Interview with Filmmaker Christian Arnold (CHRICKE)

CHRICKE was the winner of BEST CINEMATOGRAPHY at the April 2018 LGBT FEEDBACK Film Festival in April 2018.

Matthew Toffolo: What motivated you to make this film?

Christian Arnold: I was cut off by my father because of my sexual orientation. And the phone call in the film is the actual last phone call between me and my biological father. Being cut off is something that I’ve felt ashamed about my whole life, and felt responsible for. And I always wondered why he isn’t able to love his kid like every other parents naturally do. And I’ve come to a place in my life where I’ve realized that the problem doesn’t lie with me, and therefore I’m not ashamed anymore. So making this film is a way of owning my own situation, taking pride in who I am, making something beautiful out of something ugly and hopefully to inspire other to live their true life.

2. From the idea to the finished product, how long did it take for you to make this short?

I wrote, shot and edited the film in a weekend. Then I kind of hit a wall. Making this film was a really therapeutic process, since it is so personal. And this was the first time I ever delt with my experience of being abandonned. So I paused from the film for a couple of months to gather focus and strength again and finalized it with sound and final touches. So physical work, not so long. Mental work, a lot longer.

3. How would you describe your short film in two words!?

Honest. Bare.

4. What was the biggest obstacle you faced in completing this film?

Processing my own experience. Daring to be totally honest. And then to show my film that is so personal, and being prepared to get response on something so personal.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

I actually cried. I was the first time I saw a reaction from someone who is not personally connected or related to me. And it was quite overwhelming that people who don’t know me understands my film and my vision. And gets invested in my story.

Watch the Audience FEEDBACK Video:

6. How did you come up with the idea for this short film?

I had this phone call with my father, that became our last one. And I felt that I wanted to do something with it, turn my shame into pride. One day I visited an art installation in Stockholm that had this “all white”-room. EVERYTHING was painted white. That resonated with me and how I felt throughout the years of trying to please my father. Washing out and cover up everything that I am, to suit his image of who he wants me to be. I talked to the owner, went home and called my DOP. The next day I was back and shooting my film.

7. What film have you seen the most in your life?

Probably the “Breakfast Club”. I saw that once a day almost, growing up.

8. You submitted to the festival via FilmFreeway, what are you feelings of the submission platform from a filmmaker’s perspective?

I think it’s efficient and easy. I never stumbled upon any problems with the platform!

9. What song have you listened to the most times in your life?

A legit guess would be “Dancing On My Own – Robyn”

10. What is next for you? A new film?

I’m working on a new film, it’s being edited. I’m also involved in a tv-series project as an actor. And hopefully I’m going back to Stockholm University of Dramatic Arts to complete my mastes degree in ”Screen acting”

 

chrickle_1.jpg

_____

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every single month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 3 times a month. Go to http://www.wildsoundfestival.com for more information and to submit your work to the festival.

Advertisements

Interview with Cinematographer Christophe Graillot (A Bag of Marbles, La Garde)

Christophe Graillot is a true artistic talent. Just watch the recent film A BAG OF MARBLES to see how he conveys a story through light and shadows. It was on honor interviewing him:

Matthew Toffolo: Where were you born and raised? Was photography something you always wanted to do as your career?

Christophe Graillot: I was born in a suburb of Paris and raised in Paris. As long as I can remember I always wanted to be photographer. I have a background in graphic arts and I taught myself the trade of Director of Photography.

What has been your most proudest work of your career? Or, what has been your favorite project to date?

I don’t know. Every project I’m proud of. Every job I learn something new and unique. My favorite project is the next one.

Right now you’re working in Praque. What’s the film? And are you having an okay time in the Czech Republic?

I’m shooting a TV movie, A Christmas love story. We’re in a beautiful location called Mala Upa, which is close to Poland. All is good as I’m lucky working with a Czech crew. I’m working with an amazing Focus Puller.

Tell us about working on the film A BAR OF MARBLES. How does this film differentiate from other WWII films?

A special project for me. I was lucky to work for the second time with director Christian Duguay. Christian also an amazing Steady-cam operator. One of my most beautiful movie encounters. This film has the particularity of seeing the second World War from the point of view of two children.

Is there a type of film/TV show that you love to work on that you haven’t worked on yet?

I’d like to do a musical comedy and a boxing film. Two types of stylistic exercises.

What are you generally looking for in a director in order for you to do your job as best as possible?

A good story and their desire to find the best way to tell it. And their madness…!

What do you think a producer/director is looking for when they bring on you to DP the film?

Don’t know. Availability 😀

What is your passion in life besides photography and film?

My family. I take the opportunity now to thank my wife because it’s not always easy to follow the life of a DOP.

What movie have you watched the most times in your life (besides the ones you worked on?

When I was young, I watched a french movie « La Grande Vadrouille » at least 30 times.

What advice do you have for young cinematographers who would eventually like to DP movies for a living one day?

Simple advice: Speak well to everyone, be on time and never forget how lucky you are to do this job!

christoher.jpg
_____

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every single month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 3 times a month. Go to http://www.wildsoundfestival.com for more information and to submit your work to the festival.

Interview with Supervising Sound Editor Donald Sylvester (Logan, Walk the Line, 3:10 to Yuma)

Donald Sylvester has worked on over 100 films in the last 25 years and is considered one of the top people working in the craft of Post-Production Sound today. I asked him a few simple questions via email and he countered with some really insightful and meaningful answers. Enjoy it:

Where were you born and raised? When was working in the film industry start to become a career pursuit for you?

I grew up in the Garden State of New Jersey, where all my core principles were established. My father moved us to Atlanta when I was 11, and it was a wonderful experience during that period – both for Atlanta and for me. It was an unprecedented period of great growth for the city and the awakening of a progressive South – and growth for me personally as well. I dabbled in a lot of stuff, but always gravitated toward music. Frankly the film business didn’t come calling for me until a long, long time later after I moved to California. I reached some level of success before I realized that the music business was a bad idea. My wife, who was a film editor, suggested that motion pictures and I would be a good fit. My skills and instincts fit right in. She was right.

What has been your most proudest work of your career? Or, what has been your favorite project?

For a lot of my years I worked on other people’s films as a sound editor. I learned a lot and loved the people and the work, but I never really thought of those projects as “mine.” I didn’t start supervising in earnest until 2001. I could write a book about each one of those shows (and maybe one day I will!). I did two “Garfields” which were not great movies but working with Bill Murray was really unforgettable. And I supervised and mixed “The Fault In Our Stars,” and that was a wonderful and meaningful experience.

But the film I like the best is “310 to Yuma,” and I like it for so many reasons. I like it primarily because it’s a Western and it’s got guns and horses and spurs and all that good stuff that Westerns must have, but also because it is the kind of movie where every single sound is totally plot- or character driven. As simple as that may sound, it resulted in a very satisfying experience. Plus, it’s a good movie.

In your words, what exactly does a Supervising Sound Editor do?

A director once told me that he really wanted to do everything on his film himself, but now, as a director, he was only allowed to tell everybody else what to do. I’m very sympathetic to that and I try to help the director achieve his goals. I try to get to know him and what he needs and understand the vision of his film. Simply put, I see myself as the sound extension of the director. I make sure he hears what he wants to hear, communicates the story he wants to tell, as well as faithfully executing the sonic challenges he wants to express.

I often like to imagine I’m the creative force behind the soundtrack of these films, but honestly I am only a trussed-up worker-bee, taking directions and challenging myself to deliver something I think is perhaps better than what was requested, as well as hitting the target set forth by the director precisely on the head. There’s also a lot of management duties and schedule-making, but I seldom write about that.

Give us a breakdown of a big budget film like LOGAN. How many people are
working in the sound department in post-production? How long do you and your team have to complete your end of the film? Do you generally work with the same
team?

I am fortunate to work a lot at Fox, where we’ve established an enlightened work flow for me. Our method seems to get results and head off post sound problems as well. I start early on the show during principle photography and as the scenes are cut together by the picture editors, I fancy them up with sound effects and cleaned-up dialogue. Later, when the post editorial is in full swing, I’ll expand my crew to include dialogue editors and sound effects editors. A film like Logan had a healthy budget but didn’t have a long post schedule, so we were asked to work weekends and long hours. In the end, I had two sound designers, two sound effects editors, two foley editors, and four dialogue and ADR editors, not to mention two assistants. This is actually a small crew to bring this kind of film to the mix stage. Much of the work gets finessed at the mix, which is the battlefield trenches for getting all the ideas to gel and finished in time. There’s always a big chunk of the budget for looping, which can be extensive, as well as temp mixing and audience previews. Yes, I like to work with the same people whenever I can, but schedules often don’t permit that luxury.

Is there a type of project that you like to work on that you haven’t worked on yet?

As I’ve worked on more and more films over the years, my goals have changed. There was a time I thought I’d like to do a big science fiction thriller, but I’ve actually learned that genres alone don’t make the most satisfying films. What tickles my fancy are films rich on character development with some insight into the human condition. Now, no one goes out and says, “I’m gonna make the greatest human condition film this town’s ever seen!” But if they’re relying on car chases or space battles and they’ve neglected depth of character, then I’m not gonna get too excited about it no matter how “special” the special effects are.

To be honest, I wouldn’t mind doing a war movie (mostly WWII for my taste) or even a musical. But musicals don’t spend any time on sound effects, so let’s scratch that one off the list and just say WWII. With characters!

What is your passion in life besides sound?

Sound is my passion, but if you take sound away there’s my great interest in music – but that’s sound too. I’ve often imagined going back into radio (I ran the college radio station WUOG in Athens, Georgia during my college years) but I would only do that if I could DJ a radio show that would blend music and sounds into a cohesive story – but that’s what I do now. So, what I probably like after all that is to travel, because over the years I’ve really enjoyed travelling and recording sounds and sound effects in interesting and distant locations. But … that’s sound again.

What movie have you watched the most times in your life?

I assume you mean what movie have I voluntarily watched most often that I haven’t worked on? Because when you work on a film you actually watch it hundreds of times until you memorize every frame of it. And that concept prevents me from watching most movies more than once or twice. However, my favorite movie would have to be “Withnail and I,” which isn’t everyone’s cup of tea but ticks all the boxes for me.

What advice do you have for people who would like to do what you do for a living one day?

I would suggest that if you want to get into theatrical movie sound then you should make sure you’re ready for the long hours and hard work, and then you should find people who are currently making films (or shorts or TV shows or documentaries) and offer to work for them for FREE. Just get your foot in the door and do anything and everything you can to get familiar with the process and begin to focus on the area where you want to work. And one day (if you still like it and it likes you back), somebody will say, “Hey, you should be getting paid for this stuff.” Then you’re on your way.

donald sylvester
_____

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every single month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 3 times a month. Go to http://www.wildsoundfestival.com for more information and to submit your work to the festival.

Interview with Cinematographer Jon Aguirresarobe

jonaguirz.jpgAfter completing his postgraduate studies at the prestigious American Film Institute (AFI), Jon has been part of the team in great productions of the likes of Twilight, Eclipse or Fright Night, among others. He currently works as a cinematographer for several fiction and publicity projects in both the United States and Latin America. It was a true honor to interview this extremely talented DOP.

http://jonaguirresarobe.com

Matthew Toffolo: Where were you born and raised? Was being a cinematographer something you always wanted to do?

Jon Aguirresarobe: I was born and raised in San Sebastian, in the north of Spain. But I moved to Madrid when I was 18 years old. I always wanted to be a painter and I pursued that dream for a bit. When I was 26 I used to work for commercials and a little pic into a narrative project make me decide to become a cinematographer. Something that was close to me, thanks to my dad, for my entire life.

What film that you DP’d are you most proud of to date?

“Hunter Gatherer” is the film that I am the most proud of. We shot it with a minimal crew and lots of love and I believe you can feel that while watching the movie. Its an incredible honest movie and it gave us so many rewards.

 PHOTO of the film “Hunter Gatherer”:

huntergatherer

What was the biggest thing you learned working on the many short films you DP’d? Is there a place where we can watch some of them online?

I publish some of them on my website: http://jonaguirresarobe.com/. I´d rather be on set working on set than home so I have done many shorts before starting on the feature world. I got a lot out of them. On shorts you have the chance to try things, get hours on set and you never know, maybe meet someone that you can keep working with. In my case I met Director Eric Kissack who is one of the responsables of my careers growth.

What are you generally looking for in a director to make sure you do the best job possible?

I like to see the Directors passion and commitment with the story they want to tell. See if they know what they want and if they are clear and realistic about it. I like to understand what they like and sometimes even more important, what they don´t like. I do love directors that challenge me and push me out of the comfort zone. Then, in the perfect world, I like to see that the way the director is dreaming the story is the same way I am dreaming it.

What do you think a director is looking for in their cinematographer?

I believe they are looking for a person that is capable of putting into the image the vision they have in their mind. Someone that can add a unique point of view as well. I feel like today is also important, to be fast and resolutive. I think something they also look into that.

What is your passion in life besides cinematography?

I enjoy art, photography, family, friends and my bicycles.

What cinematographers (dead or alive) would you love to have dinner with?

Rodrigo Prieto, his work is impeccable and he is capable to adapt and fit any kind of story with the most elegant and fine style. He can shoot Beautiful and Passengers and adapt himself to completely different styles. He is incredible.

What movie have you watched the most times in your life (besides your own)?

It may be “Magnolia” from Paul Thomas Anderson. That movie motivated me to became a cinematographer.

What advice do you have for young photographers who would eventually like to be a cinematographer in the movies?

Always work towards the story you are telling. The cinematography is not always about pretty images, cinematography has to fit the script and the concept you are trying to tell the audience.

Work hard, take any opportunity to be on set and be nice, you never know who you have in front of you.

____

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Interview with director Sébastien Vanicek (MAYDAY)

Sébastien Vanicek’s short film MAYDAY played to rave reviews at the October 2016 Horror/Thriller Film Festival.

It was a pleasure to interview him about his film and what’s next:

Matthew Toffolo: What motivated you to make this film?

Sébastien Vanicek: I have a tremendous phobia of airplanes. So I started to write a movie about a guy who drinks too much to forget that he´s frightened. It started like that and I must confess that at the time I had no idea that the film would become the story of a psychopath / rapist / crazy bold guy who has sexual and degusting visions and will enjoy to see the plane crash!

I wrote the first version in two days, and we re-worked it with Mathieu Abes and Etienne Ement. From there, the film became an ode to the dark passenger we all have in ourselves, an ode to voyeurism, with an anti-hero who, instead of saving lives during a plane crash makes them… do things!!

That’s kind of motivating!

MT: From the idea to the finished product, how long did it take for you to make this film?

SV: Etienne (the Producer) and I were working on a big sci-fi project for about a year and half when we decided that the film was too big for our small production company which only was an association of friends at this time. A team of about twenty members was already involved in the project and we had about 1500€ in our pockets.

So I took two days off and wrote the first version of Mayday.

When I gave it to Etienne, we thought we had to do it really fast to keep the energy we had.

Etienne succesfully found a plane two weeks after, and after the re-writing process we immediatly started to shoot. The whole process took about 2 months.

We had one year of post-production. All of our friends who worked on the film were volunteers and worked in their free time. That’s why it took us so long.

MT: How would you describe your short film in two words!?

SV: It’s an ode to voyeurism.

MT: What was the biggest obstacle you faced in completing this film?

SV: I think it was to make the audience believe in our plane, and its crash. We had a small budget (1500€), and nothing more than a fake plane made and a few crazy people inside it. So we only had cameras and lights tricks, friends moving their bodies like possesed people, a bit of vfx and the sound to made you believe in this crash!

MT: What were your initial reactions when watching the Toronto audience talking about your film in the feedback video?

SV: It was kind of strange! We’re so far away here in France, and we made this film basically with nothing more than a strong friendship and fun! We are so honored to see it travel like this. And when I saw people I never met talking about it, have reactions, and REALLY PRECISE comments (which were all true and very pertinent), I think the first emotion, which traveled inside me was pride!

For a young director, to see people react to yout little baby made with nothing is strange, exciting, and powerful at the same time!

Watch the Audience FEEDBACK of the Short Film:

MT: How did you come up with the idea for this short film? 

SV: I think I already answered this question in the first one. My strong phobia of the plane, the energy surrounding us at this time to make a fun and powerful film. I think that deep inside of us, there was also the will of making people trust in us by making a believable film with nothing and have their confidence for the future, for bigger projets…

MT: What film have you seen the most in your life?

SV: I think it’s Darren Aronifsky’s Pi.

MT: What is next for you? A new film?

SV: Yes, we are working on a movie about dogs fights. Stay tuned.

mayday_movie_poster.jpg

_____

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto on the last Thursday of every single month. Go tohttp://www.wildsound.ca for more information and to submit your work to the festival.

Interview with director Iván Sáinz-Pardo (SAVE)

Iván Sáinz-Pardo’s short film SAVE played to rave reviews at the October 2016 Horror/Thriller Film Festival.

It was a pleasure to interview him about his film and what’s next:

Matthew Toffolo: What motivated you to make this film?

Iván Sáinz-Pardo: Just wanted to work with actors again and I needed to tell a new story. I wanted to film something very short but really shocking!

MT: From the idea to the finished product, how long did it take for you to make this film?

ISP: Only two weeks. I was training the camera movements alone for two days. And then we shoot in only 5 hours.

MT: How would you describe your short film in two words!?

ISP: Don’t Breathe

MT: What was the biggest obstacle you faced in completing this film?

ISP: I wanted do make a short film with only sequence shot.

MT: What were your initial reactions when watching the Toronto audience talking about your film in the feedback video?

ISP: What an amazing surprise. And the comments were very smart and interesting!!

Watch the Audience FEEDBACK Video of the Short Film:

MT: How did you come up with the idea for this short film? 

ISP:I was looking inside my own scary feelings.

MT: What film have you seen the most in your life?

ISP: The Doors by Oliver Stone. I love it!

MT: What is next for you? A new film?

ISP: I recently made a 19 minute short film called AINHOA. We have premiere in a few days at the International Film Festival in Gijon, Spain. In this link you could find more interesting infos about it: https://www.verkami.com/projects/15466-ainhoa
save_movie_poster.jpg

_____

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto on the last Thursday of every single month. Go tohttp://www.wildsound.ca for more information and to submit your work to the festival.

Interview with Editor Valerio Bonelli (The Martian, Philomena)

If you’re interested in storytelling, this is the interview for you. Editor Valerio Bonelli has edited over 30 films in the last 20 years, working with some of the top directors, including many collaborations with Ridley Scott (The Martian, Black Hawk Down, Hannibal, and the Oscar winner Gladiator), and Stephen Frears (Philomena, The Program). In this interview, he gives a lot of amazing insight on the art of editing a feature film and what it takes to succeed in Hollywood.

Matthew Toffolo: You’ve worked as an Assistant Editor on many big Hollywood productions. What is the role of Assistant/Associate Editor? What is the biggest thing you’ve learned doing this task to help you grow as an editor?

Valerio Bonelli: It’s now quite a while ago but what I remember of my experience working on those big movies is that I felt that I was like a kid in a candy store. I was working and learning from people I respected a lot in the industry like Ridley Scott and Pietro Scalia and at the same time I was given challenging tasks mostly to do with the organization of the cutting room. That sometimes can be seen as boring and not so creative but I believe that learning to run those big cutting rooms gave me the confidence to become a film editor and to handle very stressful situations.

MT: What film that you’ve worked on has been your most valuable experience?

VB: It’s difficult to say because every film I worked on somehow added something to my knowledge as an editor and as a person. Each film is different even if you work with the same director, but I can say that there are few films that have stayed with me for one reason or another. Recently I’ve cut a documentary feature called “Palio”, this film was particularly challenging for me because unlike most conventional documentaries the story is narrated in the present time and not retrospectively with a narration voice but with the voices of all the characters of the film. The film is about the famous ancient horse race in Siena, Italy, it did not have a script, and was ‘written’ during the editing process by me and Cosima Spender.

PHOTO: Still Shot from the documentary “Palio”:

palio_documentary.jpg

The Palio is possibly the only race in the world where in order to win you have to spend a lot of money in bribes. The story is about a young jockey that challenges his old master, who has monopolized the game for the last 16 years and won it 13 times.
In terms of feature film one of my favourite experience was cutting Philomela by Stephen Frears. For me this was a unique experience for several reasons because not only I was given a chance to work with such a great master of cinema like Frears (who by the way was one of my Teachers at the Nation Film and Television School) but I was cutting a story that was very important for me because of my upbringing in a Catholic country. Also I was cutting Judi Dench’s masterful performance. I learned a lot from looking at her performances in the rushes.

MT: What is the art to being a great DOCUMENTARY editor? How is working on this type of film different than a conventional live-action film?

VB: The most important thing you have to remember when you cut a documentary is that almost everything is possible in terms of narrative. There is no script and the way the material is cut decides the narrative of the film. As an editor I feel you have even more responsibilities.

I try to bring narrative documentary techniques of editing in the feature genre and vice versa.

One example is when I cut “The Program” for Stephen Frears. The film is about Lance Armstrong and I was given a lot of documentary footage and news reports as well as all the live coverage from all the Tour de France Lance won by Lance between 1999 and 2005. I was able to use this footage cut together with our footage of Ben Foster playing Lance mostly because the impressive physical change that Ben did in the months before shooting in order to look like Lance. Also the news footage helped us to build narrative threads of stories particularly around the media buzz that Lance’s victories generated, most of this sequences were not scripted in the original script.

PHOTO: Judi Dench in the feature film “Philomena”:

philomena_judi_dench

MT: Generally, when does the editor join the production on a feature film? Do you begin editor when the film is still in production?

VB: I always start at the start of the shooting but often I get to talk to the directors I work with in the weeks and months before the film is shot and I give my feedback and opinion on the script.

MT: What is an editor looking for in their director? What is a director looking for in their editor?

VB: In a director I look for a relationship where I feel that I learn something new, at the same time I like to be challenge by a director, it is also important for me to know that I can contribute to his vision of the film. Probably a director feels that the editor is a collaborator but also the first audience that sees the film and so he looks for his objectivity as well as his understanding of what he’s trying to achieve.

MT: Is there a type of film that you would love to edit that you haven’t edited yet?

VB: I’m very eclectic in my taste and so I’ve switched already quite a lot of genres so far but I must say that I sometimes would like to cut a Western movie, maybe because as a kid I’ve seen so many.

But mostly I react to stories, so for me when I worked on The Martian as a co-editor with Pietro Scalia it was a dream come true to do a Sci-Fi; but for me that was not the main exiting thing, the story was what exited me, the humanity that came out of the film was relevant for me.

MT: What film, besides the ones you’ve worked on, have you seen the most times in your life?

VB: The Good, The Bad, and The Ugly by Sergio Leone.

MT: What suggestions would you have for people in high school and university who would like to get into the industry as an editor?

VB: Try to cut as much as you can (Short films, Docuentaries, music videos…anything) and if you can go to a good film school like the NFTS in the UK because is a good place where you can meet talented and motivated people.

MT: Where did you grow up? Was working in the Film Industry something you always wanted to do?

VB: I never imagined that I was going to end up in the film industry when I was a kid, I actually dreamed of becoming an orchestra conductor!

I was born in Naples but my parents moved to Florence very early on in my life. I feel I grew up in a beauty box, surrounded by stunning hills and monuments and this beauty is for sure an element that has influenced me a lot in my choices in life and still is part of me. Sadly I had to leave my county in order to flourish but I can’t explain why otherwise I would turn this blog into a political and sociological critique of Italian life!

_____

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Fesival held in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.