The Future Bond in the Age of Algorithms

In 2025, the rights to the Bond series went to Amazon MGM Studios. Meanwhile, my book was released on Amazon in an expanded English-language edition. On this occasion, I attempted to sketch a prediction for the future of 007 in this new reality.

Daniel Craig's era was a response to the post-9/11 world—a world of asymmetrical warfare, internal betrayal, and moral ambiguity. However, that world, too, is already receding into the past. The new James Bond, whoever he may be, will step onto a geopolitical chessboard with entirely new rules, where his old enemies seem almost like a sentimental memory. The crisis of trust in Western institutions, culminating in Brexit and the 2016 U.S. election, has shown that the enemy no longer needs to come from the outside. It can be born within, fueled by algorithms and disinformation. In this new architecture of threats, the ultimate weapon is not a satellite with a laser, but an algorithm capable of "predicting intentions, desires, and understanding context" to manipulate individuals and entire societies in a way that makes the 2018 Cambridge Analytica scandal look like an amateur experiment.

The new 007 will face powerful, intersecting forces that are redefining the nature of global threats. The first of these is the return of great power competition, often described as a "Second Cold War." The old axis of left versus right has faded, replaced by a clash between autocracy and democracy. On this new chessboard, China has become the senior partner, and Russia the junior one. This conflict is being waged on an entirely new battlefield: global economic interdependence, where the struggle is for control over infrastructure, finance, and, above all, digital networks. In this clash, the nuclear warhead might be replaced by a suitcase full of the latest AI chips from Nvidia, which are under a U.S. embargo designed to slow China's AI development and military modernization.

A Canon of Cinematic Influence

For the cineaste, the screen is not merely a window but a canvas; a film is not just a story but a construction. As the end credits scroll ever longer, they reveal the army of artisans required to create the spectacle. We are taught the adage "show, don't tell," a phrase that hints at the medium's unique power. A true cineaste looks beyond the immediate emotional response to understand how that effect was engineered, asking what the so-called "production value" truly reveals about the resources put on screen. This list is a framework for that understanding.

Besides the obvious gazing at the silver screen, my path to appreciating motion pictures was hands-on. I started making my own short films and documentaries before ever committing to film school. Later, working at a TV station put me on sets and at festivals, where I was lucky enough to meet great filmmakers. A stint managing a publishing house let me absorb the best publications on the craft, while writing my own books, articles, and blog posts taught me to articulate those ideas. But it was the real-world exchange that truly shaped my taste: attending festivals, digging through film libraries, and hunting for forgotten gems. I'm a cineaste who enjoys uncovering unique visions across the landscape of film.

More than meets the eye: The Tarantino/Rodriguez Connection

This rainy summer, Babylon Kino in Berlin has organized a festival of Tarantino & Rodriguez flicks. While rewatching some of them, I thought I'd share some insights into their fruitful collaboration. This piece was penned a helluva long time ago for my video essay published on Canal+. Below is the full, unedited cut.

[They met 15 years ago at the Sundance Independent Film Festival and became instant friends. They were promoting their debut films, which are now cited to aspiring indie filmmakers as prime examples of creativity and originality. El Mariachi, made for a mere $7,000, stands as the cheapest film ever distributed by a major studio, with a crew that essentially consisted of one man: Robert Rodriguez. He penned the screenplay while in isolation for a clinical trial, testing obesity medication, and then funneled his entire honorarium from the trial into the film's production. Reservoir Dogs marked the grand entrance of Quentin Tarantino, who until then had been writing screenplays and trying his hand at acting. Most of the film's action unfolds in a single location, yet the screen is never short on drama. For him, the classic bank heist motif wasn't the film's objective, but merely a vehicle to explore the mutual suspicion simmering among the criminals. The sharply drawn characters and numerous flashbacks were a clear testament to his talent as both a writer and director.

English expanded edition! In Print and Kindle!

Filmmaker's Guide:
to crafting Independent Productions in Digital Era

In an era where the digital revolution has democratized filmmaking, everyone has the potential to be a filmmaker, with a studio that fits in a backpack or even pocket. Yet, even the finest equipment cannot replace human creativity. Before venturing into the uncharted territories of film production, a proper guide is essential. This book delves into every aspect of film production. From scriptwriting, through the shooting process, to editing, promotion, and distribution.

A must-read for aspiring filmmakers seeking to navigate the complexities of digital cinema.

Inside, you'll find answers to many questions that plague filmmakers:

• Where to find crew members?
• How to plan a shooting day?
• Why does actors' experience matter?
• Which equipment to choose?
• What's needed for recording an interview?
• How to source music for your film?
• When to submit a film to a festival?

The best routes and shortcuts you won't learn in school!

Click here to buy from Amazon

The Art of Remix

From Knock-offs to Reworks

Paraphrasing Zdzisław Maklakiewicz from "Rejs," we like the films we've seen before the most. No story is original, as they rely on familiar patterns. According to screenplay guru Raymond G. Frensham, there are only 8 basic types of stories from which all others derive (these are: Achilles, Candide, Circe, Tristan, Cinderella, Faust, Orpheus, Romeo, and Juliet). Browsing today's cinema repertoire, this becomes even more apparent – 75% of premieres are sequels, remakes, reboots, or adaptations. This significantly limits the freshness of the audience's impressions because you can roughly predict what to expect. Favorite characters, known actors, the same stories retold – a proven formula allows studios to save millions on marketing because there already exists a fan base eagerly awaiting the continuation. No wonder some filmmakers capitalize on others' successes to grab a piece of the pie. Picasso used to say that plagiarism is copying someone else's work, but stealing from many is creativity. Let's see how the idea of remix fits into the footsteps of remakes, sequels, previs, and director's cuts (topics I've discussed in earlier texts).

    Everything is a remix. Even such influential – and seemingly original – works like "The Matrix" were created as a blend of threads from various entertainment films ("Ghost in the Shell," "Akira," "Fist of Legend" – a remake of "The Chinese Connection"), with the script interwoven with ideas from various religions and philosophies, including Zhuangzi, Plato, Kant, and "Alice in Wonderland". Video essayist Kirby Ferguson created the video "Everything is a Remix," in which he juxtaposed individual shots from "The Matrix" with corresponding shots in terms of frame, movement, and composition from films that served as inspiration. This juxtaposition of sources could even serve as a previs, or rough sketch of a shot list. Ferguson produced several essays on the topic of remix, and at the famous TED conference, he delivered a speech proving that creativity is also a remix, not only in the world of culture but also in science and technology. Nothing exists in isolation from past achievements.

Learning the Art of Film from Visual Essays

Studying in Film School gives you insight into the cinema’s masterpieces and its hidden interpretations. The lectures on film history are usually boring, if not illustrated with curated clips. But we live in a digital century and you can appreciate the masterpieces instantly. Waiting in the shopping queue, sitting in the subway or maybe even between the shots – you can explore variety of topics on-line on the smartphone (though High-Res screen is recommended). Let's take a look on Stanley Kubrick’s One-Point Perspective:

Kubrick // One-Point Perspective from kogonada on Vimeo.

Festival Strategy - interview with Katie McCullough

The Founder of Festival Formula, a consultancy company focusing on filmmakers covering film festival strategy, crowdfunding, and social media presence. She’s hosted workshops and seminars for a broad range of audiences over the past eight years. Selected appearances include: Encounters Film Festival, Shooting People, LOCO – London Comedy Film Festival, YouTube Pro-Panel Series, Falmouth University, East End Film Festival, ICO, MetFilm School, and several training events at the BFI.

aim high... but be realistic - going online is an option

For me and our company's the main issue that we want to talk to filmmakers about is knowing what they want from the Festival Circuit, if their film is suitable to go onto the circuit. Sometimes filmmakers are making content to go straight online. So that doesn't mean it's not warranted that you cannot put on to the festival as well, but some filmmakers prefer to put their stuff straight online, not worrying about the festival circuit.

I think for us the important thing is knowing what you want and also knowing that you have the budget to make it happen. It takes time to submit to the festival circuit, and it also costs money to submit.