New York Movie Awards

Tahirr Aashhraf - Interview

Tahir is a multi-award winning creative, a versatile actor, singer, presenter and voice actor, who has worked both in front and behind the camera in multi award-winning writer director Rahat Kazmi's Love in Vietnam - a historic first co-production between India and Vietnam inspired by the Turkish bestseller 'Madonna in a fur coat'. For his this own written and directed works, Tahir has also received international recognition in the form of various awards, nominations and official selections

When did you decide you wanted to be an actor/director/ screenplayer?

There was always a slow-burning fuse because I have been performing since the age of 7. Though most recently I sustained an injury due to which I was left bed bound for around 3 months. Not being able to sit upright to do any legal work (as opposed to illegal work), meant I had time to think about my life choices. That’s when I came to the realisation that it was now or never. During that period that took stock of my skills and abilities and thought to myself, I trained as a journalist and a wig and gown wearing courtroom advocate (barrister in England UK) and so story telling in compelling ways is pretty much what I am trained to do. It then became a greater realisation that cinema is probably the most powerful way to translate that thought into emotion, and emotion into change. So that injury, became the catalyst for change in that I began to fan the flames of passion by proactively pursuing a childhood dream of working as a creative. being a dream and has increasingly become a responsibility.

How did your family react?

With the usual cocktail of disbelief at life choices mixed in with a few sprinkles of mild amusement. To family, it was far more important that I’d had a 'proper job’ whatever that means in this day and age. Yet every time, I would finish a phone call to a client I’d find myself humming a tune, or giving film related examples to clients on perseverance of the human spirit. In time, they, I’m sure are coming to terms with the idea that I am carving my filmmaking dreams into a reality.

Do you have a Muse or a Role Model?

I consider my father to be my role model - a man who sacrificed his dreams and passions in the hope of giving his family a better quality of life and has done so with immense patience and humility - probably more patience with me! As for muse, it seems to me that the human condition in itself, with its flaws and contradictions and often the inability to truly change, for the better, yet some, you wouldn’t think it when looking at people oppressing others, having the capacity to empathise, despite many world leaders lacking a real backbone.

Who's your biggest fan?

I suppose in some way, myself. Not only a critic but also a fan. I say that because of course, I always, like many people overthink, analyse in the depths of despair and eventually flip the script and tell myself that this is actually pretty good.

What brings you inspiration the most?

Quiet observation and silence - That, more often than not, can be most revealing because it allows for stories to reveal themselves.

Which actor or director would you like to work with?

Most people would easily parrot off a list of some of the most renowned names which ion course is admirable. I admire those who are unafraid collaborators because they bring courage to the set - and that people unafraid of risk. That’s not to say that names don’t matter, though it's just as important to work with those who are passionate and driven enough to make a difference.

Have you ever seen a film that was better than the book?

I don’t think of films and books in that manner. If I watch a film and then read a book, it’s easier to imagine the actors when reading. Conversely, it’s always challenging to be immensely true to a book for a movie. Each is a different medium - each to be enjoyed in its own right and often one compliments the other.

What's the movie that taught you the most?

It’s difficult to encapsulate learning into just one movie because almost every movie has a message. From the Matrix, to Batman Begins to Inception, each has inspired me in its own way.

About your artistic career, have you ever had the desire to quit everything?

Never. To give up and quit would be an immense injustice to myself and to all the people who believe in me. If anything, I am planning on a number of things so watch this space.

On set what excites yuo the most?

Seeing the actors bringing characters to life as soon as the word ‘action' echoes in the air is always powerful and inevitably exciting because it brings a sense of achievement to everyone’s hard work that goes in to a project.

And what scares you the most ?

That in this day and age, too many people tend to react first and don’t scratch the surface, thereby falling victim to the propaganda machinery.

What's your next project?

I am glad you have asked me that - there are actually two projects. One is due to release on 12 September 2025 is called Love in Vietnam Written and directed by Rahat Shah Kazmi, Love in Vietnam was India and Vietnam’s first ever co-production and I was the Supervising Producer on this. This is by far the biggest project which I have helped to bring to life playing a significant role behind the camera and a cameo role front of camera too.Then, I have written a horror feature film with elements of the supernatural and psychological which, I’d love to say is a secret but it's the worst kept secret because, having shot the trailer as a proof of concept, I’ve already won multiple awards for it.

You can steal the career of an artist you really admire, who do you choose?

From a legal background, I don’t advocate stealing as that just attracts negative karma. What I’d always want is the courage to persevere.

An actor/director/screenplayer is made of....

An education from the university of life as well as the gift and skill of being able to analyse the human condition it all it flaws and glory.

For you Cinema is....

An escape, an alternative perspective - perhaps even momentary time travel because it lets us step into the shoes of the characters and experience their truth societal truth through the actors.

Doyou think Black and white movies have a powerful impact?

Yes without any shadow of a doubt. Movies such as Nosferatu in horror and even Charlie Chaplin and Laurel and Hardy remind us that even the shadows, are an integral aspect of the art of storytelling.

Have you ever dreamed of winning an Oscar?

From my perspective, it's far more important for me to focus bringing characters to life on screen . Of course, in the event that that comes with additional recognition through awards, then that’s a bonus.

Do you think you're gonna win it?

Ask me after I’ve made the film which challenges me the most, both off and on-screen.

(Photos by Desislava Lizova)

James G. Maynard - Interview

James G. Maynard is an award-winning filmmaker and AI innovator on a mission to democratize the art of cinema. Through AI Creator House and its associated guild of filmmakers, Maynard pioneers a new cinematic language, masterfully blending cutting-edge AI with proven filmmaking techniques. This approach empowers a global community of creators to tell powerful, human-centric stories outside the traditional studio system. A multi-instrumentalist and former science educator, he believes technology's highest purpose is to serve humanity—a philosophy vividly brought to life in his feature film, Nobody Believes Cassandra. When not building the future of film, he enjoys life in Tucson with his wife, Nicole, and their adorable tabby cat, Max.

Do you prefer Comedy or Drama?

I’ve always believed that comedy and drama aren't opposing forces; they're two essential sides of the same coin. Drama holds a mirror up to our humanity, allowing us to examine its complexities and truths. Comedy, on the other hand, is the pressure valve that gives us a necessary respite from life's harsher realities. As a filmmaker, my preference depends entirely on which tool the story demands— though I’ll admit, dark humor - particularly in drama - can be great fun.

Life imitates Art or Art imitates Life?

It’s the ultimate creative feedback loop, and I’m a firm believer in both. Look at science fiction: shows like Star Trek literally inspired generations of scientists to build the tech they saw on screen. Now, those real-world advancements push us to imagine even wilder, more sophisticated futures for our stories. Art reflects the life we know, and then life strives to catch up to the art we dream of. It’s our job as creators to dream big enough to keep things interesting.

Which is the best Moment on set?

In animation, our "set" is often a quiet room of glowing screens, but the magic is no less potent. For me, the absolute best moment is that first time a character I’ve lived with for so long only in my head is fully rendered, voiced, and animated, and shown to someone else—finally stepping out into the world. It’s a surreal and profoundly rewarding feeling, like introducing a dear friend you’ve been talking about for years to a room full of people, and they instantly hit it off.

Did anyone ever tell you you weren't good enough?

Constantly! If you’re creating anything with a point of view, you’re inviting criticism. I learned early on that you can’t please everyone, and more importantly, that isn’t the goal. My job isn’t to stand still and answer every critic; it’s to keep moving forward and make more films. The work itself is the only

response that truly matters.

How can you stay focused on your goal?

A truly industrial amount of coffee is my first-line defense, I won’t lie. But the real secret is in the edit —both in film and in life. I break down monumental tasks into tiny, manageable segments. Instead of “edit a feature,” my goal becomes “perfect these three shots.” It makes the process less daunting and

turns a marathon into a series of satisfying sprints, each one a small victory on the path to the finish line.

Have you ever had a breakdown because of your Job?

I think every artist flirts with that feeling of the summit being utterly unattainable. There are moments where the vision in your head feels miles away from what’s on the screen. But you learn that those moments are temporary, and you can’t let them win. The most important lesson is that the next great accomplishment, the next breakthrough, is almost always right around the corner—but you’ll only find it if you stubbornly, relentlessly keep moving forward.

Talent is a blessing or a curse?

It’s the ultimate double-edged sword. I believe every single person is immensely talented at something, but having that talent stifled or dismissed can be a tragic curse. The true blessing isn’t just possessing a talent, but getting the freedom to follow it. When you find that alignment, it’s liberating in a way nothing else can be—though it does come with the eternal curse of never being able to turn off the creative part of your brain, even when you’re trying to sleep.

What would you like to improve about yourself as a filmmaker?

I’m endlessly fascinated by the technological frontier we’re on. At my studio, AI Creator House, we're already merging live-action with AI-generated characters and sets to create films that were once impossible on our scale. The next step for me is to dive even deeper into that collaboration between the

real and the imagined. I’d love to work more intimately with live actors, harnessing their raw, human energy to ground our most fantastical creations and bring a new level of emotional truth to this hybrid art form.

What's the worst critic you have received?

Ah, you’ve touched a nerve with a classic! Following the release of my first feature, I received a middling review. No problem, thick skin and all that. The real dagger came when I politely asked if I could use a snippet from it for promotional purposes. The reviewer wrote back to say she’d prefer not

to be publicly associated with the film at all. Oofta. It was a masterclass in having nine months of work not just disliked, but utterly dismissed. You have to laugh at the audacity of it—after you’ve finished crying, of course.

If you weren't a filmmaker, what would you like to be?

I’d almost certainly be a science educator, a field I’ve worked in and adore. At its core, both science and storytelling are about cultivating a sense of wonder. Filmmaking allows me to build new worlds, but science reveals the breathtaking magic of the one we already inhabit. I’d just be swapping one form

of world-building for another, probably with fewer late-night editing sessions and much more reliable hours.

If Cinema was a color, what would it be?

Without a doubt, it would be silver. Not a flat grey, but the electric, reflective silver of the movie screen in that hushed moment just before the projector flares to life. It’s a color pregnant with potential, a blank canvas that promises every color of the spectrum is about to explode across it. It represents that

perfect, anticipatory silence where anything is possible—and that’s pure magic.

A day without a movie is...

A day without a journey. Whether it’s in a grand theater or in a living room, a film is a passport to another perspective, another emotion, another world. So a day without one isn't a tragedy, but it's certainly less interesting, less inspired, and a little less magical. It’s like forgetting to add the spice to a

meal—it'll still sustain you, but it won't give you any thrill.

What's your greatest ambition?

My greatest ambition is to put Hollywood on everyone's desktop. I want to dismantle the gates held by megastudios and empower a new generation of filmmakers, writers, and artists with the transformative

power of generative AI. This isn't just about technological disruption; it's a reclamation of the human narrative. I dream of a world where stories celebrating the poor, the disadvantaged, and the overlooked—those

too often ignored by vested financial interests—can be told with production value that rivals the biggest blockbusters. My latest series—including the sci-fi anime The Wayfarer, as well as Dice and Destiny - a storyline set on the boundaries of 90s grit and mythological surrealism—all tell stories of the people.

What's your biggest fear?

That independent filmmakers will hesitate to embrace generative AI. We currently have a priceless head start against the slow-moving, bureaucratic studio systems. My fear is that this window of opportunity will close before we fully seize it. This technology is the ultimate equalizer, and we need to

use it now to cement a future where creative vision, not just budget, determines what gets seen by the world.

Does music help you to create?

Absolutely, and often it’s the starting pistol. I frequently begin the editing process by scoring a scene first, then building the visual rhythm and emotion to match the music. As a multi-instrumentalist, I love blending the organic with the generated—layering live string performances or foley sounds over AI

visuals to create a unique texture. In my latest feature, Nobody Believes Cassandra, that hybrid approach is the heartbeat of the film, grounding its fantastical elements in something tangible and human.

You have the chance to make a Silent movie, what's your message to the

audience?

I actually ventured close with The AI Man, an AI-powered homage to Buster Keaton's The Cameraman. My message would be a timeless one: that humanity is the constant. No matter how advanced our technology becomes, the core of our stories—the comedy, the struggle, the connection—remains

unchanged. The tools evolve, but the heart of the tale is, and always will be, about us.

Share your speech if you should win an Oscar...

"I have to thank my wife, Nicole Hennig, an AI creator and educator extraordinaire who is my true partner in every aspect of any world in which I venture. To Max, our adorable tabby cat—our offspring from another species who provides essential emotional support. And, although they each have passed on, thanks to my grandfather, Omer, who gave me my first movie camera, and to my father, RobertMaynard, who never once told me to be more practical with my dreams. And finally, to everyindependent filmmaker and artist boldly using AI to redefine what's possible—this is for us. This is a great honor. Thank you for believing that the future of film is for everyone."

Kamal Rahyab - Interview

Kamal Rahyab is an award-winning filmmaker seeking to introduce nuanced portrayals of brown stories to wider audiences. He has worked for brands such as Nike, Puma, and Solo New York. His film 'Rahyab' is currently in the festival circuit and has been accepted into the Tribeca Canva Program.

What's the absolutely necessary ingredient to be a good actor/director/screenplayer?

The best ingredient to be a good storyteller is to be a good listener. Many of us hear others, but how many actually listen? This is a fundamental skill we learn as actors and filmmakers. This world is always talking to you; you just have to learn to listen.

First and last cinematographic crush?

I grew up with the Harry Potter movies so Hermonie Granger, played by Emma Watson was my first movie crush. Lately, I've been partial to Ana de Armas and Margot Robbie. After all, who wouldn't be?

How old you were when you decided you wanted to be an actor/director/screenplayer?

I wanted to be an actor for as long as I could remember, but I officially told my family at the age of 5, to mixed results. After watching countless movies, particularly Charlie Chaplin and Jacques Tati ones, I decided I wanted to write and direct as well; that was when I was around 12 years old. I haven't given up since and I've gotten to do some pretty cool stuff.

For you a Film is...

An adventure into the mind of a creative team. Being truly engaged in a film is like riding the Magic School Bus straight into the neurons that construct an idea. A film is many things, but for me it's fun.

What do you feel when you're acting/directing/writing?

I know it's working when I feel invigorated by the idea and all its possibilites. Director Sidney Lumet once said the key to directing is making sure everyone is making the same movie. If you're lucky enough to feel that, if you see each and every person working hard to realize your concept, you'll never want to stop making movies.

You can go to the Movies with an actor/director/screenplayer that you

love. What kind of movie do you choose and with who you're gonna whatch it?

If we're including the deceased, I'd go to the movies with Robin Williams in a flash. I can already hear the commentary he'd give. But if we're limited to the living, I'd gotta go with Martin Scocerse, a master of cinema who'd undoubtedly teach me a thing or two.

Audrey Hepburn used to say “Nothing is Impossible”, what do you think

about it?

A prominent VFX supervisor said "nothing is impossible if you have enough money". But for most indie filmmakers, money is never in abundance. It's important to know your limits but it's also crucial to work outside them.

I'd love to be seen agreeing with Audrey Hepburn and I think that's a powerful attitude to have when you're making movies. There's so many limitations that it's easy to complain and say it's impossible. But that's when you must keep moving forward and push yourself. Maybe some things are impossible, but you have to try anyway.

Can you live just of your passion?

I want to live a life I'm passionate about, and I'd love to live solely on film work. But I've learned that your bills don't care about your passions. I don't see any shame in having a day job to pay your expenses, and I've been happier now that I can balance my job with my career.

What's more important talent or luck?

Talent is more important than luck. Luck will get you in the right rooms, but talent keeps you in there. Not everyone is lucky enough to be a Hollywood star, but if you're talented enough, you'll find work.

You must go to a desert island but you can bring with you just one movie...

It's gotta be Lord of the Rings: Return of the King, the extended edition, of course.

Have you ever accepted a part/ a movie to direct/ a script to write even

if you didn't like the project?

Yes, I was an actor on Netflix's Zero Day with Robert De Niro. Frankly, the script was terribly full of cliches but Netflix money talks. Moreover, I was a director for a commercial for handbags, something I'm not particularly passionate about. But as an artist, you have to make yourself interested in your work. Otherwise, it falls flat.

What's the best compliment you have received about your Job?

For my debut documentary about my father, a prominent cinematographer from Korea said he'd be willing to do it for free because the story was compelling. It also inspired him to make a documentary about his father.

Are you satisfied about your career?

I won't be satisfied until I run my own production company.

Do you have a good luck charm?

Petting my cat Tigger.

Which is the worst moment on set ?

The worst moment is when you're behind schedule and the 1st AD and the DP are arguing, unsure what to do next. The director is being indecisive and the producer is trying to take over the set.

How do you feel when a job you've been part of it's ending?

I feel grateful for the time I spent and I hope I did a good job. It is a bit sad to part ways with your friends, but it's also a relief that you can go back home.

Have you ever lied to get a part/job?

I've lied many times to get a job. My film school professors have a motto: Say yes to the job, then figure out how to do it later. I've lied about knowing Avid to get an AE job and now I'm fluent in the software.

If you should win an Oscar your first taught would go to…

My family, who's always supported me no matter what.

Bruce M Jaqua - Interview

Literally a jack of all trades, I've been very interested in filmmaking for many years and after having acted in a dozen independent films, I decided it was my time to step up and make a film very near and dear to my heart.

When did you realize you wanted to be a Filmmaker\Actor\Writer?

I got into acting by pure accident. I got a call from a filmmaker wanting to buy the rights to a book I had written. We didn’t come to an agreement but he mentioned that by the looks of my bio and where I lived he had a friend that was making an independent film nearby and said I might be perfect for one of the parts and could he forward my information. I got a call a few days later from the producer and asked if I could meet him at one of the filming locations. I did, and I got the part on the spot. Just seeing how everything worked even on a small production, I knew that this was something that I had to do.

Do you remember your first time at the Movies?  

Back when I was growing up, it was always a big deal to see the newest Disney movie. I think it was the movie “The Love Bug” that was my first. I remember everyone in the theatre laughing and having such a fun time. A truly funny movie even today.

If you should change country where would you like to work?

It would have to be Italy without a doubt. That is my wife and my favorite place to visit. We go there a couple of times a year for weeks and it still doesn’t feel like enough.  

Two films that have marked your life for better or for worse…

One of my all-time favorite films is “Paint Your Wagon” starring Clint Eastwood and Lee Marvin among many other acclaimed cast members. I just love the setting and the plot/story expressed in the film. It has some amazing songs and is extremely funny as well.

My second would have to be “The Godfather”. It’s such an iconic film that touches on so many subjects of importance. Having recently watched the documentary about how it got made and how much the studio seem to disagree with every choice made by the Producer’s makes me love it even more.

What do you think about Acting/ filmmaking schools?

I think they are good place for people to learn and improve their craft, but like many schools, I think some people spend too much time learning and not enough time actually doing. If you want to perfect your craft, do the actual work.

Have you ever hated your ambition?  

I’ve definitely questioned myself during the time of making this first film. The old phrase “Imposter Complex” definitely comes to mind. But I learned a long time ago that if you don’t trust and believe in yourself, no one else will.

Francois Truffaut used to think that "Film Lovers are sick people”… was he right?  

I think film lovers are great people, as long as it doesn’t consume them or their lives. In this day we see so many people doing nothing but having their eyes glued to a screen, living their lives vicariously through film. I say, enjoy the films, but not at the expense of your own life and experiences.

Close your eyes…if I say “Cinema” what do you see?  

When I hear the word “Cinema, I think of a smaller movie theater showing a black and white film. Today we have these massive theaters with all the latest sound systems and gigantic screens. Those have their place of course, but I’ll take the intimate smaller theatre every time.

Who’s the Director\Actor\Writer that taught you the most?  

Having watched a ton of films and interviews, I would have to say that everything I have heard and learned about Clint Eastwood’s moving making style inspires me the most. Of course he has 70 years of experience, but I like his approach of being able to take a story and really draw the audience in to feel like they are part of it.

About your job, tell us your biggest dream and your worst nightmare…  

For my film, I am the Production Company Owner, Executive Producer, Director and Interviewer. Running all of this has been an amazing experience and now with seeing success, it feels like an amazing achievement and a dream come true. My worst nightmare was the thought that after all this time, effort and money that my film would be a flop. Kind of like throwing a lavish party and having no one show up. Now, after only having been released 2 months ago and having already won over a dozen film festivals, that fear is going away and the realization that I did make a good product is starting to sink in.

How important is to have a good Cinematographic Culture?  

That is something that I think is missing in a lot of places around the county and world. There are so many amazing small production films that will never make it to a big screen and may only exist on a small platform. Having film-festivals and exposure to a greater audience is so very important to both the people that create the films but also to the viewing audience. I always am encouraging people to take a chance on some unknown film because not only did someone take a chance on pursuing their dream, but you might find something that truly speak to you.

What would you like to improve as a Filmmaker\Actor\Writer?  

As this is my first film and done so much of it on my own. I think the best way I could improve is to be more willing to take chances and trust others to do what they do best. A great example of this is my Editor Dan Pred. I had some ideas for what I wanted to do and he very professionally told me that he would do it, but he didn’t think it would be the best for the film. He literally saved me from myself and I can’t give him enough credit. Without him, I would not have anything close to the film I have today.

A big producer give you the chance to direct\to play (in) the remake of one of your favorite black and white Movie (if you have one)… what film do you choose?  

This is a tough one. We see so many remakes of classics and more often than not, they totally miss the mark of the film or change to be more in line with current times and thinking. What made all those old films the classics they were is that they were done in that day, with that time of thinking. I think we should leave the classics alone and instead create new classics.

Film Industry it’s a tough place and sometimes is normal to feel lost and discouraged… who’s the person that keeps you motivated?

I know I should say my wife, but in all honesty it is my Editor. When I was in total doubt about the project I just finished, he would encourage me to keep going by reminding me about the amazing interviews and footage that we have and that we already have an amazing product, we just need to bring it all together, which he did. I honestly believe that without his steadfastness and belief, my film would probably still be sitting in a computer gathering dust.

Alfred Hitchcock said: "To make a good film you need 3 things: The script, the script and the script". Do you agree with him?  

I think having a great script is one thing, but if you don’t have a person(s) with the dream to bring it to life, it is nothing more than words on paper. Going back to the documentary on the Godfather film, Mario Puzo and Francis Ford Coppola had such true vision for the film and although they had a good script, if not for their belief and vision we would not have the Godfather.

What’s your most ambitious project for the future?

I would like to make a film based on the book I wrote a dozen years ago, but I’m not sure I’m quite ready for that. I definitely would like to do another documentary and have one in the early stages of development.

Do you think that sadness or at least melancholy let be more creative?

I think that it can, but for myself if I were to be feeling sad or melancholy it is about something that I am dealing with personally and so it is more introspective versus thinking about a broader genre. I am by nature an easy-going happy type of person and I like to create in such a way that spreads that type of mindset.

What do you wish to yourself as a Filmmaker\Actor \Writer?