Get to know the poet:

1. What is the theme of your poem?

The exploration of power residing in a worthy person with a worthy purpose in an era where humanity is able to value such things.

2. What motivated you to write this poem?

I am working on a novel with a “star-captain” as the lead character, and she doesn’t necessarily wear jewels or a crown, but I wanted a metaphor to symbolize her excellence and the specific forms of the quality of that excellence, and gemstones are often willing to oblige such imagery.

3. How long have you been writing poetry?

I have been writing poems since I was a child. I remember in second grade (back around 1990) we had an opportunity to write cinquains and get our poems published in a physical book that we could take home. In truth I am a prose writer, and feel much more comfortable working with prose. But poetry fascinates me, because its powers are a little bit mysterious to me, and I deeply admire the writers who are really good at it.

4. If you could have dinner with one person (dead or alive), who would that be?

I’ve thought about this before. Frances Perkins (FDR’s Secretary of Labor and the key force behind such things as the minimum wage and the 40-hour workweek) would be a definite finalist. So would Joan of Arc, whom Mark Twain wrote about admiring above all other geniuses on account of the fact that she had no shoulders to stand upon and came to her genius entirely by herself. I would want to hear her actual thoughts about God, because she is said to have been driven by religious visions, but she was also the product of an era when you basically had to be a Christian on threat of persecution or worse. I would love to learn what it was that really motivated her, made her tick. The final finalist on my list would be Carl Sagan, probably the greatest spokesperson for science and humanism who ever lived. I always feel better about the world when I hear him speak, and in these dark times I could certainly use a dose of his cosmic optimism. Don’t make me choose between these three; I’d have to roll a die!

5. What influenced you to submit to have your poetry performed by a professional actor?

There is of course the element of simply trying to get my work out there in the world in any form I can. But as far as seeking to specifically have someone recite it, I think I am not uncommon among artists in feeling like my work as created by me is only half-alive, and the other half comes from the human being interpreting it on the other end, and adding their own perspective and meaning to it. It is this two-part process that makes the artistic process feel less lonely and the artist itself feel more independently alive. I listened to your actor’s reading of my poem and had a good conversation with a friend of mine about what she added to it.

6. Do you write other works? scripts? Short Stories? Etc..?

Yes! I am principally a novelist. I published my first novel in 2015, a fantasy epic about a group of people who try to take over the world to change it for the better. I am currently working on another fantasy novel, and the aforementioned sci-fi novel about my star-captain. I also published a book of essays in 2024 reflecting on 21 years of entries in my personal journal. And, currently, I am on something of a short story kick as well.

7. What is your passion in life?

I am endlessly fascinated by themes of power, wonder, and beauty of living and dying. Little things, like clouds floating across the sky or ships passing on the water, or even just a really cute flower, also give me a lot of joy and wonder.

I Hear America Singing, 78min., USA
Directed by Daron Hagen
The conventions of documentary, musical theater, and magical realism are combined and subverted to address issues of personal, national, and artistic identity through the eyes of a composer desperate to pull off one final backer’s audition whilst hounded by a disdainful documentarian named Charon.

https://instagram.com/americasinging

Get to know the filmmaker:

1. What motivated you to make this film?

I began integrating cinematic methods into my staged operas about fifteen years ago because of film’s ability to combine the hyper-reality of lyric theater with the hyper-unreality of film (or is it the other way around?) in a new way. By rigorously adhering to the principle of creating correlatives between every note of music, every visual image, every sound (diegetic or not), and word and deepening them with visual and musical counterpoint (foreground, middleground, and background activity) I shift the authorial vision from screenwriter / librettist to composer-auteur director. “I Hear America Singing” is the third installment of a trilogy called “The Bardo Trilogy” (the first part is called “Orson Rehearsed;” the second “9/10: Love Before the Fall”) which explores different ways that the correlatives I referred to can be combined to tell stories – in the case of these three films, the story is about how people deal with the liminal zone between life and what comes after.

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

I am usually working on three shows at once. It gets a little crazy, and they begin cross-pollenating. One will be in script/score, one will be in production, and the third will be in post. I wrote the original stage script and most of the songs for “Singing” in winter 2012, between rehearsals at the Sarasota Opera for the debut of my opera “Little Nemo in Slumberland.” “Singing” was commissioned as a commercial run show by the Skylight Music Theater in Milwaukee and was to be a “revue” whose numbers would be a sort of musical survey of American popular song between the mid 1800s and mid 1970’s. I’d attend a staging rehearsal of “Nemo” in the theater and then work on “Singing” in my hotel room, alternating writing with preparation for a “three-camera-style” staging of another of my operas, “A Woman in Morocco,” for which I was serving as director for Kentucky Opera in Louisville in a few months. It was surreal. I ultimately directed “Singing” in 2014, and then “Morocco” in 2015.

While staging “Morocco” at the Players Theater in Louisville, the idea of making “operafilms” started really coalescing, with the overarching idea of the “Bardo Trilogy,” beginning with an exploration of Orson Welles’ dying moments, moving on to a story about the Twin Towers disaster, and ending with a quasi-documentary reconsideration of “Singing” coming together. I began sketching the screenplay to “Orson Rehearsed,” the first part of the trilogy, during the final rehearsals for “Morocco” and staged / filmed it in 2018 at the Studebaker Theater in Chicago. During those rehearsals I began the storyboards for “9/10,” which took about a year to compose, and which I simultaneously staged in 2022 in an Italian restaurant (for the film shoot) and with graduate students at the Chicago College of Performing Arts. Robert Frankenberry, the extraordinary actor, singer, and composer, had starred in the original 2014 staged production of “Singing” in Milwaukee, as well as the first two Bardo operafilms. He stepped up to star in “Singing” and serve as its musical director. I wrote the screenplay for “Singing” and wrote some new musical numbers in 2023, staged and filmed it (with the amazing Talal Jabari as cinematographer) in theater and on location in Pittsburgh in 2024, and released it in 2025. So, when the character of Robbie talks about revising a show that he wrote a decade or so earlier, he’s not lying!

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

Deceptively simple.

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

Health. My aortic valve was failing during the filming of all three operafilms (a “failing heart” serves as a sort of underlying theme, obviously), so I was dealing with having less and less energy. A few months after “Singing” hit the festival circuit, a fantastic surgeon and their team fixed my heart and now I’m back to fighting strength!

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

I was happy that some of them thought Robbie was a real person. I expected that others thought it was just a musical film. I was impressed and grateful when several caught that there were multiple levels – particularly the magical-realist aspect and the meta-modernist nature of the idea of American music sort of “self-destructing” in its stylistic cacophony. Of course, America is going through some pretty serious stuff now, and the show reflects that as intensely in the 2024 operafilm as the original 2012 Milwaukee staged version.

6. When did you realize that you wanted to make films?

While composing the music for “Amelia,” an opera for Seattle Opera, in around 2010. During work sessions with the librettist Gardner McFall and the stage director Stephen Wadsworth, it kept hitting me that Gardner and I were really writing a film that could survive staging, forcing Stephen to repeatedly (and patiently) wrestle us back into the live opera theater and its conventions.

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

Easy. “Citizen Kane.”

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

I don’t know enough about the filmmaking and festival worlds to offer any insight here, I’m afraid. I admit to not having any ideas about how things are, how they ought to be, or what I need to do, or have done for my work, in order to “get ahead” in my career. I think that the idea of “career” itself has grown sort of creaky and non-applicable to my way of thinking.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

I have nothing to compare it to, so I don’t know! Our team has been blessed to receive some really positive, supportive, and empathetic feedback from folks who have seen the projects because of FilmFreeway.

10. What is your favorite meal?

A pasta dish served to me on a snowy winter night in Venice in 1990. I asked the waiter to surprise me at Ristoranti da Ivo and he set it down and walked away. I never learned what it was called or exactly what was in it. I’ve returned to Ivo’s now and then over the years but have never been able to identify exactly what I was given that night.

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

I am sketching out the treatment for “Hide,” a story that intertwines footage of the great Barrymore silent classic from 1920 with a contemporary story, with my writing partner Barbara Grecki. I am also working on the treatment for “Virginie,” an operafilm set in Florence and Venice during summer 1960 about Maria Callas, Paola Mori, Orson Welles, and Federico Fellini.

A strange old hotel where the only escape is through a labyrinth of rooms filled with mystery, horror and adventure.

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1. What motivated you to make this film?

During the pandemic, I decided to sharpen my skills by exploring newly available animation software and AI tools. I was able to produce a short animated film in a very short amount of time, which inspired me to experiment further using an existing feature-length screenplay of mine, Hotel Purgatorio. I reformatted the screenplay into a 17-episode web series. What began as an experiment—just a few episodes—quickly turned into a passion project. I never stopped. I eventually completed all 17 episodes and edited the series into a full-length feature film.

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

The story was first conceptualized back in 2005. In the mid-2000s, I collaborated with two writers—my friend and film director Noel F. Lim, and published horror author David Hontiveros. We approached the screenplay as if we had an unlimited budget. The script went on to win at the 2015 Fright Night Film Fest. Because the project was too expensive to produce as a live-action film, I initially planned to turn it into a graphic novel, with the hope of someday producing it as an animated film. In 2023, I discovered a combination of new AI tools and traditional workflows that finally made it possible to produce Hotel Purgatorio at a much lower cost and within a shorter timeframe.

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

Afterlife Odyssey

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

This is an animated film, and I worked on it almost entirely on my own. With the workflow I adopted, most obstacles were manageable. The biggest challenge I faced was malfunctioning hard drives—but thankfully, all data was fully recovered.

5. There are five stages of filmmaking: Development, Pre-Production, Production, Post-Production, and Distribution.

What is your favorite stage of the filmmaking process?**

My favorite stages are production and post-production—especially when collaborating with a team I enjoy working with, such as actors, production designers, editors, cinematographers, and others. This kind of collaboration is what I missed most during the production of Hotel Purgatorio.

6. When did you realize that you wanted to make films?

In high school, I came across an article explaining how Disney animated films were made. I bought two large books on animation and convinced my parents to buy me a Super 8 camera. My very first short film was a mix of live action, claymation, and cel animation.

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

Blade Runner

8. In a perfect world, who would you like to work with or collaborate with on a film?

Guillermo del Toro.

9. You submitted to the festival via FilmFreeway. How has your experience been using the platform?

For me, FilmFreeway is the best festival platform available. It makes it very easy to search for and submit to the most suitable festivals for a specific film project.

10. What is your favorite meal?

My mother’s roast beef.

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

I have already begun working on Infierno, which is sort of a sequel to Hotel Purgatorio. The core idea is simple and provocative: Planet Earth is Hell.

Richard Norton’s first movie screen appearance was in the 1980 Chuck Norris film The Octagon, and he worked on over 80 feature films and television programs. He appeared in a number of martial arts films, facing off against stars such as Jackie Chan, Sammo Hung, Yasuaki Kurata, Benny Urquidez, Don Wilson and Cynthia Rothrock, and worked as fight choreographer for the films The Condemned (2007), Mad Max: Fury Road (2015), Suicide Squad (2016), Dark Phoenix (2019) and The Suicide Squad (2021).

Richard filmed a “proof of concept” film called SAUVERTAGE, then they were planning on making the feature film right away. Unfortunately, Richard unexpectedly passed away right before filming began.

Conversation with the filmmakers on the making of the film.

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LISTEN to the full podcast: https://youtu.be/Z6lL_4DfpkE
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Sauvetage, 5min., Australia
Directed by Jackson Bentley, John Stokes
When a special forces operative is held captive by a sadistic crime boss is interrogated, the only way to save him is through the element of surprise.

https://instagram.com/sauvetage_short_film

https://www.instagram.com/jacksonbentleyvisuals/

https://www.instagram.com/drastic_stokesy/

Get to know the filmmakers:

What motivated you to make this film?

John – We were motivated to make this film as we were given the opportunity to work with the legendary Richard Norton. It was originally supposed to just be a short scene to be used as a pitch but Jackson and I wanted to go all out and produce a short film in a very short amount of time.

Jackson – Originally it was meant as a sizzler reel to show some producers, Richard Damien and I were pushing quite hard to have a feature film made starring Richard, however John is a very quick writer and everything just started aligning for us to turn this into a short.

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

John – I believe it was a Thursday where the producer Damien told us that he had somehow convinced Richard Norton to join us for a shoot the following Sunday. I quickly wrote together the script which never went past version 1. We organised the location, crew and cast – all entirely for free as everyone wanted to work with Richard Norton. We filmed in 6 hours on the Sunday and I edited the film within a day after the shoot.

How would you describe your film in two words!?

John – Bitter Sweet. Bitter due to the lead actor Richard Norton recently passing away, but sweet since we now have an award to honor his memory. We are forever in debt to Richard for being involved in this film and he has been a great mentor and friend to us.

Jackson – I think John nailed it, it still feels very surreal that Richard has passed, I think we are still in a little bit of shock and grief but I’m so grateful for receiving his knowledge and just being able to call someone I admired so much a friend plus being able to direct him was even cooler.

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

John – The only obstacle was time, as we only had 6 hours to film. If we were being honest, there are some things we’d do differently if we had more time but we are proud of what we did with what we had! Other than that I remember Jackson became ill and went to hospital the day before! Luckily he was still able to make the shoot to co-direct with me.

Jackson – Haha yes directing a script you read only 12 hours before and on the back end of strong pain killers was definitely interesting. Having only 6 hours booked to shoot the short was definitely stressful, but I am so proud and honestly cannot believe our whole crew pulled that off.

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

John – I actually didn’t realise that we would get audience reactions so it was a great surprise! It’s such an honour to hear feedback like this from half way across the world!

Jackson – I thought it was really cool! I’m just a guy from a very small town in Australia who 8 years ago was a drug addict with no direction in life, so this was very special to me.

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When a compassionate helpline counsellor begins to grow concerned for the safety of one of her clients, she’s forced to decide whether to trust her instincts or follow protocol. Safe is a tense, quietly powerful drama about the weight of responsibility and the courage it takes to listen.

1. What motivated you to make this film?

Honestly it started with the concept of showcasing our lead actress (Kelsey Cooke) and her talent – holding the audience attention and emotions as the sole person on-screen (supported by some incredible voice actors of course). Once we had the concept and decided how to approach it thematically, it became all about bringing authenticity to such a heavy topic and trying to do so in a way that did not feel exploitative but felt, informative and considered. I wrote the film alongside Kelsey Cooke who brought such depth to everything that we did.

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

We had the concept in November 2024, but commitments on other projects meant we agreed to only start working on it at the end of January 2025. We wrote between February and March, applied for the Arts Council of the Isle of Man Short Film Fund and were awarded that in April. Location scouting on the isle took place shortly after with production in June and post production in July-August. 

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

That’s tough – and I think all of us will have different words for it but for me as director it would be: Vulnerable. Honest. 

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

Self doubt. We took on a lot of challenges (from runtime to long-takes etc) and throughout post production it was definitely a challenge for me to have faith in the choices I’d made. I’ve been extremely lucky – our crew are amazing and did everything that was asked of them with really no major hiccups, as are the cast members – so it really came down to my own confidence as I worked on it in post. 

5. There are 5 stages of the filmmaking process: Development. Pre-Production. Production. Post-Production. Distribution. What is your favorite stage of the filmmaking process?

I do love them all for different reasons so I can’t really say one is my favourite! I will say though I am now thoroughly enjoying being able to share the film with people and see how it resonates with them. 

6. When did you realize that you wanted to make films?

I’ve always wanted to be a storyteller, in various different forms. Really nailing that medium down to film came in my late teens as I had enjoyed theatre work and really transitioned from that into something that I felt was a more ‘intimate’ medium of storytelling. 

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

I’m a sci-fi nerd so Star Wars (particularly Empire) is up there along with Jurassic Park, but I’m also a film academic so really it’s a very very long potential list. Empire Strikes Back might just win due to my pre-adult / childhood viewing habits!

8. In a perfect world: Who would you like to work with/collaborate with on a film?

Someone with a huge budget. Creatively I’m very grateful for the people I’ve been working with lately. Of course, I’m always happy to work with others who bring that similar dedication and creative spark, and good vibes of course. If you’re asking about celebrities or ‘known actors’ … Keanu Reeves, David Tennant, Gillian Anderson, Greta Lee, and many more would make the list, but it really comes down to the story I’d be telling.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

Overall it’s good. I think the entire process of submitting to festivals, waiting, wondering, and the obvious low acceptance rates can be anxiety inducing. You could make the ‘best film of all time’ and if it doesn’t fit a programming block or doesn’t appeal to that particular festival programmer well, you’ve not only ‘wasted your money’ but it can hit your confidence too. That being said, FilmFreeway itself as a platform is easy to use and something I’m quite familiar with at this point.

10. What is your favorite meal?

It’s always gonna be pizza. I love many other cuisines but it always comes back to pizza.

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

Working on a web series (Do We Eat Him? is available on Youtube, check it out!) and also developing more shorts while making my foray into feature films.

Beyond the Limits Pilot Episode – Act The Part, 22min. USA
Directed by Emmitt H Thrower
In a world where communication transcends spoken language, “Beyond the Limits” pilot episode explores the mysterious realm of disability through the authentic stories and experiences of those who navigate their world from a unique perspective. Their unique abilities, challenges, and creativity can transport them into dimensions that are beyond the usual realities.

https://www.instagram.com/the_limits_film

Get to know the filmmaker:

1. What motivated you to make this film?

I had a long standing interest in creating a purely entertainment product targeted for the disability community. Because of minimal representation in Sci-Fi of people with disabilities I chose that genre to create my pilot TV webseries. I also wanted to create a film that dealt with issues impacting people with disabilities but wanted it to have it in a dark comedic tone.

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

It took nearly 21/2 years of creating a script from the concept I had and developing it with the assistance of a group of disabled and able-bodied participants to read the script and provide feedback. Then there was the issue of raising funds to do the film project through a crowdfunding platform.

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

Other worldly.

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

Trying to get it to feel like a twilight zone film with a disability comedic edge but somehow still authentic and believable.

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

I was surprised at the level that people really understood the comedic side of this serious issue and that they were comfortable laughing about it.

6. When did you realize that you wanted to make films?

When I realized that I wasn’t going to produce theater or act in theater any longer was the moment. I started exploring film for my activism and creative energies and never looked back.

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

Definatly the Twilight zone original TV series. I never get tired of watching those episodes.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

Networking with other filmmaker and professionals is what I think is very valuable for Indie filmmakers. It provides collaborative opportunities and a way to learn what other filmmaker are doing and how they survive in this tough environment.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site? using film freeway.

I have fortunately had a very pleasnt experience the past few years that I have been active on filmfreeway. I have had many positive results from the fesivals submitted to on Filmfreeway.

10. What is your favorite meal?

I enjoy authentic Italian food.

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

My new film is called “SPRAY CAN STORIES”. It is having its world premire in January in NYC and the Bronx. It is about the graffiti culture. I am looking to turn this short documentary into a documentary series about the graffiti artists, the culture and its connection to Hip Hop.I expect to submit it to the feedback fesival next year.

Terrence and Aisha hesitate to forfeit aspects of their relationship after a recent breakup. As their continued bond begins to threaten new relationships, they are forced to confront their willingness to move forward.

1. What motivated you to make this film?
I originally wrote and directed the first edition of “When It’s Over” in 2019. While that short film was semi-autobiographical, I was intrigued by the idea of a narrative that focuses on how the characters deal with the aftermath of a relationship. With that central idea in mind, I crafted this version of the film to explore what happens when two exes refuse to cut ties completely and the different ways their decision could affect both them and the people around them. 

2. From the idea to the finished product, how long did it take for you to make this film?
I began plotting out the idea and characters in late 2018, and the film premiered in 2022. 

3. How would you describe your film in two words!?
 Sneaky Familiarity…

4. What was the biggest obstacle you faced in completing this film?
During post-production, I almost lost the entire film when the drive holding all of my files suddenly crashed. I was on the verge of a panic attack, as I was worried that all of the work I had done over the course of 4 years was swirling down the drain (not to mention all of the amazing contributions from the actors!). Luckily, I was able to salvage all of the files with the gracious support of the good folks at Best Buy’s Geek Squad! 
In general, post-production and editing was by far the biggest challenge. The writing came naturally, and directing was fun because I already had a pretty clear vision in mind. Putting all the pieces together in post was taxing not only because it’s tedious work, but because I felt a lot of pressure to get it right for the sake of all the work I’d already invested in making the film. In the end, though, a valuable lesson was learned: make sure you back up every file!

5. There are 5 stages of the filmmaking process: Development. Pre-Production. Production. Post-Production. Distribution.

What is your favorite stage of the filmmaking process?
As a writer first and foremost, I love the Development stage. But Pre-Production might be my favorite because that’s when you start to see your vision of the film begin coming together.

6. When did you realize that you wanted to make films?
I think I wrote my first script in 2009 for a screenwriting contest. I’ve been intrigued by the idea ever since, but it took a few more years before I figured out how to actually turn my scripts into reality. 

7. What film have you seen the most times in your life?
Honestly, probably “Home Alone”, since my family watches it every Christmas season.

8. In a perfect world: Who would you like to work with/collaborate with on a film?
Martin Scorsese

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
FilmFreeway has been a great tool for getting my short film recognized by a number of festivals throughout the country. To date, the film has been selected for 4 festivals and has collected awards for best short film and best actor. 

10. What is your favorite meal?
As the child of Jamaican immigrants, my favorite meal is definitely oxtail with rice & peas!

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

I’d like to pursue some stage acting to help spark some more creativity for my next film idea. I fell in love with acting when I was younger, so I look forward to returning to my roots. 

Melbourne Hopak is part of the Lehenda Film series. The origins of Lehenda’s film series can be traced back to the global Covid-19 lockdowns—a time when theatres were dark, stages silent, and traditional forms of cultural expression temporarily out of reach. Faced with the absence of live performance, we turned to film as a new medium to preserve and express our identity as Australian Ukrainians.

1. What motivated you to make this film?

The idea for the Lehenda film series was born in during the Covid-19 lockdowns—a time when theatres were dark, stages silent, and our traditional forms of cultural expression temporarily out of reach. Being based in Melbourne, which was said to be the most locked down city in the world we turned to film as a new medium to preserve and express our identity as Australian Ukrainians.

Our first project emerged from the golden wheat fields of Avoca, Victoria—a quiet yet powerful setting that echoed our connection to land, heritage, and memory. What began as a necessity quickly evolved into something much deeper: a cinematic exploration of who we are, and what it means to carry Ukrainian culture in an Australian landscape.

Moved by the response to that initial work, we expanded our vision. We chose to reimagine Hopak, Ukraine’s most iconic and spirited dance, within the urban heart of Melbourne. This contrast between the rural and the metropolitan, between tradition and reinterpretation, became the cornerstone of our approach.

These films are not just documents of performance—they are cultural artefacts. They preserve memory, convey identity, and explore the dualities that shape our diasporic experience.

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

We revisited the idea when we were in a bit of a creative slump earlier this year (2025) and we filmed it in late June. A lot of the pre work we had done in 2021 when we tried to film it, but the COVID restrictions still didn’t allow us too. We ended up starting with a rural piece which was achievable at the time, and we picked up where we left off with this film in April this year.

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

Ukrainian, Melbourne

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

To begin with it was restrictions during COVID – how many people were allowed to gather outside etc. This time we were almost stopped by the weather, but we pushed through! There was a lot of red tape around permits to use locations, however the city of Melbourne, Metro trains, The Arts Centre Melbourne and Block Arcade where all fabulous to work with.

5. There are 5 stages of the filmmaking process: Development. Pre-Production. Production. Post-Production. Distribution.

What is your favorite stage of the filmmaking process?

Hard to pick favourites! I love the development stage where you get to dig deep and create. I also love the actual production – the days of filming where so much fun, seeing the dancers bring everything to life, watching onlookers enjoy the process as much as we do!

Post production – watching it come together is incredible and of course seeing audience reaction during distribution!

Each stage is exciting in its own way!

6. When did you realize that you wanted to make films?

My background is in drama and theatre studies. I always loved acting of film – it is so fun and magical! My passion is dance – Ukrainian dance in particular. Being able to merge these two genres has been so exciting. I’m always looking for fresh ways to share the Ukrainian culture – new shows, different storytelling. Discovering dance on film – which was born out of necessity for us to continue creating in a time we weren’t allowed to perform – has been really liberating. We’ve teamed with Edit Life Media for both of our films – it’s been a wonderful collaboration. I wouldn’t want to work with anyone else! Ethan is incredibly talented, and an amazing person to work with. We collaborate easily together, he has a great way of expressing Ukrainian Dance on Film.

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

Hmmm, this is a hard question- I love so many films and have watch them over and over. High Society, Pretty in Pink, Sweet Home Alabama, The Parent Trap (original),  Singing in the Rain, The Holiday,

8. In a perfect world: Who would you like to work with/collaborate with on a film?

The same people I already do! My brother Stephan Moravski is our set designer as well as our Creative Director. We usually write our shows together, we bounce our ideas so naturally off one another and I wouldn’t want it any other way.

With Film – Ethan Berends of Edit life media. We started this process together and I love working with him – wouldn’t choose anyone else!

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

The submission has been good. I’ve been a little overwhelmed with the amount of festivals I keep hearing about. It’s not a world I’m very familiar with which makes it tricky but also totally exciting!

10. What is your favorite meal?

Love food! Oysters, Fish, beautiful fresh veggies, chocolate!!

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

We’ve written a new folk ballet for our dance company, which we want to move forward with in the New Year. However, we will continue our film series and we’re thinking about which piece of our repertoire would be best to film next and were.