Talent | Avfri

October 10, 2025

Interview | Sergios DeLaurentis | Director | Screenwriter

AVFRI - How did the idea for your short film first come to you?

Sergios DeLaurentis - There is a very emotional and controversial novel called ‘’The Seven Who Were Hanged’’ (1908) by Leonid Andreyev that I love. The story reflects on an existential crisis rooted in extreme violence, deception, and injustice that pushes ordinary people of its time to a breaking point. I have always wanted to place the characters from that story in a contemporary setting, as it seems to me that more than 100 years later not much has changed, and we are still involved in the same destructive notions, where the decisions of just a few in power can inflict generational pain and suffering on millions of innocent people. And there is no one to stop it. That’s when violent resistance is born in young minds. And, of course, driven by raw emotions, this resistance is also not an answer.

A still image from the short film Crimson Silence

A. - What were the main challenges you faced during production, and how did you overcome them?

S. D. - I’m of the mindset that perfect casting is responsible for 90% of the success of any film. Therefore, finding the right cast was the main challenge. Regarding everything else, I was lucky to have a group of very talented and passionate friends and colleagues who helped me bring this story to the screen. I guess if you have a good enough script that everyone believes in, they will always give their best, and the whole production will go smoothly.

A. - Was there a particular moment during filming that defined the tone or spirit of the project for you?

S. D. - During post-production, while editing, we were shocked by recent cruel and unjust developments in particular parts of the world, and this had an influence on the final cut of the film. In particular, we incorporated real footage from areas devastated by the war.

In ‘’Crimson Silence’’ we have a 6-second shot of a huge explosion in the city from a helicopter above. Just five years ago, this shot would have cost me a couple of thousand dollars. Today, you can do it with AI for just a small monthly subscription to an AI service. It’s clearly a game changer that will transform filmmaking forever.

A. - What do you hope the audience feels or thinks after watching your film?

S. D. - To be honest, I don’t bother with these thoughts. As a creator, you can only tell a story the way you see it. You can’t control anything else. The audience will always react through their own prism, taste, and perspective. My goal is to make the best film that I possibly can, from what I have. Everything else after that is not up to me.

A. - How do you usually begin a project — with a theme, a visual image, or a character?

S. D. - I never start a project because I want to do something. I only start something because I have to. It’s when the story is so good that I don’t have any other choice but to write it and bring it to the screen.

A. - Who or what have been the most significant artistic influences on your work?

S. D. - Everything Chris Nolan and Paul Thomas Anderson do is an inspiration to me. In my subjective view, they define the modern era of storytelling in cinema.

A. - How was your film financed, and what advice would you give to other filmmakers navigating low- budget or independent production?

S. D. - I think this ties in to an earlier question about challenges during production. In every low-budget project (or any other, for that matter), the strongest point is the people around you. If you surround yourself with truly talented people who believe in the project, your ship will reach its destination no matter what. Also, today you don’t really need much to shoot a short film, as long as you have a strong script and a vision of how to do it.

A. - Did you collaborate with any institutions, collectives, or funding bodies during the process?

S. D. - During production, administrative institutions of the city helped us a lot by allowing filming at busy locations inside the city limits. Without their help, we would not have been able to shoot important and technically complicated scenes. Establishing good connections and relations can be crucial to your production.

A. - What role do new technologies (such as AI, virtual production, or new distribution models) play in your filmmaking today?

S. D. - In ‘’Crimson Silence’’ we have a 6-second shot of a huge explosion in the city from a helicopter above. Just five years ago, this shot would have cost me a couple of thousand dollars. Today, you can do it with AI for just a small monthly subscription to an AI service. It’s clearly a game changer that will transform filmmaking forever.

However, I have a very strong stance when it comes to acting. AI will never replace human acting,

no matter how good it can imitate it. There is a real debate right now in the industry on this topic.

Producers and agencies are pushing for the development of AI synthetic actors. SAG-AFTRA is

rightfully pushing back. To me, it’s a big mistake to introduce AI synthetics when it comes to

human-centered acting, and it will never succeed. We should just define AI as its own genre. I just

don’t see a world where AI could truly imitate or even come close to the genius and originality of, for example, Tilda Swinton or Daniel Day-Lewis. It’s impossible. And unnecessary.

A still image from the short film Crimson Silence

A. - How do you feel the short film format is evolving in the digital age?

S. D. - We clearly see a boom in the production of short films. It’s cheaper and more accessible now than ever. You can literally shoot a high-quality film on a smartphone today. It’s amazing. But... again… As long as you have a really great story to tell. Unfortunately, that’s not the case. With accessibility comes mediocrity. I would always encourage new filmmakers to write a very strong and original script first.

A. - Lastly, what’s next for you? Are you already working on a new project or idea you’d like to share with our readers?

S. D. - The sci-fi genre is something that I will dive into next. I’m working on a screenplay for a sci-fi feature film, set in the distant past and based on the theories of a very prominent scientist, a Nobel Prize winner. That’s all I can share without spoiling anything.