Serkan Aktaş, born on December 4, 1989, in Istanbul, Turkey, is an award-winning filmmaker globally recognized for his contributions to the genres of fantasy and science fiction cinema. He holds degrees in Business Administration from Anadolu University and in Mathematics from Dokuz Eylül University. Aktas honed his filmmaking skills at the Istanbul Cinema Academy, where he graduated with distinction. He also earned a Master’s and a Doctorate in Film and Television from Beykent University. His notable works include films like The Librarian (2022), Mirrorty (2017), and Resurrection under the Ocean (2021), which have been acclaimed in film festivals around the world.

Q: Tell me about your filmmaking journey and what initially drew you to this career path?

Serkan Aktaş: My filmmaking journey began at the age of 16, when I had a life-changing experience watching Hokkabaz, a Turkish film, with my older brother. Until then, I had always been drawn to films, watching them on DVD or CD for hours. But watching Hokkabaz on the big screen opened my eyes to cinema in a completely new way. It was a revelation. I felt a deep, undeniable connection to the art form, and that night, I decided I would become a writer and director. It was a moment that set the course for everything that followed.

Though I initially pursued a more analytical path, earning degrees in Business Administration and Mathematics, my passion for filmmaking was never far behind. I sought to deepen my understanding and sharpen my creative instincts at the Istanbul Cinema Academy, where I graduated with distinction. Later, I went on to complete both a Master’s and a Doctorate in Film and Television from Beykent University. These academic experiences gave me the tools to transform my ideas into cinematic realities, but it was my insatiable curiosity and my belief that the best films are those that stand the test of time that truly shaped my journey.

For me, the essence of filmmaking lies in the desire to evoke joy, wonder, and thought in the audience. As I continued to create, films like The Librarian (2022), Mirrorty (2017), and Resurrection under the Ocean (2021) became platforms for me to address real-world issues through the lens of fantasy and science fiction. Cinema, for me, is not just entertainment; it’s a way to challenge the status quo, to open minds, and to spark conversations.

I’ve always believed in the power of discipline in the creative process—reading, watching, and writing every day. This daily rhythm keeps me grounded and sharp, ensuring that I continue to push boundaries and explore new ideas. My goal has always been to share the same excitement and curiosity that cinema has given me, hoping that, through my work, others can experience the same sense of awe and wonder. Ultimately, filmmaking is a way for me to contribute to solving the world’s unsolved problems, whether through direct commentary or through the rich narratives that challenge audiences to think beyond the surface.

As the most awarded filmmaker in Turkey, I find the greatest reward in knowing that my films have an impact on people. Each time someone experiences my work, whether they feel inspired, moved, or challenged, I feel I’ve achieved my purpose. My journey is far from over, and I’m eager to continue exploring the infinite possibilities of fantasy and science fiction, always in pursuit of creating meaningful stories that make a difference.

Q: What are a few films that have significantly influenced your creative style?

Serkan Aktaş: Several films have had a profound influence on my creative style, especially those that explore the limitless possibilities of fantasy and science fiction. These genres resonate deeply with me, as they offer a canvas where imagination and intellectual curiosity can roam free.

Serkan Director

Films like Being John Malkovich (1999) and Groundhog Day (1993) are especially impactful. They take simple, often surreal concepts and use them to explore profound existential questions. Being John Malkovich twists reality in a way that forces us to reconsider human existence and identity, while Groundhog Day uses the time loop to examine the potential for personal transformation. Both films exemplify how fantasy can serve as a gateway to engage with complex philosophical ideas while still offering entertainment and wonder. These films taught me the power of blending mind-bending ideas with compelling narratives, a practice I try to bring to my own work.

On the other hand, films like Dark City (1998) and Pitch Black (2000) represent the darker, more gritty side of science fiction, where human survival and the unknown are tested in environments that defy the laws of nature and reality. These films challenge the viewer’s understanding of the world and push the boundaries of what is possible in storytelling. Their exploration of existential and philosophical themes within a sci-fi framework deeply resonates with me, particularly in how they balance complex ideas with gripping, atmospheric worlds.

As a mathematician, I am drawn to the abstract nature of sci-fi and fantasy. Concepts like fractals—the Mandelbrot set, the Julia set, and the Sierpiński triangle—represent the beauty of infinite complexity emerging from simple principles. Similarly, these genres allow me to create intricate, boundless worlds. They satisfy my intellectual curiosity and provide a space where I can merge abstract mathematical ideas with rich, imaginative storytelling. These films have significantly shaped how I approach both the form and content of my work, encouraging me to think beyond the ordinary and craft stories that explore infinite possibilities.

Q: How do you approach collaborating with actors to achieve the best performance?

Serkan Aktaş: When it comes to collaborating with actors, I believe in building a strong, personal connection before stepping onto the set. I strive to be a friend—especially a best friend—to the actors I work with. I spend time with them outside of the rehearsal process, just hanging out and getting to know each other on a deeper level. This approach, which I learned from a book about Quentin Tarantino and his work on Pulp Fiction, has proven to be incredibly effective.

Q: Describe your process for developing a shot list and how you utilize storyboards to visualize scenes?

Serkan Aktaş: My process for developing a shot list is a bit unconventional, as I prefer photoshoots over traditional storyboarding. Before the set, my Director of Photography (D.O.P.), a few actors, and I work together on a photoshoot for every scene in the actual locations where we will be shooting, frame by frame. I find this approach to be more effective than storyboarding because it allows me to visualize every detail of the scene and ensures that I don’t miss anything in the script. After the photoshoot, I turn the images into a catalog or booklet, which serves as a practical guide for the shoot. This method makes it easier to follow the scenes and gives me a clear visual reference to work from. It also helps me feel more relaxed and confident before stepping onto the set, knowing that I’ve already visualized each moment in detail.

Q: How do you stay updated on new filmmaking technologies and incorporate them into your projects?

Serkan Aktaş: I stay updated on filmmaking technologies by researching industry trends, attending conferences, and connecting with other filmmakers. When incorporating new technologies into my projects, I focus on how they enhance the narrative and viewer experience. However, as an independent filmmaker, I face the challenge of limited budgets, which can make it difficult to incorporate expensive technologies. While I may not always have access to the latest tools, I try to use available resources creatively, finding ways to incorporate new techniques within the constraints of my budget. My focus is always on serving the story, and I look for cost-effective solutions that can still bring the desired impact.

Q: What is your approach to handling unexpected challenges that may arise during filming?

Serkan Aktaş: I believe that when unexpected challenges arise, the key is to come up with the problem and try to find a new way to solve it. Every problem has a solution. Stay calm, be patient, and think that you will find a way to solve it. A good example of this was during the production of The Librarian. It was my doctorate film project, and I had to complete it to finish my degree. However, the realities of filmmaking, especially in independent cinema, proved to be much more complicated than I had anticipated.

The biggest challenge was a tight budget, compounded by the pandemic. Many exterior scenes in the script were written before COVID-19, but due to health restrictions and local authorities’ refusal to grant permission for outdoor shoots, I was unable to film them as planned. To make matters more complicated, just 10 days before filming began, I had a significant disagreement with both the cast and crew. This led to the difficult decision of letting go of key members, which left me with very little time to rebuild the team and get the production back on track.

Despite all these obstacles, I remained determined not to give up. I decided that waiting for the pandemic to end could mean losing the entire project, so I chose to adopt a guerrilla filmmaking approach for the exterior scenes. With a small, dedicated team, we shot those scenes quickly, without formal permissions. While it was far from ideal, the feedback from both audiences and critics showed that those guerrilla-style shots ended up being some of the most impactful moments in the film.

This experience taught me that perseverance, patience, and adaptability are key in overcoming the unexpected challenges that arise during production. When things don’t go as planned, it’s important to stay calm, think creatively, and keep moving forward.

Q: If you were to direct this film, what are the key themes you would want to highlight?

Serkan Aktaş: If I were to direct this film, the key theme I would want to highlight is the importance of collaboration, particularly with the Director of Photography (D.O.P.) and the First Assistant Director (1st AD). These two roles are absolutely essential for bringing the story to life. While every element of a film and every person on set must be perfect, for me, the D.O.P. and 1st AD are like my left and right arms. They are crucial in shaping the vision and flow of the production.

I’ve noticed that many directors who are very successful tend to work with the same D.O.P. and 1st AD, because over time, they develop a mutual understanding and a strong sense of communication. They talk to each other, understand each other’s vision, and know how to work in harmony. This synergy allows the director to focus on the creative aspects of the film, knowing that these key team members will execute the logistics and visuals in alignment with the story. Collaboration is at the heart of filmmaking, and these two roles, for me, are at the core of that process.

Q: What unique elements would you bring to a project to make it stand out?

Serkan Aktaş: To make this project stand out, I would bring my unique perspective as both a mathematician and a filmmaker, blending analytical thinking with creative storytelling. I’ve always been drawn to the beauty of patterns and structures, especially in the realms of fantasy and science fiction, and I believe this allows me to approach storytelling in a way that others might not. By incorporating abstract concepts, like fractals or mathematical structures, into the narrative and visual style, I can create a film that feels fresh and intellectually stimulating.

In addition, my focus on creating timeless films, the kind that can be watched repeatedly with new layers of meaning revealed each time, would be another unique element. I aim to craft stories that engage both emotionally and intellectually, offering the audience more than just entertainment—they would walk away with something to reflect on. The emotional resonance and depth of the story, combined with visually innovative techniques, would help this project stand out in a crowded film landscape.

Lastly, I believe in the power of collaboration, and the strength of having a solid team that understands the vision. My approach to working closely with my D.O.P. and 1st AD, creating a synergy where we all work towards a common goal, would be essential in ensuring that this film is both a creative and technical success. It’s all about pushing boundaries, telling unique stories, and creating experiences that stay with the audience long after the credits roll.

Q: Can you tell us about your upcoming projects?

Serkan Aktaş: My next project is Kanlısırt – The Blood Ridge, a feature film that I’m both writing and directing. The script is already completed, and the story is set during the intense Battle of Gallipoli in World War I, focusing on the brutal confrontation between the Turkish and British forces at Blood Ridge (Kanlısırt). As Turkey’s most awarded filmmaker, I aim for this film to become the highest-grossing film in the country, targeting 13.5 million viewers. I believe that a filmmaker with such recognition should also aim to create the most widely watched film, and that’s exactly what I’m working towards with this project.

Social Media Contact Addresses

https://www.imdb.com/name/nm14575507/

https://www.linkedin.com/in/serkan-aktas-a12463260/

https://www.themoviedb.org/person/4089513-serkan-aktas

https://filmfreeway.com/SerkanAktas

https://letterboxd.com/director/serkan-aktas/

https://x.com/AktashSerkan

https://vimeo.com/user67879661

https://www.youtube.com/channel/UCBTv2OlCkA3KMcz4pqyG-EA

On February 4, 2025, Ashwin, a talented artist, will grace the Intuit Dome with a remarkable performance as the opening act for the highly anticipated game between the LA Clippers and the LA Lakers. Directed and choreographed by the brilliant Destiny Frye, this visual spectacle promises to be extraordinary, showcasing a groundbreaking concept within the state-of-the-art $2.1 billion stadium.

This performance marks a significant milestone for Ashwin as it will be his debut appearance at an NBA event. The excitement surrounding this first-ever NBA performance is palpable, with fans eagerly anticipating the innovative and electrifying presentation that Ashwin is set to deliver.

Destiny Frye, the visionary behind this event, is the owner of Hip Hop Dreamz and the Origin Performing Arts Dance Studio. With a decade of experience in orchestrating NBA primetime performances, Destiny is celebrating her 10th anniversary of collaboration with the NBA, making this event even more special.

Destiny and her team are thrilled to bring Ashwin’s music to the forefront, promising an unforgettable experience for the audience. Although this is Ashwin’s inaugural NBA performance, it marks the beginning of a promising journey, and fans can expect many more captivating collaborations in the future. Ashwin is recognized as a trailblazer of his generation, and the anticipation for his future projects is already building. This event is not just a performance; it’s a celebration of artistry, innovation, and the limitless possibilities that lie ahead for Ashwin and Destiny Frye in their creative endeavours.

For years, Mark “Savage” Sanders bold, dynamic mixing style has landed him work behind the boards of major tours and hit records alike. Working with artists like Shordie Shordie, Lizzo, Coi Leray, Kevin Gates, Fetty Wap, Kelly Rowland and more, Mark sports an ever-expanding discography of cutting edge of popular music. We spoke with Mark to get insights into his career arc, workflow, and to understand how his unique sound is built upon a firm foundation of technical skill, knowledge and deep listening.

For starters, could you tell me how you got into engineering?

So at my high school they had an early college program where you could get your associates or a certificate by graduation. I wasn’t looking to be an audio engineer. I don’t even think I really knew what an audio engineer was, which makes it all the more crazy. I saw music production schools, but I went for audio engineering at Full Sail University.

What boards were you working on when you were doing live sound?

It was whatever the house had. Working on Mackie boards or Yamaha boards that only had seven inputs that worked—Avid and Midas consoles, the M32s, the Behringer X32, a lot of different stuff. Being a live sound engineer taught me so much signal flow and having to adapt to different spaces and different gear all the time. If I’m on tour and we’re generally using the same board, we’re probably never using the same monitors for front-of-house. The rooms are bigger or smaller—different places have different problem areas—being in a stadium or doing a festival where you have delays and all that stuff is just insane.

So you were ghostwriting, engineering, producing, and rapping in the beginning? 

Yes I did it all except play an instrument.

Now today you’ve received a BMI Award, 2x Platinum, and over 12,000 sync placements how does it feel? 

If I had to be honest I don’t care about any of it anymore. I want to see my Son win big like this. I’m more into family these days. I did everything I wanted in life and overachieved. I’m good!

We see you have Royalty ENTERTAINMENT & managing as far as entertainment goes what else can we expect? 

Whatever God does. I’m not chasing anything anymore. Focused on living life, family, and wealth/health. Definitely support my DJ, DJ King, Ashley Blaire, and Pretty Liyah. Other than that I’m about to be out the way. (He laughs) I’m so burnt out. I’m chilling.

Last question, seeing that you did everything you wanted is there anything left that you haven’t 2025 going forward? 

No just travel more that’s it. Like when I say I’ve given life everything I’ve had. I’ve given it everything. Plus I think most people are waiting for me to be famous or something which I’m avoiding and praying never happens.