Producer, EP2C/ APostLab Group Leader and Mentor in Vienna 2014
Could you introduce yourself and your connection to APostLab?
I first joined EP2C/ APostLab in 2014 in Vienna, although I admit I stopped keeping track. I have done so many mentoring programs over the years that I no longer include them all in my bio. At APostLab I was there as a mentor and group leader, not as a participant.
What made you want to join EP2C/ APostLabA as a mentor?
I am an engineer by training. The only diploma I have is in engineering. If you want to put it nicely, it is environmental engineering; if not, in Romania we jokingly call it “toilet engineering” because it deals with everything in a building.
That technical side is part of me, but I did not initially develop the same depth of understanding when it came to post-production. I worked mostly in physical production.
Over more than 30 years in the business I kept learning, especially about how production does not end when shooting ends. I knew that early on, but I was not as capable of planning or costing post-production as I was with physical production. I wanted to learn more about the process, the timing, and the choices.
I transitioned from shooting on film to digital, and I never trusted the idea that “we will solve it in post.” The more I worked, the more I understood that everything you want to do in post has to be planned. I also wanted to see how other producers, especially creative producers, collaborate with post teams and make early decisions.
EP2C/ APostLab was perfect for that. I came very eager to learn, not only from specialists but also from colleagues in the group. I never felt above the participants. I felt like one of them, just coordinating. The exchange was wonderful. And the world that opened up through the post-production experts helped me tremendously.
I still remember one project very clearly, the Icelandic film Lamb. It was in an early stage at the workshop. The discussions about mechanical versus digital effects for the lamb, and what was possible within their restrictions, were incredibly interesting.
Is there something you learned during that 2014 edition that has stayed with you?
Yes. It was the two-directional flow of information. Not only knowledge going from the producer and director toward post-production, but also from the artists and technicians back toward the initial creators. That mutual recognition, that we are all filmmakers and artists, was something EP2C/ APostLab really cemented for me.
What are you working on now?
I am still working as a producer. Right now we are close to starting the festival journey of the first feature directed by a Roma woman. It is a very powerful and personal story, partly inspired by her own journey of becoming who she is and realizing her strength despite coming from a marginalized community.
It is a classical film in terms of production approach, but very touching. And even before we had a production schedule, we were already discussing with post-production teams. We set up the workflow early and figured out who matched with whom and what we needed. That kind of early collaboration makes a big difference.
In your experience, what makes a good collaboration between a producer and the post-production team?
It all comes down to teamwork. To summarize: no one knows better alone.
Filmmaking is never a solitary process. I need people around me. I need to exchange ideas. And even when the final decision is mine, I do not feel safe without consulting others. Maybe someone has tried something before or sees a risk I do not. I value that exchange immensely.
You have worked internationally. Have cultural differences shaped your collaborations?
Very much. It is fascinating to see habits from different parts of the world. In Romania, or Eastern Europe in general, we are used to long hours and forgetting about weekends when something must be delivered. But I have learned the importance of limits.
Generations also play a role. Younger generations guard their private time more carefully. They need space to explore, and that is healthy.
Co-productions make these differences even more visible. For example, on a recent film we had sound and VFX done in Spain, color correction in Italy, editing in Serbia, and everything put together in Romania. Even if materials travel digitally now, styles, timing, and working rhythms vary a lot. You cannot assume others work like you do.
APostLab aims to build a long-term community. Are you still in touch with people from your edition?
We cross paths in different contexts. I cannot point to a specific collaboration, but when you are part of such a community you follow projects and feel a sense of belonging. When someone’s film succeeds, even if your name is not in the credits, it feels a bit like yours. You shared something during the process. It is like being proud of an athlete from your country. You did not make them champions, but you still feel connected.
That sense of belonging is very strong in this community.
Interview conducted by Monse Higareda Patrón (September, 2025).
