Please tell us about the projects you worked on before making ‘Psychoco’. How did you start, and how did you learn to make films?
I've been fascinated by the world of cinema since I was very young—around seven years old. I started by making simple videos with my parents' phone, and later I got my first handheld camera. I was completely captivated by the idea of storytelling through images and creating entire worlds with a camera. It felt like the most wonderful discovery I’d ever made.
I went to art school during my primary and middle school years, where one of my teachers introduced me to an undergraduate academy called Scalvia. I was fortunate to be accepted at the age of 14 and graduated when I was 16. My graduation film, titled “Tobula”—which means “Perfection” in Lithuanian—was a major milestone for me. It was the first film I made with a larger crew, albeit on a very small budget funded entirely with my own money. I was incredibly proud of the result. Many people who saw it remarked that it didn’t look like a student project, which was a huge compliment and validation of my work.
After graduating, I continued to gain experience in the film industry. I worked as an editing director on a documentary about a famous partisan, Juozas Jakovonis - Tigras, and took on various roles on different sets to broaden my skills. This was all during high school, before I even started university.
Now, I’m 20 years old, studying at the Rome University of Fine Arts (RUFA), where I’m continuing to develop my craft. I’m currently working on my next script, and I’m excited to bring this new project to life with everything I’ve learned so far.
Tell us about ‘Psychoco’. How do you describe it?
In psychology, there’s a concept where if someone calls you a hurtful name—for example, "psycho"—you can take power back by reframing or transforming that word into something of your own. By adding your own twist to it, like I did with "Psychoco," you reinterpret the label and take control over it. It’s no longer something hurtful; it becomes something meaningful or empowering to you. That’s exactly how I interpret the name of my film, “Psychoco”. It’s about reclaiming the narrative and turning negativity into strength.
Please tell us about your favorite filmmakers.
My favorite directors are Tim Burton and Ari Aster. Tim Burton, in particular, has been a huge inspiration for me since I was very young. I grew up watching his films, and I think you can see subtle influences of his whimsical, immersive worlds in my work. I’ve always admired the way he builds such unique and imaginative settings that completely draw you into the story. His ability to create these enchanting, otherworldly environments has had a lasting impact on me as a filmmaker.
Ari Aster is more of a recent favorite, and I deeply admire his storytelling and directing style. His films have a way of making you feel profoundly uneasy, often without relying on gore or traditional horror tropes. His directing skills are, in my opinion, exceptional. I’m particularly inspired by how he captures raw, human emotions and pain in such a relatable and honest way. “Midsommar”, for instance, stood out to me because of its bold use of light. Unlike most horror films that rely on darkness, he used bright daylight to create an unsettling atmosphere, which I thought was absolutely genius.
Both directors inspire me in different ways—Tim Burton for his whimsical world-building and Ari Aster for his raw emotional depth and innovative storytelling.
If you were given a good budget, what would be your ideal project?
If I were to have a big budget for a film one day, I would love to explore characters who have suffered deeply in life and their journey toward finding happiness. While I don’t have a specific story in mind yet, I know the film would be set in a magical, whimsical world. With a larger budget, I’d have the opportunity to bring that world to life in a way that feels immersive and tactile—a place where the audience could feel safe, a world they’d want to live in.
I’d want to create a world that feels the way the world felt to me as a child—vivid, imaginative, and boundless. Growing up, I had such a broad imagination, and I’d love to design a place where my younger self would have wanted to stay forever.
The story itself might even be inspired by my own experiences—perhaps about what it’s like to have a dream and face disbelief from others, but still push forward because you believe in yourself. I think I would also include a story inspired by my grandmother, who I love and respect deeply. She’s an incredible woman, but after a stroke, she’s now unable to speak or move half of her body. There’s one moment that has stayed with me, and I think it could become the heart of a story.
When her best friend saw her for the first time after the stroke, despite the difficult situation, her friend tried to lift her spirits in such a beautiful way. She told my grandmother not to worry, that one day they’d go dancing together again, and even joked about some handsome men she’d seen at the hospital. That moment moved me so much—it was a profound mix of love, hope, and humor in the face of adversity.
I’d love to build a story around that scene or incorporate it into a larger narrative. It wouldn’t just be about the challenges my grandmother faced but also about the strength of relationships, the small moments of joy, and the resilience of the human spirit. It might even be a musical, which would add another layer of emotional expression and joy.
While the details of the story aren’t fully clear yet, I know it would be deeply personal, magical, and uplifting—a celebration of resilience, imagination, and the power of believing in your dreams.
Describe how you would ensure that production is on schedule. What steps would you take?
To ensure that production stays on schedule, I don’t think it’s overly complicated, but it does require dedication and organization. It’s important for on the team to be committed, punctual, and serious about their work, while also fostering an environment where people can enjoy the process. Having a strong production team and a great first assistant director (AD) is essential to ensure everything runs smoothly.
Attention to detail is also critical. For me, it’s about being a bit of a perfectionist and not overlooking the small things, like confirming locations, making sure all documents are signed, and ensuring that every step of the process is accounted for. Personally, I always double-check everything—whether it’s an event I’m organizing or a film I’m producing. I’ve learned from experience that assuming everything is fine after just asking once can lead to problems.
For example, when I was 16 and shooting one of my films, we had an issue where one of my teammates forgot to notify the owner of a location that we weren’t shooting on a specific day as originally planned. Even though I had communicated that change to my first AD, it wasn’t relayed to the owner. It ultimately fell on me as the director because it was my responsibility to ensure everything was properly managed. I even found the message where I had informed my teammate, but the lesson I took from that experience was to always follow up multiple times to avoid miscommunication.
Now, I make it a habit to confirm everything—sometimes five or ten times—just to be absolutely sure that all plans are clear and there’s no confusion. It’s a simple practice, but it has made a huge difference in how I manage productions and ensure everything stays on track.
What was the hardest part of making ‘Psychoco’.
I think the hardest part of the production was managing it with a very small budget while being just 17 or 18 years old and still in high school. Balancing school and the film production was incredibly stressful—I even had to skip a few classes. Since I was managing everything on my own, there were naturally moments where things went wrong.
Looking back, I’m not embarrassed to say that I made mistakes; in fact, I’m proud to acknowledge them because they taught me so much. I’m not going to pretend that everything went smoothly—it was my first bigger film, and mistakes were part of the learning process.
One of the biggest challenges I faced was learning how to stand my ground. Being young, some people didn’t take me seriously at first, and I had to find the confidence to assert myself. If I didn’t like something or the way someone spoke to me, I learned to address it politely but firmly. This was especially important for me as a young woman, as I realized how crucial it is to establish boundaries and stand up for myself, whether on set or elsewhere.
Overall, the hardest part was balancing the demands of school and production while navigating these challenges. But those experiences helped me grow, both as a filmmaker and as a person.
If possible, tell us about your next work. What plans do you have for your future work?
I don’t have a very clear story in mind for my future work just yet, but I do have several ideas that I’d love to develop further. Right now, my main focus is to continue my education and get my master’s degree, either in the UK or the US. I’m currently looking for a scholarship to help cover the tuition fees, as studying abroad can be very expensive.
My goal is to expand my knowledge, gain more experience working on big sets, and ultimately become a director. I want my films to reach broader audiences, to share my stories, and to connect with people through the messages I convey in my work.
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