Webinars

The WILD FILMMAKER ACADEMY is born. Christopher Coppola will hold the first Master Class on “Rumble Fish” directed by his uncle, the legendary Francis Ford Coppola (EXCLUSIVE)

After the great success of the co-production meetings held during the Cannes Film Festival by WILD FILMMAKER in collaboration with the 8 & Halfilm Awards, we are honored to announce a project that will surely make all those who love the art of cinema happy.

The Wild Filmmaker Academy is the first international institution dedicated to those who wrote cinema history by breaking the production and aesthetic rules.

Our workshops will be dedicated to the artists that fought against everything and everyone, listening to their own Wild souls and not to the rules imposed by the market.

Each workshop will consist of 3 intensive lessons.

Inspired by Dante Alighieri, in the 3 lessons, we will delve into the ‘Hell, Purgatory and Paradise‘ that those artists faced and let cinema advance as an art form.

​
An in-depth study of my uncle Francis Ford Coppolas' iconic film "Rumble Fish". At the end of the workshop, you will receive a certificate signed by the course teacher Christopher Coppola and the founder of the WILD FILMMAKER ACADEMY Michele Diomà.

At the end of the workshop, you will receive a certificate signed by the course teacher Christopher Coppola and the founder of the WILD FILMMAKER ACADEMY Michele Diomà. The seminar takes place the weekend of 7/7-7/9 at 1pm pst.

Sacred Cinema transcends daily life by making us ponder, think, and feel. Profane Cinema engages daily life through amusement and entertainment. Phil Kaufman has done many great films, perhaps more in the Sacred Cinema—Unbearable Lightness of Being, The Right Stuff, and Henry and June. White Dawn, an early work, is an example of Sacred Cinema. The Wanderers, also an early work, one of the most interesting, stylistic cult films I have ever seen, is an example of Profane Cinema. I chose both these films to discuss the difference between Sacred and Profane cinema through the lens of Phil Kaufman. Not many film directors can make a Sacred and Profane film, particularly in a unique signature style. Phil Kaufmann can and masterfully.

Anthony Mann’s The Black Book and Sam Wood’s Ivy show that film noir was more than just an extreme black-and-white lighting style. This style came primarily from needing cheaper budgets and films finished fast and into theaters quicker for the WW2-weary public. Film Noir was not just about gangsters, femme fatales, detectives, back alleys, and dangerous streets. Film Noir was more than that, there is a philosophical code very similar to Manicheism—the dualistic cosmology of good/light and evil/dark where humanity is guilty until knowledge proves otherwise. I will discuss this relationship between Film Noir and Manicheism by using The Black Book and Ivy, two rare Film Noir films.

Anthony Mann’s The Black Book and Sam Wood’s Ivy show that film noir was more than just an extreme black-and-white lighting style. This style came primarily from needing cheaper budgets and films finished fast and into theaters quicker for the WW2-weary public. Film Noir was not just about gangsters, femme fatales, detectives, back alleys, and dangerous streets. Film Noir was more than that, there is a philosophical code very similar to Manicheism—the dualistic cosmology of good/light and evil/dark where humanity is guilty until knowledge proves otherwise. I will discuss this relationship between Film Noir and Manicheism by using The Black Book and Ivy, two rare Film Noir films.