Check Out Rafael Maman’s Story

Today we’d like to introduce you to Rafael Maman

Hi Rafael, can you start by introducing yourself? We’d love to learn more about how you got to where you are today?
After first life cycle in business management I quickly realised my life wouldn’t be fulfilling if I didn’t pursue my filmmaking dream. I started working in production companies in Europe to get a first insight of the realities of this business. This experience quickly led me to embrace the creative side of the business, writing, producing and directing shorts to start. I then got accepted at USC’s film program, where I learnt a lot about my craft and met a lot of very talented people, who became my friends and work partners. This allowed me to quickly transition into higher scale filmmaking, producing and directing bigger and bigger films, commercials and TV content, to now be in a position to direct feature films very soon.

Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
It hasn’t always been easy practically speaking. I would say that the most important is to stay positive through periods of doubts and keep working without overthinking. The transition from the “safe” environment of traditional business to show-business was scary. At first no one wanted to hear about projects from a guy who barely got out of the finance world, who had no experience on a film set. The secret was to focus on yourself rather than on others, and their perception of you.
Next you have to overcome your expectations in terms of film quality. I always thought filmmakers were born with their skills, because no one really tells you that your first 5-10, maybe 15 short films will be bad, sometimes terrible. And it turns out to be the case for everyone when you dig deeper into success stories. Yet, you have to experience it to take the full grasp on it, while keeping faith that you will get where you want to get artistically, which can be tricky. Then, finding a group of solid people you can create with takes time, and you need to be patient even though it is a very fast paced business on many aspects.
Each project brings its struggles, financially and artistically, and it is important to try as much as possible not to take successes and failures on a personal level. Yet every time things seem difficult, I take a step back and realise I am extremely lucky to do something I’m truly passionate about. And all of a sudden, struggles vanish!

Appreciate you sharing that. What else should we know about what you do?
I write, produce and direct movies and commercials. I think what differentiates me besides the fact that I can multi-task on these 3 functions (and sometimes more on post production) is the tone I have managed to generate on all of my films, which bridges the gap between documentary and fiction. I like to cast both professional and non professional actors to have them evolve in a very realistic set up for them, which I tweak through bold aesthetics that really makes you think you are watching a film as an audience. For example I have made a horror movie about a painter with a very dark aesthetic, but I insisted on having a real painter to perform live without rehearsal rather than fake it all. I have also done this with a street mime in a lyric environment, with a shrink in a thriller set up… The combination of these two aspects often leads to a refreshing new style, or so I have been told.
Recently a documentary I have done about the behind the scenes of TV shows in France brought quite a lot of attention, and I am also very proud of a couple of my shorts, Jackpot and Last Drag have made quite an impression, which allowed me to sell them to production companies who want to turn them into feature films.

What quality or characteristic do you feel is most important to your success?
I think the most important is to be able to balance the need for a personal story with the necessary containment of ego. I believe a good idea can come from anyone, no matter their position or experience. You have to listen to everyone, without bias and yet protect the film you have in mind as best as you can. It can sometimes be a very fine line, and it is crucial to surround yourself with people that you know are here to serve first and foremost the project, and who also have a manageable ego.

Contact Info:

• Website: https://rafaelmaman.com
• Instagram: @rafa2323