Ryan Rojas

Nick Azzaro Bridges Worlds of Love Through Sci-Fi

Writer-director Nick Azzaro, who bridges his Italian roots with his life in Los Angeles, delves into the complexities of identity and belonging in his new short film, Alpha 27. The film embodies his personal journey through opposing worlds and highlights the power of human connections, capturing the tensions between different identities and the quest for a sense of home.

In our exclusive interview, Azzaro reflects on his return to the HollyShorts Film Festival and the emotional responses the film elicited. He discusses how resourcefulness and collaboration played crucial roles in achieving high production value despite budget constraints, and his hopes for how the film will resonate with audiences by conveying a message of resilience and the enduring strength of love amidst life’s uncertainties.

Cinemacy: It’s a pleasure to meet you, Nick! Congratulations on your short film Alpha 27 being selected to play at the 2024 HollyShorts Film Festival. What was it like showing your film there?

Nick Azzaro: Thank you! It felt amazing to be back at HollyShorts for the second year after screening my short film Retrieval in 2021. This time, I was lucky to have a primetime slot, and it was incredible to see Alpha 27 screened in front of a full audience in such a fantastic auditorium. The film looked and sounded perfect on the big screen!

It was my first time attending a public screening of Alpha 27, so it was incredibly rewarding to witness the audience’s reactions firsthand. You could feel the emotion in the room, and hearing people sob during the film was truly special. It was also great to be accompanied by other amazing films, and having many friends and collaborators show up to support made it even more memorable.

Cinemacy: You’ve said that Alpha 27 is a deeply personal narrative connected to your journey as an international filmmaker. Can you elaborate on how your own experiences influenced your vision for Diego’s character and his journey? Were there any particular moments or emotions you wanted to capture based on your own life?

Nick Azzaro: Alpha 27 is indeed a deeply personal film, and Diego's journey reflects some of the challenges and emotions I've faced in my own life as an international filmmaker living abroad. Like Diego, who is caught between two worlds (the life he's built on Earth and his origins in a distant space colony), I've often found myself navigating between different cultures, environments, and expectations in my career. Diego's struggle to protect what he has built while being recalled to his origins mirrors the tension I've felt between the hopes of forging a new path and the concerns of an uncertain future.

One particular emotion I aimed to convey was the fear of losing what you are blessed to have. In Diego's case, it's his life on Earth and his partner, and, likewise for me, it's the creative and professional journey I've embarked on and the close relationships I’ve built through the years. There's a sense of resilience in Diego's character, which I relate to—the determination to face challenges head-on and the hope that, despite the odds, you can protect what's important to you. Overall, Alpha 27 is not just a science fiction story, but also a reflection of my own experiences, fears, and hopes, translated into Diego's narrative.

Cinemacy: The central relationship between Diego and Marcus is portrayed so beautifully. How did you want their relationship to convey the themes of identity, love, and belonging in the film?

Nick Azzaro: Diego and Marcus’s relationship is the emotional core of Alpha 27. Their connection goes beyond the typical romantic bond; it's about two people who have found a sense of home in each other. Their relationship is a safe space where Diego can truly be himself.

In portraying their bond, I aimed to show how love can be a grounding force and that identity is not just about where we come from, but also about the connections we choose to nurture. Their love story is one of resilience, about the importance of finding belonging in the people we share our lives with, even when the world tries to pull us apart.

Cinemacy: What was the collaborative process like with your cast and crew while making the film?

Nick Azzaro: The collaborative process on Alpha 27 was a blend of trust, preparation, and creative synergy. With the actors, we spent a significant amount of time in rehearsals to develop the chemistry needed for their relationships to feel authentic. We worked together to find blocking that felt natural and ensured they were in the right mindset for their characters, especially knowing that our time on set would be limited. We workshopped the intentions behind each scene, making sure every emotional beat was clear. I trusted the actors completely, and they delivered touching performances, sometimes even nailing it in a single take, which speaks to their talent and preparation.

On the crew side, I was fortunate to work with many familiar faces. Most of the crew had been with me on previous projects, which made the process smoother and more efficient. My longtime collaborator, Destinee Easley, designed the costumes, helped as an acting coach, and served as a second pair of eyes while I was juggling both directing and cinematography. We had extensive discussions about the film’s color palette, and she selected outfits that perfectly matched the emotional tone and visual style we wanted to achieve.

I also brought back composer Jacob Tardien and sound designer Ugo Derouard, who had worked with me on Retrieval. Their contributions were invaluable once again. They not only understood my vision but also brought their own creative insights, elevating the film to a whole new level. It was a true team effort, and I’m grateful for the dedication and talent everyone brought to the project, including the many crew members who volunteered their time and energy.

Cinemacy: The film contrasts Earth and Alpha 27 visually and thematically so exceptionally. How did you and your production team approach the design of these two worlds?

Nick Azzaro: Designing the contrasting worlds was a critical part of the storytelling in the film. Even though we never get to see Diego’s life on Alpha 27, I wanted to visually and thematically represent the differences between these two environments, reflecting Diego’s internal conflict. For the house, I wanted to create a warm, inviting environment that reflects Diego’s sense of home and belonging. I used natural, earthy tones and soft ambient light to evoke a sense of comfort and familiarity, underscoring the emotional connection Diego has to his life there, especially with Marcus.

The goal was to make Earth feel like a place where Diego’s identity has flourished, contrasting the colder, more sterile futuristic environments that remind Diego of his colony. The immigration facility and the departures bay were designed to feel oppressing, stark, and clinical. I leaned into a more stylized color palette, using greens and blue tones to evoke the distant, almost alienating nature of the space colonies. The lighting was deliberately harsh and artificial, creating a sense of detachment and unease. I wanted the audience to feel the emotional distance Diego experiences when he’s preparing to leave for Alpha 27, making his internal conflict more palpable. 

Being both the director and the cinematographer on the film gave me a unique advantage in having full control over my creative vision. This dual role allowed me to seamlessly align the visual storytelling with the emotional and narrative beats of the film, ensuring that each scene visually reflected the mood and themes I wanted to convey. It also facilitated a close collaboration with other departments, ensuring that every element was perfectly in sync with the film’s overall aesthetic and tone.

Cinemacy: What were some creative solutions you used to achieve the high production values despite budget constraints?

Nick Azzaro: From the beginning, I knew the goal was to create an intimate film rather than a sci-fi spectacle, which led to several creative choices that helped us achieve a higher production value despite the very limited budget. I chose the 4:3 aspect ratio specifically to favor close-ups and performances over elaborate establishing shots. I wanted the audience to stay close to Diego, experiencing what goes on in his mind throughout the film, and only focusing on the world around him when it was essential to the story.

Lighting played a crucial role in conveying Diego's emotional state, with brightness and color carefully selected to reflect his feelings in each scene. We scheduled our shooting days carefully, prioritizing scenes that required more elaborate setups to ensure we had the time and resources to execute them properly.

To achieve the futuristic visuals of Alpha 27 within our budget, I leaned on extensive VFX work. I used visual effects not only for the detailed holograms, but also in more subtle ways, like painting out equipment or enhancing existing set elements. This approach allowed us to achieve a polished look without breaking the budget, ensuring that the end result stayed as close as possible to my original vision.

Cinemacy: You describe Alpha 27 as an ode to the enduring power of love and human adaptability. What message do you hope audiences take away from the film?

Nick Azzaro: The film explores how, even in the face of seemingly insurmountable challenges (like being forced to leave behind everything you've ever cared about), love can remain a constant, grounding force. Diego’s journey is a testament to the idea that while external circumstances may change, our connections and emotional bonds have the strength to transcend those changes. I want viewers to reflect on how love and resilience can guide us through life’s most difficult moments, offering hope and a sense of purpose even in the midst of uncertainty.

Cinemacy: How do you view the role of indie filmmaking in today’s cinematic landscape, especially in the context of competing with major studio productions?

Nick Azzaro: Indie filmmaking offers a platform for originality and diverse storytelling. It provides a bigger opportunity for talented voices to emerge, particularly those from underrepresented backgrounds, fostering inclusion and diversity in ways that larger studios sometimes overlook.

The budgetary constraints of indie films encourage creative problem-solving, pushing filmmakers to think outside the box, and leading to innovative and unique narratives. One of the greatest advantages of indie filmmaking is the creative control it affords, allowing filmmakers to craft more personal, authentic stories that resonate on a deeper level with audiences. Personally, I enjoy both indie and studio films, and I believe each has its strengths.

While indie films offer the freedom to tell more intimate and original stories, studio films provide the resources to reach wider audiences. I would love to be part of both worlds, bringing the lessons and creativity from indie filmmaking into larger productions and vice versa.

Cinemacy: In your opinion, what are the most important qualities or skills that indie filmmakers should develop to succeed in a competitive market? 

Nick Azzaro: Adaptability is crucial. Filmmakers often face unexpected challenges, from budget constraints to last-minute changes, so being able to pivot and find creative solutions is essential. Inventiveness goes hand in hand with this; using limited resources to achieve a compelling story can set you apart.

Enthusiasm is also one of the most contagious and important qualities you can have. It drives the project forward and motivates everyone involved. Forget about trying to be fancy and focus on telling stories with heart and intention. Audiences resonate with authenticity, so putting genuine emotion and purpose into your work is key.

Finally, don’t be afraid to try new things! Embrace that spirit of exploration, and you’ll find that taking risks can lead to the most rewarding experiences and opportunities.

Cinemacy: How do you balance staying true to your creative vision with the practical realities of indie filmmaking, such as budget limitations? What advice do you have for filmmakers navigating this balance?

Nick Azzaro: It’s a delicate blend of realism and creativity. It's important to be realistic with your vision and expectations. When you're approaching a project, it’s common to start with a wishlist that includes all the big, fancy ideas you can think and dream of. But once that’s done, you need to strip it down to the core of the story and what’s best for it, considering what’s actually achievable with the resources you might have.

That said, don’t let limitations hold you back. Instead, use them to your advantage. Often, constraints force you to think outside the box, leading to creative solutions that can be even more effective than the “regular approach.” Limitations can push you to discover new ways of telling your story that are not only more practical but also more original and impactful.

My advice to filmmakers is to embrace these constraints. Be open to adapting your vision without compromising the heart of your story. It’s not about what you can’t do, but about making the most of what you can do.

by Ryan Rojas

Gabriel Mayo Finds The Humor and Heartache In Life

Gabriel Mayo, a Peruvian-American writer, director, and producer hailing from Miami, has made a notable debut with his feature film, A Weird Kind of Beautiful. Crafted under the constraints of a micro-budget during the pandemic, Mayo's ambitious project showcases his ability to create compelling cinema with limited resources. The film, centered around a funeral and a long-overdue reunion, delves into themes of friendship, secrets, and introspection, making it an impactful directorial debut.

In our exclusive interview, Mayo shares insights into his filmmaking approach, blending drama and humor seamlessly while navigating the challenges of constrained budgets and unexpected hurdles. Along with the collaborative efforts of his carefully chosen actors and collaborators (who all wore many hats bringing this production to life), he has brought to life a film that will deeply resonate with audiences. Discover more about this promising filmmaker and his journey by reading our full interview.

It’s a pleasure to meet you, Gabriel! What inspired you to create your new film, A Weird Kind of Beautiful, and how did you bring the story to life?

Gabriel Mayo: I wanted to make my first feature but needed to make something that was in the micro-budget range, so I initially began to come up with ideas for something I could shoot in one location, with a few actors, and with a DV-CAM if I couldn’t get all the money. I began writing it during the pandemic, so shooting outdoors was also necessary.

I then began to figure out what kind of story I could tell within these parameters and had many ideas but once I came up with the main idea that we later see in a flashback – which I won’t reveal so as not to spoil the movie – I began to build the story around that. I wasn’t thinking too much about what I wanted to say, it was through the process of writing and making creative choices to create good drama that all these things I’d been thinking about seeped into the script. 

The film's plot centers around a funeral and a reunion after eight years. What message or theme did you aim to convey through this story, and how did you balance the emotional weight of these scenes with moments of levity and humor?

Gabriel Mayo: I’d be lying if I said that I had an initial message or theme I wanted to convey. It was through the process of writing that I discovered these themes were in my head and I was sort of discovering how I felt about certain things as I was writing it. Yes, then it became obvious it was a story about friendship, the secrets that we keep from each other, and about how we look at the past.

And thank you for pointing out the moments of levity and humor, some people seem to miss those somehow. Once again, it wasn’t a conscious decision to inject humor. I have a dark sense of humor, but life to me is both dramatic and comedic, and can be both at the same time. I never understood the distinction between the genres, to me they feel the same. Sometimes you have more of one than the other, but it feels natural to me to have both.

What was your creative process in developing the film's visual style and tone?

Gabriel Mayo: I wanted to shift what the camera was doing throughout the movie. I knew we had to continually get different angles so we wouldn’t get bored of seeing the exact same setups for 80 minutes. Although this is a  movie that can rely a lot on faces, I also wanted to see the set and this tiny little world the characters inhabit.

So in the beginning we use wider lenses and get to see more, as we progress we go up in focal length but only to a certain extent because we also needed the freedom to move the camera and if we had lenses that were too narrow we wouldn’t have had the space to shoot. I also wanted a deep depth of field for the majority of the movie so we could see characters in the foreground and background. And then towards the end we shoot mostly faces and get closer to the characters. 

Indie films often rely on a tight-knit crew. How did you assemble your team, and what was the collaboration process like on set?

Gabriel Mayo: The first person to come on board was Mark Pulaski, who helped me produce the film. We needed people who were down for the cause. It’s a small indie movie, nobody is making what they should be making, they have to come on board because they love the project and want to be part of it and believe in it.

I wish we could’ve paid everyone what they should be making, but if we did, the movie wouldn’t have been made. So it was a matter of finding people that read the script and wanted to be part of the movie because it resonated with them in some way. It was a small production, so on set everyone wore multiple hats because we had limited resources.

How did you approach casting the film? What qualities were you looking for in the actors to portray these complex characters?

Gabriel Mayo: Casting and working with the actors was the most important aspect of this movie. I knew people had to almost believe the actors weren’t actors, but were the real-life people they’re supposed to represent. It should feel like you’re a fly on the wall this one evening with this group of friends. I was looking for very naturalistic acting.

To a degree I wanted it to have the same feeling like when I watched the movie Kids. None of them were actors and they seemed so real and unique. We dedicated a lot of time, more than a year, to casting and finding the right actors. Again, if we’re going to be staring at their faces for 80 minutes you better believe every word they say and action they take. It was challenging but we were lucky to find all of them. 

How did you work with the cast to create authentic, compelling performances in a large ensemble environment?

Gabriel Mayo: We rehearsed the material for nine days before we shot anything. I had done a long casting process and some extensive readings with some of them prior. We spent the first few days of rehearsal going over the script line by line, making sure we were all on the same page about it. There were lots of questions and discussions that were part of the process but after the first few days we had covered a lot of ground.

We went in order and split up the script in the 8 or 9 different parts and focused on each one of these parts. After the first 4 or 5 days we went on set and started blocking. I think we finished blocking the last 10min of the movie on the last day of rehearsal because we were going in order and going over it again and again as we went along. By the time we got to day one of production they knew their characters really well, the dialogue, the blocking, etc… and they had also become really close friends in the process, which definitely helps. You see real friendship on screen. 

What were your biggest challenges as an indie filmmaker in bringing A Weird Kind of Beautiful to life?

Gabriel Mayo: The uniqueness of the project made everything challenging because we had to do many things that are uncommon in an indie production. Finding five great actors who could deliver the performances you saw, given our resources, was incredibly hard. We spent a lot of time looking for them and, as I mentioned earlier, we went through a rehearsal period that was crucial and I had to fight for it because many people involved, not only did they not see the benefit, but didn’t see the necessity.

I’d get questions like, "Why can’t we rehearse for a couple of days? Why not just a week?" Making a movie is convincing everyone of your vision and of your way of doing things, and none of them had worked like that before. Shooting it too. It was a challenge to get all the setups we needed, and it was challenging for the actors to memorize so many lines and be ready to perform for ten minutes straight. The only way to address that was through preparation. 

Do you have any memorable moments or behind-the-scenes stories from set?

Gabriel Mayo: Yeah, we had rehearsed the movie and knew how everything was going to play out, but there were two moments with Crux (who plays Eric) – one moment where he gets into an argument with Ivan, and later another between him and his fiancee – where something happened on those two nights where he tapped into something he hadn’t before and delivered an emotional performance that wasn’t even in the script and turned out to be better than I had originally imagined. Of course we had the night where it rained, our lights blew up and we couldn’t shoot for the rest of the evening, but who wants to hear the negative stuff?

Can you talk about the funding and budgeting process for the film? How did you secure financing, and what strategies did you use to make the most of your budget?

Gabriel Mayo: The funding was a combination of putting my own money, some investors came in, and then asking friends and family for money. Overall it wasn’t a huge budget, so between all those I was able to get enough to make the movie. It was still hard because we often didn’t have things that we needed. Many of us had to wear many hats, we had to ask favors, and tried to get what we could for cheap or nothing. The typical indie way of doing things. 

What do you hope audiences will take away from watching the film, both in terms of its narrative impact and emotional resonance?

Gabriel Mayo: I wouldn’t want to impose an answer on the audience or tell them how they should feel or think. I’m often surprised to hear of people who have watched it, or read the script, because they all have their own interpretation. It’s always different how it resonates with them on an emotional and personal level. I do hope people find the movie engaging and it resonates with them in a way that makes them think about their own lives. Ultimately, like Albee once said, when people leave the theater they shouldn’t be thinking about where they parked their car. I agree with that sentiment and that’s the only thing I can hope for.

What advice would you give aspiring indie filmmakers looking to create their own feature films, based on your experiences?

Gabriel Mayo: Find a way to make something on your own with the resources that you have. Build a script around that. Stick to your vision and your way of doing things while at the same time be willing to accept other opinions, but only change what you had planned if the alternative gets you more excited than what you had originally planned. And learn how to write well before you shoot your first feature, you may not get another chance to make another one.

by Ryan Rojas

Spencer Jamison Explores Connection Through Serendipity

We've all experienced those moments in life where aimless, late night walks with friends or dates turn into long hours of laughing and discussing the most random of topics. These are the moments that indie filmmaker Spencer Jamison finds the beauty in, seeing connection through our shared serendipity.

In our insightful interview, indie filmmaker Spencer Jamison discusses her short film At Capacity which had its premiere at the LA Shorts International Film Festival. Spencer recounts how she drew from her experiences as an overwhelmed artist seeking hope and authenticity as inspiration for the film, along with challenges faced during production (managing multiple roles and a gas leak on set). Spencer emphasized the importance of collaboration and networking in the film industry, and gave invaluable advice for aspiring indie filmmakers. Read on for our exclusive interview with this bright, upcoming talent to keep your eye on.

Cinemacy: Hi Spencer, it’s nice to meet you! Congratulations on the world premiere of your short film, At Capacity, at the LA Shorts International Film Festival! Can you tell us about the inspiration behind it?

Spencer Jamison: It’s great to meet you as well, Ryan! And thank you, it’s a pleasure to be interviewed by Cinemacy. Also, shoutout to LA Shorts for supporting the film… it was a bit surreal getting to celebrate with the cast and crew this past weekend… some of whom have known me my whole life.

I wrote At Capacity at a moment in time where I was extremely overwhelmed with the state of the world and trying to figure out my place in it as an artist and woman. I wanted to create something with hope, something a bit sweet. But also a film that would spark a dialogue about how we can be better to one another… leading with tenderness and authenticity. It’s very inspired by those character driven 90s rom-coms, my appreciation for The West Wing, and the whimsical heart of Korean Dramas. Fortunately, my big brother and fellow filmmaker, Jai Jamison, and a close family friend, Ron Forbes, believed in the script so much they came on board as Executive Producers to help bring it to fruition!

Cinemacy: As an indie filmmaker, what were some of the biggest challenges you faced during the production of this film, and how did you overcome them?

Spencer Jamison: Production was fairly smooth (thank goodness!) once we brought on the help of Macy West and her production company, Mad Box Made. I’m currently based in Los Angeles and we were planning to film in my hometown, Richmond, VA. Macy was incredible because she was there on the ground making sure we assembled a really generous and skilled crew. With that taken care of, the most challenging aspect of production was wearing multiple hats and splitting my focus.

I’d written these dialogue heavy scenes in multiple languages, was also discussing blocking, camera setups, in and out of hair and makeup, doing collaborative revisions with my cast… it was a lot, but I honestly loved it and want to do it again. My main goal at every step of production was I wanted the world of At Capacity to feel warm and lived-in. This meant truly trusting that the cast and crew had my back and allowing folks to expand into their individual roles.

Cinemacy: One of the things that I was so taken by while watching was how the story explores themes of connection and serendipity. How did you translate these abstract concepts into visual moments in the film?

Spencer Jamison: There’s a specific visual moment at dinner where the camera slowly zooms in on Mia as she reveals to Ari that she feels like she’s stuck in a corner sparring with fear, anxiety, and rage. The camera lingers on her until Ari says, “Would you rather be pushed off a cliff, or with your own parachute in tow, choose to jump?” She doesn’t answer the question… but the question does give Mia some reprieve. She starts to breathe.

This is when we’re catapulted away from the restaurant into a more liberating and whimsical moment walking the canal in Shockoe Bottom. Having grown up in Richmond, I already knew it would be one of the main locations. I wanted to capture those serendipitous late night walks with friends or dates, where you spend hours laughing and discussing the most random topics.

Cinemacy: Were there any unique or memorable moments from the filming process that unexpectedly impacted the film's final cut?

Spencer Jamison: On our last day of filming… we had a gas leak… *insert yikes emoji* *sideways laugh-crying emoji* *upside down smiley face* Luckily, we caught it early, were able to air the location out, made sure everyone was okay, and had already created a plan to get the coverage we needed for the rest of the day. But it did mean we had to be really precise and ditch a couple of our setups.

We approached the restaurant scenes with an urgency that I actually believe aided in the acting for both me and Jake (Ari). Also I have to say… Jake is brilliant and hilarious and had some great adlibs and dialogue changes that elevated the film and 100% made it into the final edit. 

Cinemacy: Working with a limited budget is a common constraint for indie filmmakers. What strategies did you use to ensure high production quality without breaking the bank?

Spencer Jamison: Again, I cannot thank my line producer, Macy, enough… She was so thoughtful in her budget and hiring that I knew going into filming we would be in great shape. Also fortunately, my brother was one of the editors, so we both deferred our payments for the various roles we took on in this production to make sure cast and crew were taken care of first. Which I mean is pretty common for filmmakers who really want to get their films made! I’m just very grateful for the crew in Richmond who have worked on a ton of big projects and took the time to contribute/work on At Capacity.

Spencer Jamison poses with Jake Ryan Lozano (Ari) and Joy Hana Park (Audre) at the LA Shorts International Film Festival. Photo credit: Olivia Wong, OWong Productions

Spencer Jamison poses with Executive Producers Jai Jamison and Ron Forbes at the LA Shorts International Film Festival. Photo credit: Olivia Wong, OWong Productions

Spencer Jamison poses with With Kunitaro Ohi (DP) and Emilie Corpuz (Sound Mixer) at the LA Shorts International Film Festival. Photo credit: Olivia Wong, OWong Productions

Cinemacy: How did you cast the roles of Ari, Maxine, and Audre? What qualities were you looking for in your actors?

Spencer Jamison: From the jump I wanted to work with my classmate from the Yale School of Drama, Jake Ryan Lozano. He was one of my first scene partners and has now become a great friend. We have immense trust in each other and I knew he would bring the wit, charm, and chemistry I needed to make us fall in love with both characters.

Zainab Bari (Maxine) is the sister of one of my best friends (Hey Binta!) and a fellow James Madison University alum. She’s a gifted director, writer, and actor in her own right and I’d been looking for an opportunity for us to work together. Plus, we look like we could be sisters.

We held auditions for the role of Audre. I have to thank our casting director, Anne N. Chapman, for introducing me to the incredibly talented, Joy Hana Park. The minute I saw her tape, I knew she would bring so much fun and nuance to this character in a short time. Now, we’ve become great friends and she’s like a little sister.

Cinemacy: What advice would you give to aspiring indie filmmakers who are just starting out and looking to get their films noticed by festivals, such as the LA Shorts International Film Festival?

Spencer Jamison: The festival circuit is hella unpredictable, so my biggest advice is to be centered in the purpose, intention, audience, and creative process of your film. You’ve got to have a strong “why” first and foremost. That will keep you grounded when rejections come and when those festivals in alignment with your work ultimately say yes!

More technical recommendations… rewrite, revise, and get the script (or treatment/concept if it’s more experimental) solid. It’s your roadmap. Be concise in how much time you need to tell the story you want to tell. Then assemble a team of people you trust to enjoy the process of creation alongside you. There’s no rhyme or reason to the way any of our paths unfold in this industry, but at the end of the day, we all want to be able to look at our work and be proud of the steps we took to birth our projects.

Cinemacy: Can you talk about the importance of networking and building relationships within the film industry, especially as an independent director? Who have you met along the way that has helped you get to where you are today?

Spencer Jamison: I’ve been fortunate to build a foundation of collaborators very organically. I met a fellow filmmaker last year, Caroline Renard, because we’d both recently made shorts. We bonded over our shared southern Black girl nerdom and desire to create opportunities for other Black women. She’s been a great holistic support system this year and now we’re planning a project that I’m going to produce and star in that she’s written and will direct.

Another incredible friend and mentor I have is Kaitlin Fontana whom I met through my brother. I took her screenwriting class and whew… my voice as a writer and skillset as a filmmaker have grown immensely with her trust and encouragement. I was recently the 1st AD on a short film of hers. “Networking” should feel nurturing. For me, it’s more important to genuinely enjoy each other’s presence than to pursue relationships with transactional intent. 

Cinemacy: What pivotal moments or projects would you say significantly shaped your path as a filmmaker?

Spencer Jamison: I’ve been extremely driven my whole life and always believed I had a healthy relationship with the pursuit of achievement or success. But when the pandemic happened and we were all forced to pause/take stock, I faced burnout coupled with the brain fog of long Covid. This extended period of time was pivotal because it reminded me that caring for my physical, spiritual, and mental well-being is beyond essential. My approach to creation and collaboration is much more holistic now. It’s why I talk about nurturing one another and encouraging rest so often. It’s why I really want to lead by example on sets, in writers’ rooms, in rehearsals, in life… with a true sense of gratitude, play, and presence. I know now that my dreams as a filmmaker must work in tandem with living a good and full life. 

Cinemacy: Are there any upcoming projects or future goals you're excited to share with us?

Spencer Jamison: I recently finished writing my first feature, a nerdy romantic comedy called Caught in the Middle of June. I’m now working on a second feature, a coming of age film dedicated to my grandmother, Marie. Hopefully one of them will be my feature directorial debut. I also have a sci-fi action short I’d like to direct. I wrote it for two close friends to star in with the need to unpack our relationships to social media and unhealthy trends.

For future goals, I desire to work in multiple capacities as a filmmaker and meet each project in whatever role it requires of me… whether that’s as a director, writer, actor, or producer. I’d also love to work with directors, writers, and showrunners I admire, travel, and create creative opportunities for others. Instead of the visual of climbing a mountain, I see my life and career as navigating waterways… sometimes the water will be still, some days there will be waves, but ultimately I’ll always have a healthy relationship to the changing of tides.

by Ryan Rojas

Christine Handy and Ziad Hamzeh Connect Through Catharsis

What do you do when tragedy befalls you? If you're Christine Handy, who battled a breast cancer diagnosis, you bravely share your story to as many people as possible so that others may heal through connection. "Honest and courageous storytelling allows others to feel less alone. Sharing stories of great difficulty promotes connectedness," Handy says in our interview. Handy courageously put her own story into Walk Beside Me, which would become a best-selling novel. Now, she has overseen the adaptation of that novel into a feature film, Hello Beautiful, which she served on as as executive producer.

Cinemacy had the distinct pleasure of talking with Christine Handy as well as Ziad Hamzeh, who wrote the screenplay and directed the film. Read on to learn more about this poignant film, which captures the courage and resilience in the face of illness and despair. Christine and Ziad dive into their shared creative journey, inspirations, and challenges faced in bringing this deeply moving story to the screen.

Christine, what inspired you to adapt your best-selling book Walk Beside Me into this film? What were the earliest challenges you faced during this adaptation process?

Christine Handy: My inspiration to turn my book, Walk Beside Me, into a full feature film came from my own experiences seeking films during my cancer journey. Not only did I become frustrated with books that portrayed a cancer patient's journey, but I also became more fearful while watching popular cancer films. After completing my chemotherapy, I knew that if I could write the book, I would not stop until a film was made.

Of course, those were just dreams, but if you know me, you will know that I have a lot of grit and determination. I respect "No's," but they don't stop me. The earliest challenges still face me today. I am not in the film industry, so each step of the way has been fraught with uncertainty and tremendous hurdles. But we keep going, especially when it involves helping others. 

Ziad, this film, Hello Beautiful, explores themes of courage, friendship, and love amidst tragedy. What excited you about the original story, and what did you want to add to ensure the visual and emotional themes captured the beauty and ugliness of illness and despair?

Ziad Hamzeh: Christine Handy is a remarkable woman, and her story is one of tremendous courage, determination, and love. As I read the novel and developed the screenplay, tears often burned my cheeks, because the emotions were so strong, on so many levels. I was determined to bring to audiences what I found so compelling in Christine’s story. She and her family were tested against the most extreme circumstances, and they did not give up. It was a transformational journey for all of them. 

To do justice to their stories, it was important to highlight each characters’ perspective and struggles. I was assisted greatly in this area by our Director of Photography, Terrence Hayes. The visual tapestry he created effectively communicated the contrasts of intimacy, urgency, and vulnerability that mirrored the internal struggles of the main character. Also integral to communicating the emotions visually was our Production Designer, Layla Calo-Baird. She understood that the environment is also a key character in the film. We began at the pinnacle of happiness and success and fell to the depths of hell. The environments she created reflected all of that.

Together, our team created a visually stunning environment that externalized the variety and depth of emotions our characters were experiencing. Finally, the emotional environment was elevated even further by the exquisite compositions of Marco Werba. His music enhances every moment of the film. The collective expertise and tireless efforts of our entire team resulted in the creation of an engaging, heart-felt, and inspiring film. 

Christine, could you elaborate on the decision-making process behind selecting Ziad Hamzeh as the director for Hello Beautiful? What qualities did you see in him that made him the right fit for this project?

Christine Handy: Ziad Hamzeh, from our first introduction, has been a champion for this story. It is not because it’s my story, but it is a story for all women that Ziad recognized. Because breast cancer is on the rise, particularly in younger women, I needed a partner that would get through all of the stumbling blocks with me. Ziad, like myself, has a great sense of tenacity and determination to help others. He brings passion to his projects as well as decades of experience. Ziad and I instinctively trusted each other from the beginning. We used the same entertainment lawyer to seal the agreement in 2018 and since that moment, we have not stopped working on this project.

Ziad, Hello Beautiful navigates through emotional and visual chaos while portraying decency in darkness. What early work did you do to conceive these contrasting elements into the visual style of the film?

Ziad Hamzeh: All of my work, both in theater and film, embraces the basic human experience. This requires knowing each character intimately. To accomplish this, I create a unified vision derived from the environment, economic status, and engulfing need of each character. This deep understanding of each character guides the development of the story and maintains consistency and authenticity throughout the project. 

Also essential is contrast. I learned early in my career that contrast really matters. Most would agree that without pain, we cannot fully understand joy; and without darkness we cannot fully appreciate the light. It is the contrasts in the characters’ lives that enable us to genuinely understand and connect with them and their experiences. 

I take my responsibility very seriously, because actors depend upon the director to ensure their performances deliver truthfulness and authenticity. So it is essential for me to work from a platform where humanity and human experiences are at the center of the story. This approach has always enabled me to deliver honest and compelling stories.

Christine, as someone deeply connected to the story on a personal level, what was it like for you to be on set during the production of Hello Beautiful?

Christine Handy: It was a dream come true to be on set during the production of Hello Beautiful. However, we were not portraying the most flattering parts of my life or the easiest. This film sheds light on the pain that entire families go through during cancer trials, bringing up deep pain. There were a few intense scenes that I purposely did not show up on set for. One scene in particular is still hard for me to watch even though I experienced it ten years ago. When you watch the movie, think of the table scene; that was the day I stayed home. 

Ziad, in a film that explores such intimate and challenging themes, how did you work with the actors to bring authenticity and depth to their performances?

Ziad Hamzeh: The intimate and challenging themes in the film required us to explore the story and the characters in a truly honest and authentic manner. Perhaps the best preparation for me relative to supporting the actors’ understanding of the characters and the themes of the story is that I wrote the screenplay. As I did, I felt the characters’ emotions, spoke their words, ached with their pain, and reveled in their joy. So when it came time for me to rehearse with the actors, I had already developed a deep understanding of each character and theme.

Fortunately, our talented cast came well-prepared for their roles. Their skills and professionalism were extraordinary. They had researched their characters, the global crisis of breast cancer, and many other elements. My responsibility during rehearsals was to ensure they came to understand their characters even better than I did. I worked closing with them in a variety of formats and listened attentively to their queries and requests. They prepared diligently and collaboratively and brought their passion for the project to the set every day. Each and every moment of the script was explored, dissected, and questioned in order to deepen the actors’ understanding and thus strengthen their performances. 

What were the biggest challenges you each faced while making this movie? What were the most unexpectedly rewarding moments?

Christine Handy: The biggest challenges related to funding and our limited budget. We started production during the strike, which also added to our restraints. Ironically, the most rewarding moments involved the same budgetary constraints that invoked such peril. The slender budget forced each and every person to work harder and with greater professionalism. This elevated the set and brought all of us closer. We all shared an underlying drive to make this film exceptional, even with the restrictions.

Although many of the scenes required intense emotional acting, we did not have time for breaks. Our schedule demanded an intensity that was felt by all. Quite literally, the entire community rose to the occasion. Other unexpected rewards occurred when the actors gave much more than I expected. I cannot wait for the world to see Tricia Helfer's performance in this movie. There is also a buzz going on about Sara Boustany and Tarek Bishara's performances as well. The casting for this film is perhaps the greatest reward so far.

Ziad Hamzeh: Challenges in filmmaking are common from the moment you begin development until you complete the project. In our case there were three significant challenges. First, the Screen Actors Guild was striking, so we had contractual terms to negotiate with SAG. Fortunately, we were granted permission to proceed. Second, there were a variety of complications with the set. Our Producer, Michael Espinosa, took on the burden of resolving most issues, so I could focus on my role as director. Third, as with many productions, the biggest challenges were time and money. The limitations of our budget required us to complete the filming in fewer days than we would have preferred. We shot in only 18 days, when ideally we would have had double that. 

As for unexpectedly rewarding moments, I was reminded daily of the exceptional talent and determination of our cast and crew. It was an honor, a privilege, and a joy to work with them, and the quality of the film is evidence of their ability and commitment.

Another unexpectedly rewarding moment occurred on a day when Tricia Helfer was slated for a particularly demanding day - several scenes and costume changes, long hours, and lots of emotion. She is incredible, focused, humble, and patient. Between scenes she would listen to music in a quiet space to find her center so she could harness the energy and emote the feelings required of her. The seriousness and dedication she invested in the role was all awe-inspiring. That day she brought the cast and crew to tears, myself included. Witnessing the impact you hope an audience will experience come to fruition on set is truly humbling and enormously rewarding. 

What do you both hope audiences take away from Hello Beautiful, both in terms of its narrative impact and its emotional resonance?

Christine Handy: Honest and courageous storytelling allows others to feel less alone. Sharing stories of great difficulty promotes connectedness. I felt very alone in my diagnosis. I was younger than most women I had known with the disease and I was blindsided by my diagnosis. It was in those early darker moments that I vowed to share my story if I survived. I desperately did not want others to feel such emotional fear and paralysis. My greatest hope is that this film helps as many women as possible feel less alone. I want to champion the importance of community in breast cancer while trying to negate the loneliness of the disease. If this narrative accomplishes that, then the emotional resonance will be one of togetherness and not separateness.

Ziad Hamzeh: Since the beginning of time, humans have shared their stories with others. From ancient cave drawings to the modern spoken word, humans have sought validation from others for what they have experienced, loved, learned, and lost. 

Early in my career, I was an actor. It was at UMASS Boston, under the guidance of Lou Roberts and Susan McGinley, that my competencies as a director began to evolve. Those who understand the approaches of Stanislavsky and Brecht may find their methods in opposition, but for me the combination of the two seemed natural and appropriate. 

Brecht wanted his audiences to be inspired to action. He wanted them to erupt from the theater with the determination to do something as a result of what they had witnessed. His goal was to effect positive change. 

In contrast, Stanislavsky sought to optimize the cathartic experience within the theater. This allowed his audiences to relieve themselves of the emotions they were feeling in the moment instead of bringing them outside the theater. 

I wanted our audiences to feel the cognitive dissonance of the two approaches - to feel the heightened emotions of the characters and also to feel inspired to effect change. No one should die of breast cancer. We need a cure. 

Let’s get to know you both better! Where are you both from and where do you currently reside?

Christine Handy: I am from St. Louis, Missouri. I then moved to Dallas, Texas to go to a college called Southern Methodist University. I ended up staying in Dallas for over 25 years. I raised my two sons there. In 2015, I moved to Miami, Florida to live close to the beach and get a fresh start.

Ziad Hamzeh:  I was born in a small farming community south of Damascus, Syria. I immigrated to the United States in 1979 after spending a few years in Paris. Presently, I live near the ocean with my wife and sons about 20 miles north of Boston, Massachusetts.

What are your favorite films, who are your filmmaking idols, and dream collaborators?

Christine Handy: Some of my favorite films are older films. I loved John Candy, so anything with him in it, like Uncle Buck. But I also enjoy watching movies based on true stories, such as The Boys in the Boat and CODA. Recently, I watched Ordinary Angels starring Hilary Swank. It is a story of tragedy and hope, as well as a refreshing reminder of the importance of compassion.

My dream collaborators are those production houses that can take Hello Beautiful to the largest audiences. I believe, with everything that I know to be true, that this film will ignite hope. For that reason, I am deeply committed to continuing to work to reach as large of an audience as possible. There is no limit to what we can accomplish when we believe in ourselves and our projects.

Ziad Hamzeh: As you might imagine, I enjoy many films, admire many filmmakers, and would love to collaborate with some of the legends of our industry. The common denominator is that each honors the essence of humanity - what we are, what we feel, and what we aspire to be… These speak to me; their works inspire me. In truth, every human being I've encountered has contributed in some way to my understanding of good storytelling. 

In terms of a dream collaborator, that is and always will be my wife. When we were young, she taught me English, and we created The Open Fist Theater together, an oasis in Hollywood for those who shared our passion and collaborative spirit. Forty years later, she is my North Star, my writing partner, challenging me to achieve the honesty and truthfulness I strive for in all my projects. 

What is one thing you’ve learned as a filmmaker that you think other filmmakers would benefit from knowing in starting their careers?

Christine Handy: I do not consider myself a filmmaker, although I suppose I have now made one film. When making this film, I couldn't understand how any films truly get completed. The obstacles seemed so great, not just for small budgets but I imagine for all budgets. I would simply say that quitting should not be an option. Only the ones who stick it out in the difficult messes get it done. So keep going.

Ziad Hamzeh: I have learned countless lessons as a filmmaker, and I’ll share just a few. First, human beings are continually evolving, so we must continue to learn from and with each other. That means listening with an open mind to all opinions and respecting all perspectives. Second, working as a team is important, but nurturing that team so it becomes an ensemble is even better. When your cast and crew know and care about each other, everyone’s experience on set is improved. Third, all egos must be left at the door. Only with kindness and compassion can a unified vision flourish. 

What is one message that you would like to share with audiences about your work, your general outlook on life, that you are interested in further showcasing in your films?

Christine Handy: I would describe myself as a hope facilitator. It is not always easy to continuously talk about a story that is rooted in such pain. Yet, by doing so, it can bring a sense of community to a disease that is so isolating. Whether through a book, a film, social media, behind a podium, or even one-on-one, talking about struggles on a very personal and vulnerable level invokes connection. The purpose of this film is to show a very accurate portrayal of a disease that is on the rise. Not to show the disease as hopeless, but to model the importance of people showing up during illness and the truth of the human spirit's fight to survive. I believe deeply that this film, in particular the ending, has the ability to give tremendous hope.

Ziad Hamzeh: I believe the most valuable stories engage the viewer in the immersive experience of unpacking, scrutinizing, and embracing the human condition. Much of my work is a reflection of who I am, what I value, and how I see the world. I seek to contribute positively through my art even as I dare audiences to look in the mirror, think differently, and choose alternative paths.

by Ryan Rojas

Marcus Vetter Endeavors to End War Crimes Against Humanity

Can war crimes truly be prevented, or is the essence of war itself the greatest atrocity? This question is suggested by Ben Ferencz, the esteemed former prosecutor of the Nuremberg Trials. It's also thoroughly investigated by director Marcus Teller in his powerful new documentary, War and Justice.

Through the lens of his documentary, acclaimed director Marcus Teller explores the 25-year history of the International Criminal Court (ICC) and its relentless pursuit to eradicate the gravest crimes against humanity. In our exclusive interview, the visionary filmmaker discusses the intricate journey of creating this thought-provoking documentary and the insights it unveils about justice in times of conflict.

It’s a pleasure to meet you, Marcus. How did you decide to make this documentary about the International Criminal Court (ICC)? What drew you to its 25-year history?

In 2008 I was doing a film, Heart of Jenin, about the story of the Palestinian father Ismael Khatib whose son was shot by an Israeli soldier in the Palestinian city of Jenin. Instead of seeking revenge, Ismael decided to donate his son’s organs to Israeli children as a sign of peace. Such actions instead have inspired other people to do the same. Luis Moreno Ocampo, the first prosecutor of the ICC, saw the film at the Cinema For Peace gala in Berlin. He was so inspired by Ismael’s bold act of humanity that he called me to visit him in The Hague. He had just received a Palestinian delegation who requested the ICC to investigate possible war crimes committed by Israel in the Gaza war of 2008/2009. But as Palestine back then was not yet accepted as a state and therefore never could ratify the ICC, he had to refer the case first to the United Nations Assembly who eventually decided to consider Palestine as an observer state. With that, Palestine later ratified the ICC and became a member state of the court.

That is why today the ICC has jurisdiction over crimes committed in Palestine even though Israel has never accepted the ICC, and this is why arrest warrants are looming over Benjamin Netanyahu for having committed possible war crimes in the ongoing Gaza war, as well as some Hamas leaders of ordering the heinous attacks on October 7. An act of humanity is so much stronger, and reconciliation can lead to so much more then vengeance and violence. War can be replaced by justice. This is what inspired me most in the making of the film and this has become the main theme of the documentary.

Ben Ferencz argues that war itself is the greatest war crime. How does your documentary address this perspective?

What Ben Ferencz is referring to is the very fact that in all wars, soldiers will carry out atrocities. This is the nature of wars. Civilians cannot be protected, as much as we wish for it. This why Ben, who was the youngest prosecutor at the Nuremberg trial, has spent his whole life advocating that we have to avoid wars by all means. The documentary tells the story of the ICC’s mission to make heads of state accountable who command or order war crimes so that they don’t get away with impunity. In 2017, the Rome Statute is amended by the mother of all war crimes: starting a war of aggression.

Unfortunately, the US has put its veto so that not only the attacked state needs to be a state party of the ICC, but also the attacking state for the ICC to have jurisdiction and being able to intervene. Powerful nations such as the USA, Russia, India and China have never accepted the ICC's belief that they are above the law and can not be held accountable if they commit crimes of aggression, as it is the case with Russia today, but also with the USA when they launched a war on Iraq in 2003.

What were some of the most compelling stories or cases you encountered while researching War and Justice, and why did they stand out?

Most compelling for me was what happened in Abu Ghraib when US soldiers were filming their tortures in an Iraq prison. Because these tortures were used by ISIS as one of their main arguments to recruit people to join them. "Vengeance begets vengeance," as Ben Ferencz says. This stands in total contrary to the story of why I actually ended up making this film. This story of the Palestinian father Ismael Khatib has inspired so many people to do the same. For example, I decided to refurbish an old cinema in Jenin and hundreds of volunteers all around the world did the same. The story was finally told in the documentary Cinema Jenin: The Story of a Dream.

Then, the act of humanity by an Israeli woman, Yael Armanet, whose husband was killed in a suicide attack in Haifa, inspired me. She decided to visit the suicide bombers family in Jenin, which is also told in a heart breaking documentary of two young directors with the title After the Silence. So yes, vengeance and violence begets nothing else other then vengeance and violence. Those who overcome those feelings are truly moving the world. This was the real take away for me at the course of making the film.

How did you navigate the balance between telling the ICC's institutional history and highlighting the personal stories of those affected by war crimes?

The film’s main challenge was to introduce a dry and very complex subject matter to a layman’s audience. Another challenge was to show what happens to the victims of war without exposing them. For example, the scene of a young, maybe 12 year old boy being abducted to become a child soldier and being beaten up by some soldiers on the back of a truck. This scene is very cruel and hard to watch. A few minutes later, we see a witness in the court being interrogated by the prosecution about him being abducted and beaten up. By listening to his words and his description of what happened to him, our imagination cannot grasp what really happens at war. When this young boy talks about the very fact that they broke his friend’s arms as a punishment, we cannot possibly understand what it really means. But if we see the scene on the truck, it is so unimaginably strong that we hardly can watch it.

This was the balance we needed to work out so that the audience can understand what is at stake, but is not overwhelmed. We tend to look away because we cannot bear it. We read articles about the newest killer drones, F16 fighter jets, about tanks destroying the enemy, and we start to loose our empathy with those being exposed to the war. The film brings these scenes of atrocities in the mildest way possible to the audience, as a reminder why we should not be indifferent. It matters and it could be our children who have to fight the next war.

What impact do you hope War and Justice will have on viewers' understanding of international justice and the prevention of war crimes?

War and Justice is clearly the most important film I have ever directed. There are very personal films, like the film about my Turkish father who I met the first time when I was 37 - My Father, The Turk  - or a film about cruelty of hunger. But War and Justice is so important because it presents the audience alternative arguments towards war in a time when war is chosen by the world as a mean of resolving conflicts. A lot of people have made their mind and are now convinced that there may be no alternative to it. That we need to deliver weapons, that we need to be in solidarity with Ukraine, or with Israel or with Palestine, and that we need to finish it. That the time for peace and reconciliation has run out.

Herman Goering, one if the defendants at the Nuremberg trial, was asked why the Germans could possibly opt for this total war. And he said: "It's very easy. You just had to tell them that we were attacked and that we have to preempt it. All the remaining pacifists have to be denounced as traitors." He said it would work the same way in any country and at any moment in the future. Of course there are reasonable arguments for war this time. The appeasement policy with Hitler, for example. That we should never have let Hitler go so far and we should stop Russia before conquering other countries as well. But are we really sure that Russia would do it? And can we really compare the current situation with Hitler’s psychopathic war of aggression? The film makes you rethink your stance towards war and is so important in these times…

Were there any moments during filming or production that particularly challenged or surprised you positively or negatively?

A very important moment in the documentary is the scene with the taxi driver when he drives Ocampo to his hotel in The Hague. He asks a very interesting question exposing some of the flaws of the ICC, for example, why the leaders of the mighty states never will be prosecuted. In my eyes this court will only make a real difference if it is perceived as a neutral and just court that tries not be influenced by politics. We should never forget that 2/3 of the member states of the ICC are from the global south, so the conditions are there for the ICC to be a court of all nations.

Karim Khan, the current prosecutor’s decision to ask for arrest warrants for Hamas leaders and an Israeli Head of State and his Defense Minister, were very bold decisions that has sent a message to the world that he does not shy away to stay neutral even though the US has threatened him to retaliate even personally against everybody from the ICC involved in those decisions.

How do you see the role of documentaries like yours in influencing public opinion and policy regarding international criminal justice and human rights?

It's hard work. You have to work on a film until you are really sure that the audience is truly emotionally impacted by its story arc and the message of the film. But then the real journey only begins. With the anti-war message the film has, it is a pretty hard undertaking in these days. For some important festivals, screening platforms and TV stations the message of the film is way too controversial. It is going too much against the tide. This makes it very challengeable for us. We are now working with the Dresdner Sinfonics, one of the most prestigious orchestras in the world, and they want to play the music score of not only the film War and Justice, but also my other three films Heart of Jenin, Cinema Jenin, and After the Silence, live, and together with other symphony orchestras and musicians from the different conflict regions Palestine, Israel, Ukraine, Russia, Taiwan, China and Iran. A good number of orchestras already have agreed to cooperate.

So, under the title "Messages of Hope,” we want to spread hope with these stories of normal people that have tried to break the viscous circle of violence instead of seeking revenge. War and Justice will be the last film of the series and after the premier in an important opera house in Germany we will travel with it to symphony orchestras all over the world addressing a totally new audience interested in classical contemporary music. A world class Armenian composer has already agreed to compose the four overtures and re-arrange our existing film scores for these sinfonie orchestras. Stay tuned!

Looking forward, what are the most pressing issues facing the ICC and the pursuit of global justice, and how can documentaries and media address these issues?

The ICC’s biggest challenge now is to keep working in making this court to be perceived as a neutral and independent court. Each chief prosecutor was different and has influenced the identity of the court. Luis Moreno Ocampo, Fatou Bensouda and now Karim Khan. The good thing is they will hand over to the next. So, the ICC is permanently evolving. I hope the film, by having filmed for such a long time period of 13 years and by having given a glimpse of each of the three prosecutors, will help to shed a light at this institution and to make it also for a layman accessible.

Let’s get to know you better! Where are you from and where do you currently reside?

I am from a small German student town called Tübingen, but currently also living in Duisburg next to Cologne. I work as a commissioning editor for a German TV station being responsible for a slot called “Junger Dokumentarfilm” for first-time filmmakers. We work together with a prestigious film shool nearby Stuttgart called Filmakademie Baden Württemberg. So while I love directing and producing films, I also love to teach and to be involved with he next generation of filmmakers.

What are your favorite films, who are your filmmaking idols, and dream collaborators?

My favourite film festival is IDFA in Amsterdam. I love to hang out there in autumn and watch these incredible documentaries that directors from all around the world are giving us as a present. They risk their lives for us, and they are embedding themselves in situations and giving us thereby visual and emotional access to a world that we as an audience could never attend. This for me is a true beauty, but unfortunately only few people know about it and can therefore enrich themselves with it.

So, to answer your question, instead of singling out one idol, I am embracing all these filmmakers who are committing themselves to their vision of true storytelling under often precarious conditions.

What is one thing you’ve learned as a filmmaker that you think other filmmakers would benefit from knowing in starting their careers?

Try to overcome your own prejudices and be open towards your story and your journey. We often need to prove to TV stations and film funds with extensive treatments and exposés the quality of our stories. Even though I understand it and think that it is good and important to write your story down for potential commissioning editors, producers , investors and yourself, I really think you should never blindly follow through. If you stay open you will find your story line.

With War and Justice, I only understood at a very late stage that my point was actually your first question you asked me in this interview: That war itself may be the biggest war crime of all.

What is one message that you would like to share with audiences about your work, your general outlook on life, that you are interested in further showcasing in your films?

Never lose hope, and trust in people. Trust in your audience, trust in your protagonist, but most importantly, trust in the people that you are working with. If this trust would be abused one time, never mind. You will be rewarded by all the others who you have trusted in a million times.

by Ryan Rojas