I think It was early 2005 when surfing on IMDB I met Rick Eager,this guy from Norman(OK) is a genius,expecially for be able to understand my english then for understand my Ideas my obsessions and my intutions about a subject,so we started a long and detailed exchange of ideas by email and THE INTERSEXION born as treatment then registerd at WGAw(Writers Guild of America West #1071848).
Now,After almost four years, after an amazing job by Rick,the 11 pages treatmenttake a shape on a big 121 pages Screenplay click here –> (The Intersexion).
Finally we are proud to annouce that our Story got a proper format and is available for be read on


Upgrade 2013 ;I lost Rick, but I never lost my hopes about this idea,for me it was a serious dark noir action thriller,can’t be only just a Comedy… I have an example with an awful movie named Flypaper that in part “stolen” our idea.


God give me a Easter Egg,Easter Time, listen this outstanding Moby’s Masterpiece(from HEAT Soundtrack) Remixed by U.N.K.L.E(James Lavelle)from Album Self Defence
Happy Easter May Be Love and Redemption
Useful Links

Watching movies,The Borderline’s Thoughts

“Like No other ART form,Film lives on reality”
Dante Spinotti ASC AIC American Cinematographer Vol 77 N°1(Heat)

“…Cinema through our portrayals allows people to experience emotions and events they might never come to know in their real life.We do have the responsibility to tell the truth”
Gred Gardiner ASC ON FILM Kodak American Cinematographer Vol 90 N°3

“we wound up shooting three night exterior sequences in Chicago with completely natural light in hi-def(Sony Sp900).I went with that system because of the shadow sensitivity and because of the way it looked.We were getting the equivalent[at gain of +6dB]of 2000 ASA.The camera is so sensitive to shadows that we were even seeing the clouds at night:We would never have gotten that on film,even if we pushed 500 ASA film by two stops.The image is a bit noisy and has a slight ghosting because we went with 360-degreee shutter,but we loved it.Sometimes you have to accept anomalies like noise in order to get a beautiful image.Hi-Def also has a different feel because the depth of field is so completely different.We could never have gotten that feel with film at all.There is more depth perception.Even though there is less image in focus,the apparent depth of field is greater.It’s so soft and real.We also used the Hi-Def Camera in the subway tunnels in Chicago,again shooting entirely with existing light.Yes ,the images are noisy,but I think that look is perfect for this movie.”
Emmanuel Lubezki ASC AMC RING LEADER American Cinematographer vol.82 N°11

“Film is not really good at low lights levels,but HD allows you to see nights as you actually see it by eye.Collateral is a prime example.Often people will walk by our monitors at night and say ,’ Wow! Because it show exactly what they’re seeing”
Roy H.Wagner ASC American Cinematographer Vol 90 N°3(The Unsuals)

“The Format’s strong point is its incredibile sensivity to light.We Were able to shoot L.A. at Night and actually see silhouettes of palm trees against the night sky,which was very exciting.”
Another advantage of HD you can fine-tune your color pack because you can see immediate results on the monitor.If there’s a shift in the color temperature you can instantly make the correction and match it completely

Dion Beebe ASC ACS American Cinematographer Vol85 N°8(Collateral)

“In the years since HD cameras got into hands of working cinematographers,many have questioned which will ultimately win out,film or video.To see them work in concert together is to realize that they both have a place in the world of image acquisition.Film has its strengths and so does video.Finding a way to creatively integrate them will ultimately enable cinematographers to realize any shot imaginable.”
Rick Nagle Digital Imaging Technician American Cinematographer vol 89 N°5(Deception)

“…Anthony and I focus on emerging Technology[every Collaboration] feels like an adventure,It’s easy to quality control something people have been using for years,but you need a great cameraman to quality control the unknow”
Danny Boyle on 2K digital-cinema camera from Silicon Imaging American Cinematographer Vol. 89 N° 12

“..Mini Dv was out of question…working on location in India would not give him the level of control he’d had on 28 Days Later ,for which he was able to create elaborate lighting Setups…I also knew the incredible contrast there would destroy the chip of any conventional consumer digital camera…In addition to needing a digital camera with enough latitude to hold highlights he wanted something of very small…He found the right combination in the SI 2K Mini,whose imaging block,which houses its 2/3″ CMOS image Sensor and lens mount,can be separated from the rest of the camera”
Anthony Dod Mantle BSC,DFF Rags to Riches American Cinematographer Vol.89 N°12
Daytime shot of that sequence were captured with SI-2K Mini

“Cinematography is all about storytelling,and when you’re doing a genre film,you have to try to take it somewhere it hasn’t been before.It’s Easy to fall back on convention,but you should try to come up with a way to redifine the genre.”
Peter Deaming ASC, Drag me to hell, from article Supernatural Wrath by Iain Stasukevich AC Vol. 90N°6

“The Medium is romantic,intresting and beautiful,but it also looks real.And there’s so much you can do in post!Film has a certain kind of quality that cannot be matched by digital technology but at times,the advantages digital has over film are important for the language and the contents of the story you’re telling,and that determines your choice”
Dante Spinotti ASC , Editor Note, American Cinematographer Vol 90 N°7 page 8

When Director Gil Cates chose me to shoot a love story starring Bea Arthur and Richard Kelly,he said he liked what I’d done on The FLy.I reminded him that Jeff Goldbum and Geena Devis were in a horror film,not a love story.He Said”No they were in love,and that’s what the audience saw.Sometimes you have to ignore the words and let the pictures tell the story”
Mark Irwin ASC CSC Close Up American Cinematographer Vol 90 #7 page 76

FOR ME THE MOTHER OF ALL THE Q&A American Cinematographer Vol94 #8 page 34

Did Using Digital make a big difference in your lighting budget?

“We shot night exteriors at a T4 and it have doubled our lighting budget to duplicate the same scenario on film…” Bojan Bazelli ASC

Look around consumer’s media I can only say that We are in the Future,the word “High-Def” link to digital devices really breaks in our life, is changing our way to catch and read(learn) images,but In my poor opinion That’s not only a question of Tools or hardwares,the real differences are always been the MEN(their skills) and their choices…


Last week end I been in Torino & I had the pleasure for the first time to watch a movie with DLP, watching

and really I had some boombastic experience


IDEAL Cityplex is allocated close Piazza Statuto and is the first theatre of this damned as beautiful city that adopt this outstanding technology ,we can watch 2D and 3D movies on 2K DLP Cinema Technology equipped by CHRISTIE CP2000 3 chip dlp cinema TechnologyCP2000 supported by DOREMI DCP 2000 dcp.html server 2k and 4k resolution playback

The Main room ,movie theater Number #1 got DOLBY CP 650 CP650 9 Channel for almost 50.000 watts,this device is a modular constructed processor that permit hardware evolution or  upgrades , feature EQ Assist function for the best acoustic equalization all computer controlled.Never seen a Movie in a so powerful way so detailed on contrast and saturation matter…that was amazing!

idealbarsIdeal Cityplex Torino