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How could Greek cinema become better received abroad? It is not a cinema of major international success.

My feeling is that we have to adjust the way we work for the audience outside Greece. And that takes time, time to make things take a certain road and to create preconditions. In addition, we are lacking the network, we cannot easily exchange experiences, collaborate. This takes time too. Surely, a different perspective is necessary and it affects us all. This affects the younger generation and the older one, all of us. In addition, a different kind of support is necessary. However, this is negotiable; there is no simple answer to your question. This is just an opinion, which I think is correct.
 
You work mainly in London. What is your secret recipe? How does a Greek filmmaker survive abroad?

One must work to international standards, in terms of aesthetics and artistic quality of the work, and in terms of the technical part, according to the needs of another market, not the local market. The local market has one type of needs and the international market has different needs. It is demanding, requires more and competition is greater. Therefore, adjustment is needed. This is the secret recipe - to adjust and put the whole of your talent towards serving these opportunities.

What do you mean when you say that the local market is different? What is the difference?

The difference is related to the topic of films, and to how to shoot a film with a different directorial approach and actors’ performance. Different are the needs, say, here in London. For example, a joke that makes sense to the Greek may be incomprehensible to the Englishman or the German. Therefore, we have to work a little in that direction. We need to find some associations that are understandable not only for us, because it is very difficult to present such a successful film abroad.

Which Greek topics are easier to sell abroad?

If the topic is not strictly Greek, everything can be sold. If the film is good in artistic and technical terms, if made for the international market it is sellable. Of course, the marketing research on what is sought this year, and what will be sought next year is very important. It affects not only the Greek film industry but also the film industry all over the world. But generally, any film that does not feature some strictly Greek theme, can be sold. There are many opportunities.

And how do you pick the topics of your films?

I work mostly on topics related to art, video art, and documentaries. I prefer poetic cinema, research cinema. If I work on feature films, they are adventurous, fantasy, action; I do fewer social films or social theatre. I like action, tension, poetry, i.e. the poetic element in the picture, in acting.

How did you find your way in London?

I followed the advice of Odysseus and as one of Cafavy’s poems says - "Do not fear the Cyclopes and the Laestrygonians." With a lot of work, with a lot of learning, with a lot of struggle, with the proper cooperation, very high professional standards, trying to give the best of myself. It is necessary to fight, and every person who has left his or her country has to do that. I believe this "odyssey" is not my own, and that it is an "odyssey" for all professions, for all people who leave their country and exercise any profession, they fight for it. Attention, effort, stability, professionalism and seriousness are necessary.