense, but silence. Because stories are meant to be experienced, and there’s something haunting about the idea of them going unheard.
Do you think vulnerability is risky or essential in cinema?
It’s both—but that’s exactly why it’s essential. Without vulnerability, you’re creating something polished but hollow. Audiences can feel the difference. Vulnerability is what gives a story weight. It’s what makes someone sit in a theater and feel like they’ve seen something real, even in the middle of fantasy.
What’s a project you fought hard to protect?
The screenplay adaptation of Child of Dawn has been something I’ve guarded fiercely. Not just the plot, but the tone—the darkness, the emotional intensity, the moral complexity. There’s always pressure to soften things, to make them more digestible. But that would strip the story of what makes it powerful. I’ve been very intentional about holding that line.
Is there a line you would never cross for success?
Yes. I would never compromise the emotional truth of a story just to make it more commercially appealing. If I lose that, I lose the entire reason I started writing in the first place. Success without authenticity isn’t success—it’s just noise. I would also never change myself. People hate that. They hate that they can’t control what’s inside of me. I think it scares them. They can’t touch it, can’t possess it, and therefore can’t understand it. But that’s what makes it so beautiful. I belong to myself, and myself only and I will never chance me.
How do you react when a project doesn’t meet expectations?
My first reaction is always emotional—I feel it deeply. But I don’t stay there. I step back and start asking questions: What worked? What didn’t? What can I learn? Growth comes from that space. But I also remind myself that not every project is meant to land the same way, and that doesn’t invalidate its value.
Do you feel more driven by recognition or by inner necessity?
Inner necessity, without question. Recognition is gratifying, but it’s not sustainable as a motivator. The real drive comes from that internal pressure—the need to tell a story, to explore something, to give voice to something that won’t leave you alone.
What’s the most honest feedback you’ve ever given yourself?
“You’re playing it safe.” And every time I’ve admitted that it’s been a turning point. Because I know that my best work exists just beyond that fear—on the edge of discomfort.
Have you ever chosen integrity over opportunity?
Yes, and those choices are never easy. Walking away from something that could have advanced my career—because it didn’t align with my vision—requires a kind of long-term thinking. But I’ve learned that protecting your voice is more important than any single opportunity.
What’s the difference between performing and being authentic?
Performance is about control—it’s curated, shaped, designed to be received a certain way. Authenticity is unpredictable. It’s raw, and sometimes messy, and it risks being misunderstood. But authenticity is what resonates. It’s what people remember.
If someone made a film about your career, what would the title be?
Fire Doesn’t Ask Permission. Because that’s what this journey has felt like—something instinctual, relentless, and impossible to contain within neat expectations. Also, a personal favorite line from the books.
When do you feel most creatively free?
Late at night, when the world quiets down, and there’s no expectation attached to what I’m creating. That’s when the story feels like it belongs entirely to me again—before it becomes something to share, to refine, or to defend.
BRIAN LUTES - INTERVIEW
Canadian born and raised , now living in Los Angeles. Toured as a musician for 20 years and worked for multiple record labels in A&R and management and toured globally with several bands. Son Jordan Lutes is also an internationally known singer that goes by Jutes and is married to pop star Demi Lovato. Written, directed and acted in 7 of his own features. Now distributed through Buffalo 8 and represented by Tamaryn Tobian at Spectacle Creative Media. www.lutescousinsfilms.com - Blue Skies on Mars, Painted Sharks, Pictures of Us and Not a Love Story are titles being released globally throughout 2026. Brian won several awards in acting, directing, editing and writing for Lutes Cousins Films. - Lived on a ranch in Canada and raised horses for English Eventing and Western Games. Brian is represented by Tamaryn Tobian from Spectacle Creative Media. www.lutescousinsfilms.com Follow Brian on Facebook and Instagram.
What's the absolutely necessary ingredient to be a good actor/director/screen-player?
To be totally committed to whatever you’re doing. The world is so much more educate and knows what to look for these days. The don’t want to be preached at or manipulated and they can definitely spot a ‘faker’ a mile away. So, if you’re acting… if you’re not 100% invested in that character or if you’re a director that doesn’t know exactly what he or she wants… or maybe a writer that doesn’t allow the story to live and breathe on its own,
people are definitely going to see through that right away. There are just too many talented artists out there ready to die for their craft. You’ve got to make things real.
First and last cinematographic crush?
Wow… that’s a loaded question. I’m going to cheat and say it had to be a Calvin Klein jeans commercial with Brooke Shields. I think as a kid, I actually sprouted three chest hairs that day and became a man. More recently I’d have to say Deepika Padukone, the Bollywood actress. What can I say, I make it a point to see everything that hits the theaters…. That’s like going to school for me. And yeah…. Miss Padukone is my dream
leading lady!
How old you were when you decided you wanted to be an actor/director/screen-player?
Well, I’ve never actually had a real job. My background is in music. I began touring as a teenager (before I was even legally able to walk into a bar) and got signed very young. So, I always knew I’d be doing something in the arts. As kids, me and a buddy were big into fantasy art and creating our own comics. We actually shot a couple cowboy and sword and sorcery films for school… which got a lot of attention!
It wasn’t until about 15 years ago that I decided to make the leap from music to seriously giving film a go. There were some personal issues I was dealing with that forced me to step back from the band and I just began writing. As a first effort, you’d think I would take a small nibble and maybe just get my feet wet. Instead, I decided to tackle an American Civil war feature with full cavalry and artillery. Definitely, baptism by fire, but I think it was exactly what I needed. I survived the experience and we got the film finished. (“One More Time Before I Die” was released
globally through Octane Entertainment).
For you a Film is...
To me, as a guy, the filmmaking process is the closest thing I’ll ever experience to creating life. Not in an egocentric way… but with reverence and respect for the process. We write a
story then set the stage for actors to come in and literally breathe life into the project. Long after we’re gone and forgotten, these stories and worlds we’ve created will still exist for others to see and enjoy. That actually blows my mind. To me that is magic.
What do you feel when you're acting/directing/writing?
My writing is very reflective. I tend to write about what I know and include elements of my life growing up. My films are often filled with a lot of pain and struggle. They’re underdog
stories where there are no true heroes or villains. I tend to lose myself in the characters I create and as an actor the process is often exhausting and sometimes painful. The goal is
always to create absolute realism. I’ve been known to go to extreme lengths and put myself in harm’s way to get ‘the shot’ . I’ve been shot off a horse at a full gallop, suffered a shattered orbital bone being
beaten up and actually broke my neck being slammed through a table. I ended up paralyzed on the right side and undergo intense therapy to regain the use of my arm.
You can go to the Movies with an actor/director/screenplayer that you love. What kind of movie do you choose and with who you're going to whatch it?
To be honest, I’ll just say whoever directed the last film I happened to see. Every time I go to the cinema it's like being pulled into a new adventure, whether it’s with Nia DaCosta and
the new thriller, “28 Years Later” or with Leon Prudovsky who directed “My Neighbor Adolf” a quirky film about a grumpy old holocaust survivor who moves to Columbia and is
convinced the man living in the house next to him is Hitler. Not normally a funny topic, but the writing and performances are brilliant and funny.
Audrey Hepburn used to say “Nothing is Impossible”, what do you think about it?
Well, knowing where Audrey came from and all she overcame in life to achieve what she did, how can I argue? We do tend to set our own limitations in most areas of our lives. I
think in most cases it’s all about self-belief, energy and work ethic, wouldn’t you say? Not everybody’s 100% is equal.
Can you live just off your passion?
I think passion is what drives and motivates us all, from relationships to the food we eat. Pretty much everything we do throughout our lives is to satisfy our own desires. I think when the passion dies, so do we.
What's more important talent or luck?
I think neither. I’ve always found if you do something long enough, you’ll get good at it. And if you refuse to go away, you’ll eventually be noticed… and that becomes your audience. I met Tarantino a few years back and he gave me that exact advice. “Just keep
making films no matter what. If you keep producing new material you become undeniable.” Not exactly in those words, but I think that was the point.
You must go to a desert island, but you can bring with you just one movie...
"Cast Away" just for the sheer irony.
Have you ever accepted a part/ a movie to direct/ a script to write even if you didn't like the project?
Yes. It’s never a good experience.
What's the best compliment you have received about your Job?
“I believed you.” If people think my scripts or performances or films are honest and believable, that’s all I need to hear.
Are you satisfied about your career?
My first reaction to that question is, yes… of course. Being able to create a film and see it through from beginning to end… well, there’s no more “impossible” task than that. Most
never even make it to the shooting phase, so yeah, for sure, I couldn’t be happier to be doing what I’m doing. We recently signed a new distribution deal and will be releasing 4 titles this year, so to be
reaching more than 70 countries, is a huge milestone. We also signed with a new PR firm to handle the marketing campaign. So, on the surface, I couldn’t be happier. But you know
with each goal achieved, five more pop into your head. I guess the secret is to truly aappreciate the life you’ve got and to be thankful to be doing what you love to do… but to always want to take things a little further… just to keep life interesting. I appreciate and feel
blessed to be doing what I do.
Do you have a good luck charm?
Not really a good luck charm, per se. I have built a team that’s become family to me. I couldn’t do this on my own and I couldn’t imagine doing this without my team. So, I guess you could say they are my good luck charm?
Which is the worst moment on set?
Not sure what you mean by that. What was the worst moment I can remember? Like off a highlight reel of disastrous moments? Probably while shooting one of the final sequences to “One More Time Before I Die”. My character had to be tackled off a cliff… which
happened to be a hundred-foot drop. And I’m terrified of heights! We were landing in a river and had 7 cameras rolling. You can hear my blood curdling screams over and over and
over as we did multiple takes. I’ve been injured multiple times in my career, but the prolonged agony and fear of being tackled over and over again was the worst. Now, my least favorite moment on any set would have to be the first and last day. The first
being the table read. No one knows anyone and you still aren’t sure who’s staying and who’s going to have to be replaced. The rhythm and pacing is so bad that I begin think the script actually sucks. I start second guessing myself about the entire project. “Is this going
to be the project that will end my career?” LOL. And of course, the final day. You’ve built so many wonderful relationships and finally got into a groove and realize just how lucky you
are. You’re living the dream! And then it’s over and you’ll probably never see most of those npeople again. Yeah… the first and last days on set are always the worst.
How do you feel when a job you've been part of its ending?
I guess I’ve already answered that one. Of course, I’m speaking mainly about those personal projects… the ones I’ve written and produced. When it comes to hired gigs, well, those tend to have a different vibe for sure. Relationships are still created, but maybe not
quite the same. I don’t know.
Have you ever lied to get a part/job?
All the time. With every new project I manage to convince everyone around me that I actually know what I’m doing.
If you should win an Oscar your first taught would go to…
The team… period. I’ve got people who’ve been working with me for over 15 years. They’ve stuck with me from the days when I was beg, borrowing and stealing just to get a project started. I can’t imagine doing what I do without them.
Kevin B Ploth - Interview
A true multi generational New Yorker, Bronx resident. A proud father of three children, veteran, writer, performer, chef, fine artist among many things. Has a supportive partner and parents. Attended West Virginia Wesleyan and University of the Arts. Kevin is a member of SAG/AFTRA, American Legion,VME, Grand Lodge of the State of New York, LIHMGS, AOH, PART, and PALP both formally of Center City Philadelphia. With four books out since 2023. A documentary “This Stitching Will Last”, three micro shorts, and TV Show Pilot season in Pre-Production. More to coming from this intrepid talent. MJB Talent Agency and Brilliant Talent Management both manage Mr. Kevin B Ploth. Along with his team of collaborators and colleagues Larry Gress(DP/Camera), Vanessa Thorpe (Producer/Advisor), Kelley Poling(Producer/Advisor), JD Wesly (PM/PC), Eli Jane(Producer/Advisor), Mike Harper(Producer/Patriot Tactical), Doug Marcaida, Anthony DeLongis, 51Fifty, Tad Boyd(Advisor/Everyday Armor),and Freddy K.
When did you realize you wanted to be aFilmmaker/actor/writer?
I was fortunate to have fallen into this crazy buisness (yes it’s a buisness first never forget that) and having two dynamic parents that are artists, entrepreneurs and business minded still with us and together at fifty five (55) years. Mom(Liz) is 90 and Dad(Bruce aka Barbarossa/Le Tigre) is 80. So it was a natural progression at a young age and at 7 years old my first tour locally as the Scare Crow in Wizard of Oz.
Do you remember your first time at the Movies?
It was actually soundtrack music and that was The Good, The Bad and The Ugly, the IL Maestro Ennio Moricone. I called it Bip Bum at age of two.
My dad’s collection got so warn out. To this day I have an extensive Moricone collection and a few things from Sergio Leone’s Iconic movie. From there my dad exposing me to Laurel & Hardy, Cabinet of Dr Calgary by age six. The first movie theatre experience was the Bad News Bears with Walter Matthau and Starr Wars both in Baldwin Long Island with my Uncle and my cousins up in the Balcony then JAWS and The Muppet Movie.
One of the best experiences was seeing ALIENS on a huge drive in movie screen with my two younger brothers and my parents. Had a huge affect on me.
If you should change country where would you like to work?
Italy and then France. From the historical point and my ancestral Conections going back to the 600-800 AD. The depth and visionary vastness of the cinema of these two countries have always had a profound effect on my life.
Two films that have marked your life for better or for worse…
Films have always had a positive impact on me.
The first one you already know from what I mentioned prior….Sergio Leone’s films have had a great and powerful influence on my life.
The second film along with the music a profound impact on my morality and spirituality is The Mission and the only film where DeNiro was not him he was the conflicted Roderigo along with Jeremy Irons Father Gabriel. If this film does not move you then your lost.
What do you think about Acting/ filmmaking schools?
They are essential since I attended one that is now a part of history U Arts of Philadelphia. To me it is where you hone your skills and improve. There is a double edge to them even now. They need to go back to when I was in to a limited number of students not become a mill that produces trash. Also teach them proper business and protocols and break their egos. Listen I was asked to leave school because I was a working professional and the school did not approve of it….
Have you ever hated your ambition?
No my ambition is healthy and for the team. No me without the we. A lot of talent , studios, and filmmakers forget that part. Money becomes the problem along with avarice and greed.
Francois Truffaut used to think that "Film Lovers are sick people”… was he right?
I think the quote is out of context and not the what he meant. I can not speak for him since he is dead and I am not. What I think the intent by his statement was that people obsess and marbleize the myth, latch on to things that truly have no real value.
The value is us and the spoken word. Not things. The only physical entity in a pine box or a urn is you and how you leave this world.
Close your eyes…if I say “Cinema” what do you see?
Always Black & White….contrasts, flickers, dark, light, close up…..tension and release. To me as with food it is all a visceral, sexual, expressive experience. It hits all the senses. Think about it. We put things in our mouths(popcorn and such), eye stimuli , sound and smells.
Who’s the Director\Actor\Writer that taught you the most?
Well my parents first and foremost. Paul Wagar, Cicilie Berry, Gregory Doran(RSC), Camille Paglia, Dr. Jane Goodall…Nancy Contra(Dance and body), Manfred Fischbeck(movement), Dr Urqhart (children’s theatre), Lee More, Ray Napolitano, John Hobbs, Walter Dallas(Mask), Susan Sulby (Voice and Breath) and Mrs. Hern my 11th grade English teacher who gave me F++ very good made me work hard even with my severe dyslexia and then she had me come back and teach Shakespeare to my younger brothers class.
They all saw something and that gift will never leave me and that is something I can give back. I can never thank them enough.
About your job, tell us your biggest dream and your worst nightmare:
To keep the team working and feed. The industry is in flux and disharmony due to all things I mentioned above.
I am always haunted and sleep poorly due to imposter syndrome as well as other trauma. That my life’s work is in vain and was never able to deliver
How important is it to have a good Cinematographic Culture?
Very important and the cinema as well as theatre are key to a healthy society and civilization. If we remove those elements and principles with other lesser priorities we become a shell of humanity and then all is lost
What would you like to improve as a Filmmaker\Actor\Writer?
Great question and we will need at least two books and thirty more interviews to cover that. In short first me and make me a better version of me always. I try and do that every day I wake up but very poorly since to be human is the fatal flaw . Choices and consequences
A big producer gives you the chance to direct\to play (in) the remake of one of your favorite black and white Movies (if you have one)… what film do you choose?
Requiem for a Heavy Weight: To play Mountain Riverd (Anthony Quinn’s role) because I am a big guy and know heart break of playing sports and then being sidelined due to aging out. Again I thank mom and dad for turning me into this long ago and to appreciate Rod Serling and his style..
Film Industry it’s a tough place and sometimes is normal to feel lost and discouraged… who’s the person that keeps you motivated?
Me and then my family as well my inner sanctum Santorum of people: Larry Gress, Vanessa Thorpe, Michael Sean McGuiness, Kelley Poling, Theresa(BatSoll),Doug Marcaida, Eli, Lomax, Travis M, Chad, and Craig my two younger brothers.
Alfred Hitchcock said: "To make a good film you need 3 things: The script, the script and the script". Do you agree with him?
Yes in part but you also need the rest from editing (which a lot of film makers forget about), then a DP and a talent pool you trust to lead.
What’s your most ambitious project for the future?
THE GIANT TV Show and to get the funds now!
We need 3.5 million to shoot six(6) episodes and honor my agreements and distribution deal.
Do you think that sadness or at least melancholy let you be more creative?
They help but can hinder you. Humor is the key and the secret to youth and longevity.
What do you wish to yourself as a Filmmaker\Actor \Writer?
A better me always. To beat and best my last work. Growth within and without. Playing the chess game of life and being a blew moves ahead can’t hurt either.
Gary Mazeffa - INTERVIEW
Gary Mazeffa is a filmmaker, writer, and producer whose work explores myth, memory, and the search for wholeness in the modern world. As the creator of Asherah: A Love Odyssey, he blends cinematic storytelling with philosophical and spiritual inquiry, drawing on ancient traditions to frame contemporary questions of identity, belief, and meaning. His work is marked by a quiet intensity, symbolic imagery, and a commitment to crafting new myths for a fractured age.
The biggest challenge of being an actor / director / screenwriter is…
Holding the whole truth in your head while the world asks you to simplify it. The industry rewards clarity. Art is born from contradiction. Living in both is the hardest part.
Choose an Actor, Choose an Actress — and a story you’d like to direct or play with both:
My two leading Actors from my upcoming Feature Film - Asherah: A Love Odyssey.:
Actor: Keenan Warda
Actress: Allyson Vernon
Story: I’d place them in a modern femme fatale / neo-noir where neither is predator nor prey—they meet as equals. Two highly intelligent professionals on opposite sides of a quiet, high-stakes situation recognize immediately that the other is dangerous, controlled, and impossible to manipulate.
The tension isn’t romantic or physical—it’s psychological. Every look, pause, and half-truth becomes a move in a chess match. She isn’t powerful because she seduces; he isn’t powerful because he dominates. They’re powerful because they see... clearly.
Whose the first artist that made you realise you wanted to be a filmmaker and a writer?
Kubrick — because he didn’t explain himself. And Marlon Brando — because he broke the frame. I didn’t want to perform. I wanted to change the temperature of the room.
What really excites you artistically or emotionally?
Moments when meaning arrives without permission.
When silence does more work than dialogue. When something ancient suddenly feels present again.
“Never confuse the size of your paycheck with the size of your talent.” Do you agree?
Completely. Some of the most talented people I’ve ever met will never be rich. And some of the richest have nothing to say.
Money measures reach — not depth.
Have you ever been discouraged by someone about your life or career choices?
Of course.And almost always by people who chose safety over truth.
Discouragement is often a confession.
Do you think it’s harder for a woman to be a filmmaker?
Yes — but not because of talent. Because authority is still gendered.
A decisive man is “confident.” A decisive woman is “difficult.”
That imbalance is real, and it’s slowly cracking.
Do fame and money risk changing your vision as a filmmaker or actor?
Only if you let external applause replace internal necessity.
The danger isn’t success — it’s comfort.
Who’s the movie star that made you dream for the first time?
Brando. Not because he was famous — but because he was uncontainable. You could feel the system straining around him.
Make a wish about your career:
To finish what I started — without diluting it, apologizing for it, or explaining it away.
How hard is it to remain completely honest in cinema and show business?
Extremely. The system rewards repetition, branding, and predictability.
Honesty disrupts markets. That’s why it matters.
The film you’ve loved the most?
2001: A Space Odyssey — because it trusted the audience to be intelligent, patient, and unfinished.
The one that annoyed you the most?
Any film that mistakes noise for meaning and calls it “important.”
Your biggest artistic goal is…
To leave behind something that doesn’t need my name attached to it —
only recognition.
What profession other than your own would you like to attempt?
Architect. Same instinct — shaping space so people feel something before they understand it.
How important is it to be rewarded as an artist?
Recognition is human. Validation is dangerous. The work has to survive without applause.
Do you have regrets?
I regret moments where I moved too fast instead of listening longer.
But I don’t regret the direction.
What’s the message you want to express through your art?
That something essential has been forgotten — and that remembering it requires courage, not nostalgia. That completion is possible.
That meaning still matters. And that silence, when used honestly, can speak louder than belief.