ABOUT THE ARTIST
1. Why did you submit to the Fourth Annual Chashama Film Festival?
I wanted to bring my film to a wider audience, and I loved the fact that chashama is a free film festival dedicated to exploring what may seem to some viewers to be controversial topics.
2. How is your work illustrative of the country you are from?
Although I am addressing international issues in my film and interviewed folks from England and Australia, as well, I use the American financial system to show the blueprint for financial manipulation taking place on a global scale.
3. Where was the most favorite place where your work was shown abroad? If it hasn’t been shown abroad, where would you like it to be shown?
This is the theatrical premiere for Vox Populi, Methods of Manipulation, but I would like to see it shown all over the world for free.
4. Are you glad that your work is going to be shown in NYC?
It is always nice to come to NYC, I have not been in several years and so I am looking forward to both attending the festival and also visiting family and friends. Though I live in Europe most of the time, I was born and raised in the suburbs around Philadelphia.
5. What is the best part about participating in a festival that facilitates discussion with international artists?
International events like this one provide a wider perspective of the world. I always enjoy getting the chance to view life through the eyes of a different culture or religion.
ABOUT A RESPONSE TO THE FESTIVAL
1. What is it about chaos that is most upsetting to you?
It is not so much chaos that is upsetting but those who intentionally create chaos in order to steer the behavior or others that is disturbing. Ordo ab Chao is a saying used by high level masons illustrates this point. When such high level members of secret societies run governments the outcome is criminal. Italy’s P2 lodge being a prime example.
2. What’s the most rapid social change that you have ever seen?
For me one of the most poignant if not rapid changes was America’s plunge into paranoia and xenophobia after 9/11, so much so that they welcomed fascist laws being enacted.
3. How do you find strength in instability?
I have found strength in people of like mind who also wish to see a paradigm shift which would benefit all of mankind and allow us to flourish in love as opposed to perish in fear.
4. What do you do to divert disaster?
The first step to averting disaster in my opinion must be a revolution of consciousness with each adult stepping up and taking responsibility for what is wrong and what needs to be done to fix it. Next is the abolition completely of money issued as debt from a private banking system. In addition we need replace those in office who do not serve the people. Small local democracy and councils to determine local laws and policies and decentralization of power are key.
5. If you could make a community more peaceful, what would be fulfilling about it?
I work toward a day when every person has the opportunity to thrive as opposed to just survive. How many lives are lost or wasted due to the circumstances of a person’s birth? What genius might surface if everyone had the chance to develop their talents?
ABOUT YOUR FILM
1. How did you choose your thematic material?
I choose material that I feel deeply about. Material which I feel could also make a change in the lives of other people. Much of that vital information is never taught in school.
2. How do you work with actors? Or How do you choose your interview subjects?
I choose my interview subjects via books I have read or lectures I have attended which have touched me deeply.
3. How did you choose the crew on the film?
I am my crew and my reason for choosing me is that I was willing to work for myself for free. Many other friends were kind enough to offer advice and their original music.
4. Why did you choose to make a film that length?
In truth I was planning on it being a bit shorter but I found so much information that it grew an extra twenty or thirty min.
5. What is the most compelling image in your film?
For me, the most compelling images in the film are the ones of starving children. In a world of abundance, this is the most horrific thing imaginable.
Text compiled by Marcina Zaccaria