What motivated you to become a writer?

I found something I shouldn’t have. 113 feet underwater, scuba diving inside the Bermuda Triangle, sitting in a coral head like it had been waiting. A treasure hunter looked at it later and told me it is a metal known to be from Atlantis. I still don’t fully know what to believe about that. But I know what it did to me. It cracked something open.

That find became TRIANGLE, my first script. But honestly, the dive didn’t make me a storyteller, it just gave me the excuse to finally act like one. I’ve been told since I was a kid that I had a knack for it, and I never let go of that childlike wonder, the need to ask “what if” and actually chase the answer instead of letting it go. Writing is just the most honest way I’ve found to share that wonder with a global audiance.

Starting on a blank page is not easy- where does your creativity come from?

I start from what I’ve actually witnessed and lived. I spent years on the water in the Caribbean, watching four hundred foot mega-yachts glide into the Virgin Islands with billionaires who treat the ocean like a hallway in their own house. I’d watch them and think, that’s a movie. Not the yacht. The people trapped on it.

That’s where THE VOYAGE came from. I watched those boats long enough to ask the one question that turns a pretty picture into a story: what if the owner is dying, and tells everyone aboard that whoever’s still alive when they reach land inherits his fortune?

Suddenly it’s not a lavish yacht anymore. It’s a locked room floating in international waters (lawless)

That’s my method. Live it first. Watch it close enough to know the textures, the money, the boredom, the danger hiding under the polish. Then ask the question that breaks it open. The blank page isn’t blank if you’ve already lived in the world you’re about to burn down.

Do you write projects knowing that so many other factors need to happen to get it to screen and does that come into your project creation?

Not while I’m writing. Never. The second I start thinking about budget on the page, I’ve already failed the story. Real life doesn’t have boundaries, so why would I put fences around mine before a single frame is shot? I write  full scale, no permission asked.

Production thinking comes after, when the script is done and it’s my job to figure out how to get it in front of people. That’s a different hat. I just opened my own production company in Italy, and right now I’m self-funding a confined horror shoot in a national park here, which actually grew straight out of THE CLAIMED, a script I wrote with zero thought to what it would cost. I wrote the story I wanted, then built the company that could go make it.

So yeah, those other factors are real. I just refuse to let them anywhere near the blank page. I’d rather write something true and then go find a way to build it, than shrink a story down to fit a budget I haven’t even priced out yet. I’m also actively looking to partner with other production companies on the bigger ones, the ones too large for me to fund alone.

What is your dream for this project and what other ancillary revenue do you think it could generate? Please include script title in reply.

The dream for TRIANGLE and FEARLESS: THE LOST TEMPLE is the same dream, studio backing, theatrical release, and a franchise that can keep going past one film. Both scripts are built that way on purpose. TRIANGLE has a salvage diver who refuses to leave anything behind, and there’s always another wreck, another mystery in the water. FEARLESS has a world I can keep sending characters back into, the jungle doesn’t run out of secrets either.

The ancillary side isn’t theoretical for me, because I’m already living in it. I own Stay Salty, an apparel line. I run JJ Divers and Uncharted Yacht Charters. I have a Caribbean rum distillery. TRIANGLE lives in exactly that world, the ocean, the wrecks, the islands, so the tie-ins are already standing there waiting. Someone watches that movie and wants to actually dive a wreck or charter a boat in the islands, I already own the company that takes them.

FEARLESS: THE LOST TEMPLE carries its ancillary engine inside the story itself. It’s about a fraud who fakes adventure for clicks and gets forced into a real one that ends in a genuine conservation fight. That’s a built-in book series, and it’s a built-in conservation partnership, travel and more  because the movie’s own ending is “proceeds go to protecting what’s real.”

I’m writing stories that already own the businesses they’d spin off and Merchandise can easily be built into triangle with Lost city of Atlantis lore.

How has your experience been with screenwriting contests for this project so far?

TRIANGLE and FEARLESS: THE LOST TEMPLE have placed across the Page Award, Wiki, and the Diversity Awards. That’s not one script getting lucky once. That’s two completely different worlds and both landing with readers who see hundreds of scripts a year and don’t owe me anything.

Contests aren’t the finish line for me. They’re proof I’m not just telling myself a good story in a vacuum. When strangers with no investment in my ego pick your pages out of a pile twice, with two different stories, that tells you the voice is the thing working, not just one lucky premise.

If you could stand in a room full of investor partners looking at many projects what would you like them to know about you and this project?

I’d want them to know I’m not pitching ideas. I’m pitching a package already in motion.

FEARLESS: THE LOST TEMPLE has primary locations scouted and approved, named talent attached, and I’m in active talks with a production company in Thailand to shoot it. That same Thailand team is also packaged onto THE VOYAGE, which would shoot exteriors in Vietnam and build the interiors on a soundstage. THE VOYAGE has its own named talent attached as well.

The order isn’t random either. FEARLESS goes first, it’s ready, it’s packaged, it moves now. THE VOYAGE follows right behind it with the same production team already warmed up and in place. Then TRIANGLE, the one I want to build as a full James Cameron scale world, the ocean, the wreck, the mythology underneath it, once the slate has proven it can deliver.

That’s the difference I bring into the room. I built a production company from the ground up and I’m self-funding a shoot right now, the film has already been approved for Cannes 2027.  I’ve got two scripts that placed in the Page Award, Wiki, and the Diversity Awards. And I’ve got a real sequence, real locations, real talent, real partners already lined up behind it.

I’m not asking anyone to bet on a maybe. I’m asking them to fund what’s already moving and scale it to a hungry global audiance.

Do you have any website links for your writing, credits, background, etc. that you would like to share?

Everything I’m building lives at, the full slate. https://rogueproductions.it/projects/ FEARLESS: THE LOST TEMPLE with locations secured in Thailand, THE VOYAGE in development with the same team, TRIANGLE, THE LAST CARIBBEAN ADVENTURE, and THE CLAIMED, which is filming next week.

THE CLAIMED is actually the confined horror I’m self-funding in the Italian national park I mentioned, directed by award winning Luke Mordue, and we’re building the audience for it before it even premieres. There’s a giveaway running right now at https://theclaimedmovie.com/  two tickets to the premiere and a meet-and-greet with the cast. The teaser drops October 31st.

I’d rather build the audience while we’re still in the room shooting than wait until the film is finished to ask anyone to care.

For credits and background, my IMDb is https://www.imdb.com/name/nm17859718/