What is the best thing that I love about my work?

I love the freedom. The possibility to speak about something intimate through the screen, to show beauty, to transmit feelings and atmosphere, and to make someone pause and think about life.

What is my idea of happiness?

Happiness, for me, is not a constant state. It appears in moments. I felt it when my documentary films were shown for the first time, and the audience stood up, applauding. When people came to me and said that my films made them dream, forget, or remember – and feel something again.

What is my greatest fear?

My greatest fear is losing sensitivity – when things are no longer felt, only understood. For me, creation begins in perception. As long as something can still be felt deeply, it can still become something else.

What is the trait that I most deplore in myself?

A tendency toward being too correct. I often hold myself to an ideal, in life and in work. Sometimes this gives structure, but sometimes it makes real life more difficult.

Which living persons in my profession do I most admire?

I am drawn to directors, conductors, and actors – people who work with time, emotion, and presence. My background is in music. I studied conducting, played piano and bandura, sang in a professional choir, and worked with a bandura ensemble. I have always been inspired by composers such as Beethoven, Rachmaninoff, and Tchaikovsky. Among contemporary conductors, Teodor Currentzis is very important to me. In cinema, I am close to auteurs: Andrei Tarkovsky, Ingmar Bergman, Sergei Parajanov, Kira Muratova, Pier Paolo Pasolini, Jean-Luc Godard, Leos Carax, Francois Ozon, and Peter Greenaway.

What is the thing that I dislike the most in my work?

The pressure to move too fast. Some works need silence, time, and distance before they can reveal their real form. I dislike when the world demands speed from something that needs depth.

When and where was I the happiest, in my work?

I felt it during the first screening of my documentary films, when the audience stood up and applauded. And again, when I was filming an orchestra. It was the moment I realized that I could create cinema through music. My closeness to it became part of the language – and shaped the way I see and build images.

If I could, what would I change about myself?

My tendency toward perfection. I often try to make everything ideal – in life and in my work – and sometimes it makes real life more difficult.

What is my greatest achievement in work?

My greatest achievement is creating my own artistic language and continuing to build it as a system. Inner Frame Vision is not only a project for me. It is a way of thinking through image, text, movement, silence, and space.

Where would I most like to live?

I would like to live somewhere where there is light, space, and the possibility of silence. A place where I can continue to create without losing the inner rhythm of the work.

What is my most treasured possession?

My archive. Texts, images, video fragments, drafts, memories, and unfinished ideas – everything that can later become part of a book, film, installation, or another form.

What is my most marked characteristic?

Sensitivity to atmosphere. I notice light, silence, pauses, faces, fragments, and emotional shifts. These details often become the beginning of a work.

What is my most inspirational location, in my city?

I have several places. Right now, it is my creative studio – the place where I can collect fragments, images, texts, and projects into one inner space.

What is my favorite place to eat and drink, in my city?

Fruits and tea. I try to drink less coffee, though it does not always work.

What books influenced my life and how?

It is difficult to name specific books. My life was built around reading. Libraries were a constant part of it. Music school, then the library. Later – museums, exhibitions, galleries, and again the library, in different sections: literature, music, history, architecture, culture, theatre, and spirituality. I was drawn to the lives of composers and to the inner worlds behind creation. It was not one book, but an environment that shaped how I see and feel.

You Only Die Once. What music would I listen to on my last day?

Probably something connected to silence, voice, and memory. Music has always been part of my inner world, so I would not choose it as decoration. I would choose something that allows the soul to breathe.

Who is my hero or heroine in fiction?

I do not have one fixed fictional heroine. I am more interested in characters who carry inner freedom, fragility, imagination, and the ability to remain themselves inside difficult circumstances.

Who are my heroes and heroines in real life?

People who continue to create, love, and remain human despite everything. Those who do not lose sensitivity, dignity, and inner light.

Which movie would I recommend to see once in a lifetime?
Arizona Dream
Mirror
Persona
The Cook, the Thief, His Wife & Her Lover
Holy Motors
Orchestra Rehearsal
These films create a space where reality and imagination dissolve into each other.

What role play stories in my life and work?

Stories are not only narratives for me. They are a way to preserve memory, transform experience, and give form to feelings that cannot always be explained directly. Sometimes a story begins as an image, a silence, a place, or a person who remains inside the work.

What do the words ‘You are the storyteller of your own life’ mean to me?

For me, it does not mean controlling everything. It means being responsible for the meaning we give to what we have lived. Life gives fragments. The artist tries to understand their form.

Who is my greatest fan, sponsor, partner in crime?

The people who believe in the work before it becomes visible. Those who feel the direction before it is fully explained.

Which people or companies would I like to work with?

I would like to work with museums, film festivals, cultural foundations, archives, universities, and institutions that understand cinema, visual art, literature, and hybrid media as one living field. I am especially interested in collaborations where image, space, text, sound, and contemplation can exist together.

What project am I looking forward to work on?

I am working on Inner Frame Vision. It is not only a project, but an independent artistic movement in visual art, cinema, and hybrid forms. At its core is the idea of the inner frame – not as a border, but as a threshold. A point of entry into a visual and emotional space where the viewer does not just look, but exists inside the work. The image becomes the beginning of everything. From a still frame, the work may unfold into film, text, or movement. It is a system where cinema, photography, writing, sound, and silence form one continuous structure. The focus is not on consumption, but on contemplation. The work continues beyond the frame – in perception.

Where can you see me or my work?
My work can be seen on the Inner Frame Vision website:
https://www.ifvision.art
Manifestos and publications:
https://www.ifvision.art/press-publications

Related lines include L’atelier des reves, Esquisse d’un livre, and A Cinematic Life: The Diaries That Were Not Burned.

What do the words ‘Passion Never Retires’ mean to me?

For me, passion does not retire because it is not only energy. It changes form. It becomes quieter, deeper, more precise. Sometimes it becomes a book, sometimes a film, sometimes an image, and sometimes only a state that later finds its form.

Which creative professionals should Peter invite to tell their story?

Artists, filmmakers, musicians, writers, performers, and visual thinkers whose work comes from an inner necessity rather than from trends. People who have something real to say through their creative path.

How can you contact me?
Website: https://www.ifvision.art
Inner Frame Vision publications: https://www.ifvision.art/press-publications