Since its inception in 1994, the Austin Film Festival has been dedicated to honoring the art and skill of screenwriting as the core of storytelling. Writers not only construct the worlds we immerse ourselves in but also sculpt the characters we adore and unveil unexpected plot twists, yet frequently remain overlooked by the broader industry. AFF is committed to bringing attention to emerging talent.
The Austin Film Festival, in collaboration with MovieMaker, is delighted to present the 2024 Screenwriters to Watch list. These rising stars have exhibited prowess through AFF’s Script & Film Competitions, Writers Conference, and/or Film Festival, joining the ranks of previous honorees like Tracy Oliver, VJ Boyd, and Glen Powell. They are the imaginative minds behind your next favorite feature film or binge-worthy TV series.
Read MovieMaker’s article here, or click on the screenwriter below to read all their answers to our interview.
AFF’s 2024 Screenwriters to watch
Adeline Colangelo
Film or Script Selected:
The Break-Up Nurse
Year Selected: 2012
Bio(s):
Adeline Colangelo is currently a staff writer onThe Loud Houseon Nickelodeon and was previously aStory Editor on Nickelodeon’s Daytime Emmy Award-winning animated series,The Casagrandes. Before that, she was Story Editor for Nickelodeon’sMiddle School Moguls, and a staff writer on Amazon Studios’ award-winning animated seriesLittle Big Awesome. She has also written for WB’s Unikitty, DreamWorks’The Yard and Alien Dawnf or Nicktoons. Aside from animated TV, she writes live action comedy with heart, and has had feature scripts optioned by Garlin Pictures and Footprint Features.
Credit Line(s)
Story Editor, The Casagrandes, Middle School Moguls, WriterLoud House
Socials
Instagram: @colangea
How did you get your break or start in screenwriting?
After film school I had been an assistant at a few companies, namely Miramax, MTV. I was constantly writing and taking screenwriting classes. I passed one of my features to a friend who was a development assistant at a film company, and they ended up optioning it. Around that time I also wrote a comedy pilot and after a year of giving it to contacts at MTV, I was hired to write on a preschool show.
What was a major turning point in your career?
When I moved to Los Angeles and shortly after won the Enderby Entertainment Award at AFF. Also signing with my agent at Culture Creative.
What are you working on right now?
I’m working on a feature comedy script about a woman who is struggling to find friends in time for her 40th b-day. I’m also developing a show for Cloud Co Entertainment, and Nickelodeon.
What are some of the biggest lessons you have learned?
Foster relationships while you’re young and meeting lots of people-they might end up creating the foundation of your career. Surround yourself with smarter, people who are talented and driven–they willelevate your work. Starting out, take any writing work you can get. It’s the only way to stay afloat in a tough business.Write from a personal place, about something you care about-your voice is what is going to set you apart from the pack.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
Whatever I’m writing at the moment.
What are some of your favorite films?
Bridesmaids, Annie Hall, Rosemary’s Baby, Eternal Sunshine of a Spotless Mind
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Greta Gerwig and Noah Baumach, Charlie Kaufman, Nicole Holofcener, Phoebe Waller Bridge
Share a memorable experience from Austin Film Festival?
Winning the Enderby Award and bonding with new creative friends. We had the best time!
How have you been spending your time since being a part of Austin Film Festival?
Writing! I also got married and had two kids, so practicing my balancing act.
How has being part of the Austin Film Festival Community helped spark your story telling journey or career?
It gave me confidence during a challenging period in my career and got me exposure and my first meeting with an agent.
What are you looking forward to in 2024?
Finishing my latest script, and getting one of my projects produced.
Adeline Colangelo
Story Editor The Casagrandes, Middle School Mogul, Writer Loud House
Andrea Camacho McCracken & Nora Alameddin
Andrea Camacho McCracken & Nora Alameddin
Film or Script Selected:
In Wonderland
Year Selected:
2023
Bio(s):
Andrea Camacho McCracken is a first generation, Mexican-American writer and director, based in LA andArizona. Her work uses genre to reimagine underrepresented stories, exploring themes of identity, resilience, and the complexities of the American Dream. With a strong passion for breaking stereotypes and promoting inclusivity, Andrea is dedicated to bringing vibrant stories and diverse perspectives to the fore front of cinema. She strives to create thought-provoking narratives that authentically represent her community both behind and in front of the camera.Andrea earned an MFA in Directing from the AFI Conservatory and was selected as an AFI Awards AudiScholar. She has received numerous awards and recognitions for her work. She was awarded “BestFemale Director” at the Georgia Latino International Film Festival for her short film IN WONDERLAND in2023. Nora Alameddin is a Lebanese writer who graduated from the AFI Conservatory with an MFA inScreenwriting. She has worked as a Story Editor at Snapchat, in digital media on a political campaign, in post-production on a feature film at 20th Century Studios, as a Showrunner’s Assistant for Moonhaven atAMC Networks and most recently as a Writers’ and Showrunner’s Assistant for Walking Dead: Dead City.
Credit Line(s)
Camacho McCracken-Writer / Director In Wonderland; Alameddin- Co-writer In Wonderland
Socials
Instagram : Camacho McCracken @uhhndrea, Nora Alameddin @nora.alameddin
How did you get your break or start in screenwriting?
ANDREA: I never felt like a screenwriter until I attended the AFI Conservatory as a Directing Fellow.That’s where it all became clear. Listening to what my collaborators needed from me as a Director taught me the importance of “good writing” and the impact it can have on the creative process. Understanding your character on the page and what’s driving them in every scene, their needs, and obstacles, not only fuels your actors’ performances but also influences where the camera goes, and what colors and textures your production designer will be inspired by. I know we’ve all heard it before, but really, the script is everything. I had written a few short screenplays before pursuing my MFA, but never with the confidence that AFI gave me to shape the story on the page with “character” always at the forefront.
NORA: I have always enjoyed writing recreationally but thought I would be a journalist, so I decided to pursue that in my undergrad. My minor was in theatre, and taking a playwriting class made me realize how much more creatively I wanted to venture out in my work. Post-grad I did a summer screen writing program at NYU, then jumped right into getting a Screenwriting Certificate at the UCLA ProfessionalProgram. Three feature scripts later, and I was hooked. I applied to graduate school and got into my top choice, the American Film Institute. I met incredible friends, wrote a LOT, and worked with amazing collaborators (like my director and co-writer Andrea, along with the whole In Wonderland team). Ever since then, my life has been full of non-stop writing and never ending storytelling!
What was a major turning point in your career?
ANDREA: I spent several years working in video production in Arizona before teaching film classes at Arizona State University. Working with young filmmakers and revisiting films alongside them reignited my passion for film, reminding me how much I missed its collaborative and hands-on nature. In 2020, I applied to a school I had always dreamed of attending. By August, I moved to Los Angeles to begin my MFA in Directing at the AFI Conservatory, an experience that completely transformed my life and career.
NORA: I would say that getting my first job as a Showrunner’s Assistant in a writers’ room truly felt like a massive step forward in my burgeoning career as a young writer. I was so excited to be a part of an incredibly creative and alive space on Moonhaven, along with having a kind boss who allowed me to listen, learn and even contribute ideas. It was an invaluable experience that allowed me to take my understanding of the craft of screenwriting to the next level. I felt more prepared for my next job, and hopefully as a future working writer.
What are you working on right now?
ANDREA: Since graduating and celebrating the completion of our short film, In Wonderland, I’ve been developing two features. One is the feature-length version of In Wonderland, and the second is a horror feature, Pueblo Viejo, a story based on the Mexican rural town where my father is from. It’s been a difficult process, and a vulnerable story to tell, but I’m excited to use genre as a way of telling a story about the monsters that cling to us regardless of how far we run.
NORA: I am working on a one hour TV drama about a young Arab-American veteran suffering from PTSD, who comes back home from war trying to find peace but instead loses himself in a found family that is much more sinister.
What are some of the biggest lessons you have learned?
ANDREA: Active vs Passive. I used to write passive characters and always struggled with carrying momentum into Act II. Earlier in my career, I recall actors asking me about their scene objectives. I always struggled to provide a clear answer because my characters weren’t ACTIVELY pursuing anything on paper. The biggest lesson: your character has to want something. Even if it’s nothing, they must be actively pursuing that “nothing”, or else, what’s the point?
NORA: I think some of the biggest lessons I learned was from my time at AFI. Part of our curriculum was to collaborate with our classmates on three short films during our first year, meaning we had to work intensively with people we didn’t know, while a lot of us had never even been on a film set before. It was like diving headfirst into the deep end, in the best way possible. I learned to be open to new ideas, from anyone on the team, to take all notes to heart, but only apply the ones that helped me tell a much stronger story. During our many screenwriting workshops, my incredible professors helped me understand the dynamics of a TV writers’ room, taught me how to do a page one rewrite, and most of all to always keep the beating heart of my script alive and well. I also learned that to be a storyteller is to be a listener first and foremost.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
ANDREA: Writing short films is challenging. Honestly, each short film I’ve written has been the most difficult. We draw inspiration from full-length films and learn structure from them. While there are endless possibilities, ideas, and characters you might want to pack into a film, a short film is limited by time. Remember, CHARACTER IS EVERYTHING. You must be precise, or else you risk your audience not connecting with your story quickly enough. A film professor once told me that a solid short film centers around “a moment in time that will change the life of your character forever.” This advice cracked it for me. With short films, less is more.
NORA: I would say that the hardest project I had to work on was my first short film at AFI, which was the writers’ leading with their stories. This was in 2020, and our conservatory was navigating operating with first year students who were mostly online and masked due to COVID. As writers, we were given a lot of red tape and restrictions before we began writing, from the number of people that could be in our short, to limited dialogue and a hard time limit. We were also complete strangers to one another, and teaming was fully based upon first instinct. On top of that, a film that was supposed to take around 3 months to come to fruition ended up taking 6 months, due to being pushed because of COVID restrictions. We lost our lead actress, and had to reset many times. I learned to navigate this by always having an open line of communication with my whole team, from day one. We talked through everything and got to know one another even better, both personally and professionally, through the extensive delays. I made sure to include them in my story decision-making, and wanted everyone to feel like it was their story as well. In terms of the crafting of the short, I knew I had to keep the concept tight and clear, while also playing with genre elements that were achievable and easy to understand. I found that all of these limitations actually ended up inspiring me and pushing me more creatively, while forcing me to dig deeper and tell a story that was more meaningful to me. Looking back on this experience, I consider those team members some of my favorite collaborators, and that process one of my proudest achievements.
What are some of your favorite films?
ANDREA: The films I could rewatch endlessly; Eternal Sunshine of the Spotless Mind, Her, Do The Right Thing, and The Sixth Sense. A little bit of everything, but all revolutionary.
NORA: My favorite films are The Shining, Coraline, Nightcrawler, Happy Feet and My Big Fat Greek Wedding.
Who are some of your favorite screenwriters? Who do you look to for inspiration?
ANDREA: Hands down, the GOAT is Charlie Kaufman. The way he perceives the world and constructs stories is mesmerizing. I’ve never seen films dig as deeply into the crevices of our scariest insecurities and fears as his do. It’s truly out of this world. Then there’s Jordan Peele. He’s pushing boundaries and taking the risks I aspire to take as a storyteller. Also, movie nerds are the best – his heart is in everything he does. I admire that.
NORA: My favorite screenwriters are Nora Ephron, Aaron Sorkin, Greta Gerwig, Charlie Kaufman and Sofia Coppola.
Share a memorable experience from Austin Film Festival?
ANDREA: I was obsessed with Damon Lindelof’s Q&A seminars. I honestly attended all of them. Watchmen was perfection, and I haven’t gushed over a show like that in a long time. Being in the same room with an incredible mind like his and listening to his writing tips was invaluable. It also demystified the process to hear him say, “Trust your story. It will reveal itself when you’ve established strong characters and a world.” Character is key, always, even for Damon Lindelof.
NORA: I unfortunately could not attend Austin Film Festival in person, and I was representing our film at AFI Fest, which happened to be during the same weekend!
How have you been spending your time since being a part of Austin Film Festival?
ANDREA: After AFF, we continued to share our film, In Wonderland, at various prestigious festivals around the country. It’s truly been an honor to share the work not only with communities that are familiar with the topic the film explores, but also with those that are not. Receiving emotional responses from a wide audience is a big win for me. It encourages me to continue pushing forward with the topics I’m curious about exploring, keeping my chin up, as I work towards the next thing.
NORA: Apart from working on my own individual stories, I have been co-writing several projects with friends, and bringing our crazy and fun ideas to life in a collaborative space using the tools I’ve learned so far. I’m also part of a wonderful writers group, where we all share our work every few weeks and keep one another accountable and encouraged to keep pushing forward.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
ANDREA: Attending the AFF was not only incredible from an educational perspective but also the opportunity to meet like-minded filmmakers and foster these relationships has truly shown me the kindness and generosity of the local film community. It’s an honor to be a part of the AFF family, and I look forward to attending again soon.
NORA: Having the privilege to be a part of the AFF community is priceless, and has been such an incredible honor. It has lit a warm and exciting spark in my storytelling by giving me a home among even more really exceptional filmmakers whose unique voices inspire me deeply. Their stories and perspectives have motivated me to reach for the stars, and never give up.
What are you looking forward to in 2024?
ANDREA: I’m looking forward to spending my time writing and preparing for the next project to direct. I’m also applying for fellowships and hoping to secure financing for my feature once it’s in a solid place.
NORA: I am looking forward to creating many more stories, both features and TV pilots, along with hopefully being staffed in a writers’ room (fingers crossed!!)
Any news with your project or career you would like to share? Include links so we can help spread the news.
ANDREA: No “new” news yet, apart from working diligently to finish my first feature by 2025.
NORA: I don’t have anything new to share yet, but when something comes up I’ll make sure to post it on my instagram @nora.alameddin
Andrea Camacho McCracken & Nora Alameddin
Camacho McCracken Writer/ Director In Wonderland; Alameddin Co-Writer In Wonderland
Anna Baumgarten
Anna Baumgarten
Film or ScriptSelected:
Disfluency
Year Selected
2021
Bio(s):
Anna hails from the Michigan mitten and is a Los Angeles-based writer, director, and TV Development Consultant. She strives to tell heartbreaking and heartwarming coming-of-age stories. Her debut feature film Disfluency won the Jury Prize at the Austin Film Festival, eight other regional festivals, and was a selection of the 10th US in Progress Wroclaw and the Short to Feature Lab. She is a proud member of Film Fatales, Women In Film, and Film Independent. Anna is an alumna of the University of Michigan.
Credit Line(s)
Writer/Director for Disfluency
Socials
Instagram: @annabellabaum
How did you get your break or start in screenwriting?
I’ve been writing plays in my backyard since forever, corralling any neighborhood kid that would hold a script. I studied screenwriting at the University of Michigan–where I fell in love with directing too–and I’vebeen living in LA, working in TV Development, and writing ever since.
What was a major turning point in your career?
Being paid for the first time to write scripts for a WB animated series (my episodes ended up being unreleased). Being selected as a fellow for the Short to Feature Lab was pivotal, and, of course, winningBest Narrative Film at AFF was pretty unreal. Leaving my work in TV development last year to commit full-time to writing and directing was the cliff I’m glad I jumped off.
What are you working on right now?
I’m working on the theatrical/digital release of Disfluency in August and our college tour this Spring. We’re visiting 20+ schools in April in honor of Sexual Assault Awareness Month. I’m also working on my next feature, Laundry World
What are some of the biggest lessons you have learned?
You aren’t compatible to write or work with everyone, and that’s okay. You’ll find your people. If you don’t fix it in the script, it will just become a lingering problem in production…and post. Patience isn’t just avirtue, it’s a necessity.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
We were a finalist in the Duplass Brothers’ Hometown Heroes competition, and their company asked to read a draft of Disfluency–which was in outline form at the time–and I said,“sure!” I wrote the first draft intwo days. How did I navigate it? Caffeine and delusion. We didn’t win, but damn was I grateful to have that first vomit draft out of the way, no matter how bananas those two days were. Nine months later, we shot the movie
What are some of your favorite films?
Kiki’s Delivery Service, Big Fish
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Spike Jonze, Sera Gamble, and everything Studio Ghibli
Share a memorable experience from Austin FilmFestival?
Connecting with writers and filmmakers from around the country is always my favorite part of any festival.At our AFF premiere we had cast, crew, and my brother and sister in town. When we won the Jury Award,we didn’t have time (or Uber money) to take that beefy and beautiful trophy back to our Airbnb, so we all collectively carried it from bar to bar. It was silly and sweet.
How have you been spending your time since being a part of Austin Film Festival?
Traveling on the festival circuit with Disfluency, embroidering, spending time with my new nephews, soaking up the Michigan summer sun, and attending the Eastern Oregon Filmmakers Residency.
How has being part of the Austin Film Festival Community helped spark your story telling journey or career?
AFF has given me a lot of confidence. It’s one of the first times I’ve felt seen professionally as a writer and filmmaker. As a screenwriter, it’s a great circle of creatives to be in.
What are you looking forward to in 2024?
ReleasingDisfluency, finding the right fit for representation, and getting my next feature off the ground. One of my creative partners, Laura Holliday, and I are partnered with Adobe and NFFTY on a music videoand short film too, so I’m also looking forward to knocking some fun, creative energy loose!
Any news with your project or career you would like to share?
Disfluency is out this August! Watch out for press soon *finger guns.* Follow us for updates IG@disfluencymovie @annabellabaum and https://www.disfluencymovie.com
Anna Baumgarten
Writer/Producer Disfluency
Stevie Wain
António Sequeira
Film or Script Selected:
Autumn
Year Selected:
2023
Bio(s):
ANTONIO SEQUEIRA is an award-winning writer/director whose films have participated in a number of high-profile Academy Award and BAFTA Qualifying festivals. Autumn was his debut feature film based on a script that was developed with the aid of the Torino Film Lab. As a work-in-progress, the film was selected to the “Goes to Cannes” section of the Marché du Film in the Cannes Festival, and eventually had its world premiere at the Austin Film Festival, winning the prestigious Audience Award. At the end of 2023, Autumn opened nationwide in theaters in Portugal, having had so far over 700 screenings, and being critically and commercially successful. Also, in addition to completing his next screenplay, Angel Boy, Antonio directed the limited series Instaverse for Portuguese broadcaster, RTP. Antonio is a graduate of the London Film School with an MA in Filmmaking and a member of BAFTA.
Credit Line(s)
Writer/Director: Autumn, Angel Boy, Instaverse
Socials
Instagram: @tony.director
How did you get your break or start in screenwriting?
My screenwriting odyssey traces back to the days when I would make-up intricate stories with my army of action figures to fall asleep. Because who needs a bedtime story when you can write your own? The earliest “script” came when I was about eight years old. I remember watching Finding Nemo on our family’s first-bought DVD (which yes, had a Making-Of special feature that inspired me). Afterwards, I basically copied the whole story, while changing a few details, to make it “my own”. For example, mine was called In Search of Bady, there were whales instead of clownfish, and the roles were inverted, as it was the son in search of the father. Super unique, I know… But hey, I guess that’s what screenwriting is… With time, I have managed to write stories whose inspirations are a touch more refined and subtle. I promise…
What was a major turning point in your career?
It’s hard to understand whether a life event is life-changing while you’re still in it, but definitely a gigantic turning point in my career was releasing my first feature Autumn, having it screened in Cannes, in Austin (and winning the Audience Award), and then in cinemas for regular audiences to watch. On a personal level, the fact that it was so beloved by the people was touching and heartwarming, to say the least. But career-wise, it has also helped, and hopefully will continue helping, with getting me to a second feature, which is the main goal right now.
What are you working on right now?
As a director, I’m developing right now a couple of projects that could potentially be my second feature, through international co-productions. As a screenwriter, on a high-budget level, I’ve written Angel Boy with Anastasiia Vorotniuk, which I can’t say much about, except that it’s a “coming-of-age with wings” that will warm up people’s hearts.
What are some of the biggest lessons you have learned?
There are million lessons I have learned but for the sake of the Gen-Z attention span, I’ll keep it to an important one: Get out of the computer, before writing. And go outside. Live life. Watch people. Observe behaviors. Soak it all in. For a long time when I was young, I would be writing every day, but I didn’t have enough life experience to write anything that mattered. My stories were dull and unoriginal. So, don’t rush. Life is a marathon. Take the time to soak it all in and then put that into your story. They will be more interesting because of that… And since all Gen-Z’ers have already stopped reading by the sheer size of this paragraph, I will share another lesson: Make it personal. I know you’ve heard it a million times, but it really does make the difference. I wrote a feature that was incredibly personal and yet so many random people emailed me later (who am I kidding, no one emails anymore, they DM’ed me) saying “This is my story! Thank you so much for telling it”… I guess, we aren’t as different as we think…
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
Not to sound cocky, but once I start writing, the problems tend to be minimal. It’s always about rewriting and refining it… For me, the hardest part is starting to write. I spend so much time thinking about the potential of the story and the characters that I tend to be afraid (and maybe I’m not the only one) to mess it up by writing it… So, I’m just using this opportunity to tell myself to stop procrastinating by answering this questionnaire and go write that script. It’s annoying, I know, but it seems that Nike was right: “Just do it!”
What are some of your favorite films?
The Apartment, Singing in the Rain, Licorice Pizza, Boy, Good Will Hunting, Dazed & Confused, The King of Comedy, etc.
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Richard Linklater, Noah Baumbach, Charlie Kaufman, Taika Waititi, Billy Wilder, Martin McDonagh
Share a memorable experience from Austin Film Festival?
I have a lot of memorable experiences at the AFF, but without a doubt, one that will stay with me for a while is the memory of watching the public’s reaction to the film on the first screening. I remember we were all nervous, because we knew most movies were in English, which makes sense for an American audience. Yet, we had a Portuguese film, heavy on dialogue, subtitled from A to Z, with some very culturally-specific jokes and attitudes. And so we were very concerned it wouldn’t “translate”, and the people would just be silent throughout, or maybe even politely leave. But that wasn’t the case at all. From the very first moments, people were engaged, laughing and even being sincerely touched by some scenes. I remember looking at the cast and producers near me and we all shared this unspoken beautiful moment, hearing people’s reactions. In the end, you could see by their questions and comments, that the movie really moved them in a strong way. And that feeling/memory will stay with me for a long time.
How have you been spending your time since being a part of Austin Film Festival?
I haven’t had much time to be honest, since after the festival we had a nationwide theatrical release of the film. So I’ve been pretty busy with that. Also, working with the producers to make sure that we get theatrical distribution in the US, UK and France for the film. And also, finalising my procrastination phase and starting to write the following scripts.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
The Austin Film Festival is like Disneyland for writers. Meeting so many like-minded people is very inspiring, and people pitch you their stories, while you’re on a lift, for example. Sometimes that can be annoying, unless it’s a really good story… Winning the Audience Award also meant we got a lot of great press for our film, which is always awesome.
What are you looking forward to in 2024?
Writing that Second Feature, baby!! And some other equally cool projects.
Any news with your project or career you would like to share? Include links so we can help spread the news.
Well, watch the link to our trailer below (don’t forget to turn on subtitles), and help us get some theatrical distribution in the US, if you can 🙂
António Sequeira
Writer/Director Autumn, Angel Boy, Instaverse
Chikodili Agwuna
Film or Script Selected:
AFF Panelist
Year Selected:
2023
Bio(s):
Chikodili “Chik” Agwuna is a writer and comedian from Maryland. Between earning a BFA from Penn State and an MFA from Loyola Marymount University, she worked in home repair, literary publishing, and spent a year substitute teaching. She has worked in writers rooms as support staff on Criminal Minds, BoJack Horseman, Tuca & Bertie, A League of Their Own, Bust Down, and Swarm. Chik has spent many a $5 bill on various open mics around Los Angeles, in pursuit of the perfect tight five. She has written two episodes of Adult Swim’s Tuca & Bertie and is currently a Story Editor on Criminal Minds: Evolution.
Credit Line(s)
Writer on Criminal Minds and Tuca & Bertie
Socials
How did you get your break or start in screenwriting?
I was on the novel writing track in undergrad and everyone always commented on how cinematic my stories were. I already loved movies and television and truthfully did not want to write a novel, so I started reimagining my stories as screenplays and then went to grad school to get more skills.
What was a major turning point in your career?
Co-writing with Shauna McGarry on season 2 of Tuca & Bertie. I used to worry that when the opportunity came, I wouldn’t be able to write an episode with a deadline. But doing that while being Showrunner’s Assistant, Writers Assistant, Script Coordinator, and taking notes in voice records showed me that when it comes to writing, I’ll always find a way. It also helped that Shauna is such an amazing writer and I wanted to make sure my writing wasn’t diluting her talent.
What are you working on right now?
While the Criminal Minds room is on hiatus, I’m working on a couple of short films. One with my sister, and another one that’s just for me.
What are some of the biggest lessons you have learned?
I don’t have to be unhealthy to create. When I started writing in general, so much of my best work came from a deep depression. For a while I rejected the idea of therapy because I was afraid if I got healthy, I’d lose what made me a good writer and comedian. But therapy actually helped me tap into those feelings more easily and my writing and standup is better for it.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
“Fledging Day” (Tuca & Bertie, S3 Episode 8). I was dealing with a lot of Mommy Issues™ and the episode is all about moms and all the content I would watch to take a break from writing also happened to be about moms. I thought I was gonna lose my mind. To get through it, I relied on the room as we developed the storyline helped a lot. I also leaned into the comedy bits, and when it got to the deeper moments, I really put myself in Bertie’s shoes and found a balance between my wishes for my relationship with my mum and a more realistic version of that.
What are some of your favorite films?
Pride & Prejudice (2005), Heavenly Creatures, The Favourite, Parasite, Legally Blonde, Nope, Ocean’s Eleven
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Amy Aniobi, Tony McNamara, Bong Joon-ho
Share a memorable experience from Austin Film Festival?
I really loved going to all the shorts screenings but especially the horror shorts because I don’t typically like horror but in short form it was more manageable for a scaredy cat like me.
How have you been spending your time since being a part of Austin Film Festival?
I traveled a lot with my family, wrapped Season 17 of Criminal Minds, and worked on a couple of shorts.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
I really expanded my network of fellow writers. Everyone was so talented and meeting other writers is always inherently inspiring. I’ve also gotten the opportunity to mentor and advocate for some of the filmmakers I met and that has been very rewarding.
What are you looking forward to in 2024?
My sister’s directing an opera in August that I’m so excited to see. She’s such a fascinating director and seeing her shows always inspires my writing.
Chikodili Agwuna
Writer/Director Criminal Minds and Tuca & Bertie
Chris Hicks
Chris Hicks
Film or Script Selected:
Heck
Year Selected:
2019
Bio(s):
Chris is a horror author and screenwriter. His short story “I Am Not Alone” set the short story auction record when it was purchased by Netflix in March of 2023. Misha Greene, Jessica Chastain, & Simon Kinberg are attached. His short story “All You Can Eat” is currently in development by Wonder Worldwide and Big Light Productions.
Credit Line(s)
Author of “I Am Not Alone”
Socials
Instagram: @writechriswrite
How did you get your break or start in screenwriting?
I signed with my manager after making the 2020 Bloodlist Fresh Blood Selects for my short script The Butter Street Hitchhiker. From there I continued writing short stories on Reddit’s NoSleep community, where the community voted my short story “My Sleep Paralysis Demon is Actually a Pretty Chill Guy” the Scariest Story of 2020. From there I wrote a short story called “I Am Not Alone” which was part of a bidding war during Oscar weekend of 2023.
What was a major turning point in your career?
My short story sale to Netflix.
What are you working on right now?
I have a few short stories in the works and I’m also working on a novelization of “I Am Not Alone”.
What are some of the biggest lessons you have learned?
- Scheduling time to write is easier than finding time to write. 2. Don’t worry if it’s bad. Bad and finished will always be better than perfect and unfinished. A bad script can be fixed. An unfinished one never leaves your draft folder.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
My AFF semifinalist script Heck. I wanted to do an adaptation of a public domain story, so I chose the Iliad and set it in Prohibition era Kentucky. I did a lot of research on prohibition and 1920s Kentucky focusing on the bootleg moonshine industry.
What are some of your favorite films?
Take Shelter, Talk to Me, The Lighthouse, Midsommar, Hereditary, The Witch, Mad Max Fury Road, O Brother, Where Art Thou?, Fear and Loathing in Las Vegas
Who are some of your favorite screenwriters? Who do you look to for inspiration?
- Robert Cargill, Robert Eggers, Ari Aster, Nick Antosca, Christy Hall, Joel and Ethan Coen
Share a memorable experience from Austin Film Festival?
At the 2019 festival, I had the chance to meet up with a group of screenwriters that I met through the Script Hive community. It was really cool to be able to meet everyone.
How have you been spending your time since being a part of Austin Film Festival?
Writing, editing, brainstorming ideas with my manager.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
Having a script advance in the Austin Film Festival Screenwriting Competition was one of the first goals I set for myself in my writing career. It was the first milestone and first validation that I could actually do this.
What are you looking forward to in 2024?
After last year’s strikes, I’m looking forward to the industry finding its new normal and people getting back to work.
Any news with your project or career you would like to share? Include links so we can help spread the news.
I had a one-on-one writer’s chat with C. Robert Cargill over at Coverfly: https://www.coverfly.com/success-tracker/chris-hicks-2/
Chris Hicks
Author of “I am Not Alone“
Colby Day
Name:
Colby Day
Film or Script Selected:
Lead/Follow
Year Selected:
2022
Bio(s):
Colby Day is the writer of the upcoming Netflix film Spaceman (Berlinale 2024), directed by Johan Renck (Chernobyl) starring Adam Sandler and Carey Mulligan. His original screenplay In The Blink Of An Eye was featured on The Black List before going into production for Searchlight Pictures, with Oscar winner Andrew Stanton (Wall-E) directing, and stars Kate McKinnon, Rashida Jones, and Daveed Diggs, with Day serving as executive producer. Colby wrote, directed, and produced the short film Lead/Follow (Austin Film Festival) and is currently working on his feature film debut as a writer/director. Prior to working in film he was the Artistic Development Director for Pipeline Theatre Company in New York. He prides himself on writing generous stories that trust their audiences.
Credit Line(s)
Writer Spaceman, In The Blink of an Eye
Socials
Instagram: @thecolbyday
How did you get your break or start in screenwriting?
I started out as a playwright in New York and got to write and produce a million things before I really got my work exposed to Hollywood, thankfully. I met my now manager when I came out to LA to make a short film with a friend. I sent him two scripts. One was a really lovely immersive theater piece that takes the audience on a tour through a woman’s memories, and the other was a movie called Giant Killer Slugs. Lionsgate optioned the slugs one.
What was a major turning point in your career?
After I had my script on The Black List I remember getting an offer from a producer who wanted to option the script. It was a passion project of mine and I asked if they could guarantee that they wouldn’t replace me as the writer and have it rewritten, and they wouldn’t promise that to me. My manager wisely told me I was allowed to say “No.” It’s incredibly difficult to say no, especially when you’re starting out, but also such a valuable skill, and it was a huge turning point for me when I started to think about why I make movies, what I care most about, and learned that I was allowed to stick to my guns.
What are you working on right now?
Right now I’m working on what will be my feature directorial debut — it’s about late night comedy, late stage capitalism, and why we even bother making art when it feels like the world is on fire. Also there’s a singing robot.
What are some of the biggest lessons you have learned?
There is no magic moment when everyone starts to do the work for you. The strongest advocate you have for yourself and your work is you. You can always say no. Always be extra nice to the assistants because they’ll be your boss eventually. Not everything has to be a zoom.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
Honestly if it’s proving to be really hard, it’s usually an indication to me that it might not be the right project for me. If it’s just a scene then it might not be the right scene. You can always skip the hard scene and come back to it. Learning that you can write a script out of order was one of those mind-altering truths that shook me to my core, and now it’s what I always do.
What are some of your favorite films?
Oh I change my top four on Letterboxd all the time because there are too many, but if I have to pick some that reflect the full gamut of my taste: All That Jazz, Interstellar, Mars Attacks, The Shining, Who Framed Roger Rabbit
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Some writers I really admire and who really inspire me are: Paul Thomas Anderson, Charlie Kaufman, David Lowery, Elaine May, Kelly Reichardt, Lana and Lilly Wachowski
Share a memorable experience from Austin Film Festival?
I remember walking out of the screening of my short Lead/Follow and being introduced to someone who had liked the short so much that she wrote my name on her hand to remember to look me up later. Turns out we had a million friends in common and now we’re buds!
How have you been spending your time since being a part of Austin Film Festival?
After I was at AFF my film In The Blink of an Eye went into production and I was able to be on set for the entirety which was a really magical experience. Now that’s in post and I’m working on the next one.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
I think getting to come be a part of a community that really celebrates the craft of writing is such a unique and invigorating experience — the whole festival feels like a shot in the arm reminding me of why it is we do what we do, and the power of the written word.
What are you looking forward to in 2024?
I’m looking forward to Spaceman (which I wrote!) hitting theaters and Netflix, and I just started in the writer’s room for a series I cannot name, which I’m really excited to get to be doing!
Any news with your project or career you would like to share? Include links so we can help spread the news.
I produced Emma D. Miller’s short documentary The School of Canine Massage which is going to have its world premiere at SXSW! https://schedule.sxsw.com/2024/films/2196779
Colby Day
Writer Spaceman, In the Blink of an Eye
Cristin Stephens
Cristin Stephens
Film or Script Selected:
Black Magic
Year Selected:
2023
Bio(s):
Cristin is a writer/director from Philadelphia. Her non-fiction films are intimate, often centering possibility within black stories, and her narrative work leans toward the off-kilter and darkly comedic. Generally speaking, her films are about Black people where you least expect them.
Her work has screened at SFFilm Festival, New Orleans Film Festival, Indie Memphis, the Metropolitan Museum of Art, and Shorts México, where she received a special jury mention for her film MEN WHO TALK. She is currently touring her recent short film, BLACK MAGIC, which was nominated for the Enderby Entertainment Award at the 2023 Austin Film Festival. She holds an MFA from UT Austin.
Credit Line(s)
Black Magic, Men Who Talk
Socials
Instagram: @cristinnoelle
How did you get your break or start in screenwriting?
I took classes with Tom Willett and Stuart Kelban during my MFA program, and they really taught me how to turn my goofy and loosely connected ideas into cohesive narratives.
What was a major turning point in your career?
Receiving my first filmmaking grant from Austin Film Society back in 2019 gave me the confidence to call myself a filmmaker. Screening at my first big film festival (thanks New Orleans) the year following gave me the courage to keep going in this unbelievably challenging industry.
What are you working on right now?
I am working on 3 very different short projects at the moment and developing two features. I’m also working on making money. If only these various goals could align…
What are some of the biggest lessons you have learned?
Run your own race! It’s a long one.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
I’m working on a historical drama based in Japan, and I’ve found that a co-writer can make a world of difference when writing characters outside of the bounds of my cultural understanding.
What are some of your favorite films?
Recent favorites (because I can never answer this question!) include Past Lives, Marte Um (Mars One), Tótem, A Thousand and One, Milisuthando and Inspector Ike.
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Janicza Bravo, Richard Linklater
Share a memorable experience from Austin Film Festival?
Aside from connecting with many talented screenwriters, the Texas shorts block was impressively curated and a lot of fun.
How have you been spending your time since being a part of Austin Film Festival?
I’ve been able to tour with Black Magic to a few different film festivals and have been able to spend more time with family and friends on the east coast.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
I was nominated for the Enderby Entertainment award, and the guys at Enderby are extremely kind and down to earth. They not only encouraged me to get my feature made but generously offered to be a resource, which felt like hitting the jackpot.
What are you looking forward to in 2024?
Wrapping two projects, traveling, watching Renaissance for the 4th time, and aunty-ing.
Any news with your project or career you would like to share? Include links so we can help spread the news.
Cristin Stephens
Writer/Director Black Magic, Director Men Who Talk
E'an Verdugo & Caleb Davis
E’an Verdugo and Caleb Davis
Film or Script Selected:
Restorage
Year Selected:
2023
Bio(s):
E’an Verdugo and Caleb Davis have crafted their friendship around laughter, creativity, and wacky ideas. They first met during their time collegiately at the University of North Texas. Both pursuing film degrees, they stumbled upon each other in a film class, creating a bond over their shared love of creating silly short films. They have since crafted a friendship and creative partnership spanning 10 years. E’an Verdugo has since become a writer/director pursuing heartfelt family dramedies, and fun coming of age comedies. Caleb Davis has grown into a producer of film and commercials. Together their voice is uniquely funny and heartfelt, both priding themselves on making their audience laugh hysterically while still staying true to the journey of the character. With strong collaboration, and a sense of humor, these two shine.
Credit Line(s)
Co-Writers Restorage
Socials
Instagram: E’an Verdugo @eanverdugo, Caleb Davis @calebkeithdavis
How did you get your break or start in screenwriting?
We started screenwriting because we felt the necessity to do so. We were in production first and foremost and felt that we had so many stories we wanted to tell and no one was going to write them for us. So, we jumped in ourselves!
What was a major turning point in your career?
We shot a short sketch comedy in a studio and the owner overheard us having a good time and essentially offered to fund our next project. That ended up being Restorage and it’s been a freaking wild ride.
What are you working on right now?
We are working on developing a few feature films together and developing Restorage into a full season of television.
What are some of the biggest lessons you have learned?
To be honest, to work as hard as you can to get the project done, but while doing it ALWAYS be kind to the people you’re bringing onto the project. We realized that if you don’t have fun and aren’t a kind person during the process, then it isn’t even worth. In short… don’t be a D**K.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
That biggest challenge was really learning how to collaborate well together while writing. We also really wanted to work hard to balance the tone of drama and comedy within Restorage. It was definitely the hardest part figuring out how to make the project dramatic without over playing it.
What are some of your favorite films?
Caleb: Vertigo, Brick, Ordinary People, Waiting for Guffman
E’an: BOY, Royal Tenenbaums, Eagle VS Shark, Little Miss Sunshine
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Caleb: Christopher Nolan, Greta Gerwig, Tarkovsky
E’an: Taika Waititi, Aaron Sorkin, Noah Baumbach
Share a memorable experience from Austin Film Festival?
Caleb: Having peers that I looked up to doing comedy films. They came to our screening and it was so inspiring. Meeting other filmmakers that were at the Festival!
E’an: Making friends lol. I had a blast meeting the other filmmakers that were in our block. ALSO! Caleb surviving after having a HORRIBLE car crash on the highway, haha. And speaking on a panel with Candace Ho and Neal Redy.
How have you been spending your time since being a part of Austin Film Festival?
We have been actively shooting short films, writing, and attending other film festivals! We had the honor of getting Restorage selected into Slamdance this year and Utah was a friggin blast.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
Connecting with other filmmakers that are our peers. Seeing other people on the same path, with the same struggles and victories feels encouraging. At Austin, it was clear everyone there LOVED stories and it reminded us of why we are doing what we are doing.
What are you looking forward to in 2024?
Getting Restorage off the ground and continuing to develop the story into a full season. We are really striving to get our first feature(s) developed this year!
Any news with your project or career you would like to share? Include links so we can help spread the news.
Restorage won the Grand Jury Award in the Episodes category at Slamdance 2024
E’an Verdugo & Caleb Davis
Co-Writers Restorage
Eduardo Espíndola
Eduardo Espíndola
Film or Script Selected:
Unfinished Business From Beyond
Year Selected:
2023
Bio(s):
Eduardo Espíndola is a multi-genre writer-producer born, raised and based in Mexico. His feature screenwriting debut —Unfinished Business From Beyond— made its global premiere at SITGES 2023. It was followed by its North American premiere at AFF and its Latin American premiere at Feratum Film Fest.
Credit Line(s)
Writer for Unfinished Business From Beyond
Socials
Twitter: @eddieespindola_
Instagram: @eddieespindola
How did you get your break or start in screenwriting?
I had an idea for a film that wouldn’t let me alone so I knew I had to write it. That script is yet to be produced but it gave me something to show for myself when I got the chance to be read by a couple of producers. Then they asked me to write Unfinished Business From Beyond. It was their first movie too, so we were all sort of betting on each other. I’m glad it paid off.
What was a major turning point in your career?
The 2023 AFF for sure! I’ve been working in the Mexican film industry for 10 years now, and I do think every little gig adds to the next one. But Austin was the first time I got to watch the film that I wrote in a theater with a real audience. I know I’m a better screenwriter because of that experience.
What are you working on right now?
Last summer I hopped upon a beautiful Mexican novel —the sweetest coming-of-age—. I got in touch with the author and begged him to let me adapt his work into a film. He said yes and, lately, that’s the one script that’s been stealing me away.
What are some of the biggest lessons you have learned?
There are no shortcuts. I have to do the hours. I have to sit and write. It’s annoying but it keeps on proving true.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
I’ve come to realize that, with enough time, every scene can find its rhythm. I know this isn’t the kind of answer you’re inquiring for, but —for me— getting the right time for each project has been the hardest of challenges. We’re all rushing so much to tend to the ever-growing ways in which capitalism commodifies what we do. I’m learning to allow my art to be by leaning into leisure, joy and rest.
What are some of your favorite films?
Because lately I’ve been meaning to rewatch them, I’ll name La Llamada, Pride, Sueño En Otro Idioma, Te Estoy Amando Locamente and Under The Tuscan Sun.
Who are some of your favorite screenwriters? Who do you look to for inspiration?
You know what? I can count too many spectacular screenwriters among my friends and we’re all creating together and making space for each other. The fact that we see ourselves as peers has to be the main thing that keeps me going.
Share a memorable experience from Austin Film Festival?
The Q&A after the first screening of Unfinished Business From Beyond was wild: the audience watched the film in Spanish (its original language), with subtitles, and had amazing questions to ask. That and —excuse the cliché— the beautiful friends I made along the way.
How have you been spending your time since being a part of Austin Film Festival?
Honestly, lobbying. My hometown, Colima, is this beautiful little corner of central-western Mexico, at the feet of an active volcano and a 30-minute drive from the beach. A bunch of us have been working on creating certainties and conditions for the film industry to discover the biodiversity and interesting locations we can offer. We’re trying to make it easy for everyone to come and film here.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
Having it as a reminder that we’re not alone in this has been a huge relief! Also the bridging over to the U.S. and the inspiration to write some things in English. I can’t wait to go back.
What are you looking forward to in 2024?
I’m co-producing two short films that have me really excited. One I wrote for director Valeria De León and the other I co-wrote with director Andrés Villa. Both stories are very gay and very unique and they parted from very specific production necessities that made them a precious challenge to write.
Eduardo Espíndola
Writer Unfinished Business From Beyond
Gordon Shoemaker Foxwood
Gordon Shoemaker Foxwood
Film or Script Selected:
Wild Eyed and Wicked
Year Selected:
2023
Bio(s):
Gordon Shoemaker Foxwood is a writer, director, history-lover, tree-appreciator, rave-enthusiast, and tall person (6’5″) who graduated from the USC School of Cinematic Arts in 2014. He lived for four years in New York City with dance medicine specialist Elizabeth Barchi. Elizabeth and Gordon married on Gordon’s family farm in Pennsylvania in September 2021, jointly taking the name of the farm’s forest where they often walk, planted trees, and first professed their love, Foxwood.
Gordon’s first feature film, Wild Eyed and Wicked (2024), had its World Premiere at the 30th Austin Film Festival where it won the “Dark Matters Feature” Audience Award. The film is currently slated for a June 2024 release with Gravitas Ventures.
Credit Line(s)
Writer/Director of Wild Eyed and Wicked
Socials
Instagram: @gs.foxwood
How did you get your break or start in screenwriting?
I’ve been writing screenplays for well over a decade. Plenty were a mess. Most were okay, which is worse than being a mess. A passionate disaster is better than mediocrity every day of the week. It’s been in the past couple of years that I’ve really found myself as a writer and become confident in my taste and following my heart.
What was a major turning point in your career?
The moment I realized that happiness, not success, is the goal of goals. Find a life that makes you happy. There is so much in the world that works against us individually finding happiness—it’s not a sideshow, it’s the battle of battles. Our culture obsesses over people becoming the top of the top of the top and somehow anything less isn’t “making it”. That’s ridiculous.
What are you working on right now?
I just drafted a new screenplay. It’s a sexy psychological thriller with a touch of the preternatural. I’ve vomit drafted a couple other new scripts recently and hope to start writing an epic fantasy novel soon.
What are some of the biggest lessons you have learned?
Only that which captures my most ardent love is worthy of what limited time I have on this Earth. Writing what I think other people want me to write has never done anything for me. Sounds dramatic, I know, but I’m a 32-year-old who enjoys wearing long coats and carrying a fox-head umbrella, being undramatic was never in the cards for me.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
Writing a low budget feature was undeniably challenging. You write what you love and I love movies that cost millions (like everyone else). I told the people invited to my wedding not to buy me gifts, but to send money for the film, that gives you a sense of how we were putting together funding for this bad boy. Our film came out looking and feeling like a million, though, that’s undeniable. Producers Patrick R Young and Powell Robinson played a pivotal role in that. They are indie horror wizards, check out their movies, you’ll have a great time.
What are some of your favorite films?
A strangely difficult question for me to answer. My favorite film is The Great Beauty. That is certain. But after that I can branch in many directions. The films I grew up with: The Hunt for Red October, A Bridge Too Far, Gladiator, Men in Black, Independence Day, The Lord of the Rings. The films that shook me to my core: La Dolce Vita, 8½, A Hidden Life, Hand of God, Amadeus. The streaming series that rocked my world: The Young Pope, The Crown, White Lines, Picnic at Hanging Rock, The Haunting of Hill House. I could go on. If I started listing the comedies I quote endlessly with my wife and friends we could be here all day.
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Paolo Sorrentino, Peter Morgan, Terrence Malick
Share a memorable experience from Austin Film Festival?
My wife dressed up in the suit of armor from our film and handed out fliers at the parties. She may not forgive me for having to lug plate armor around Austin, but it was most certainly memorable.
How have you been spending your time since being a part of Austin Film Festival?
I have a two-year-old corgi named Mina who keeps me more than occupied. I also perform roles in our local ballet companies (my wife is the real dancer, they just call me in when they need someone tall to wander around stage looking perplexed). I’ve performed in five ballets now, and am currently attending rehearsals for number six, Don Quixote.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
The love and support of the AFF staff has been deeply moving to me. Andy, Sam, Tatum, Travis, and many more. Their belief in me and my film played a pivotal role in helping us take our next steps. I am eternally grateful.
What are you looking forward to in 2024?
Why, the release of Wild Eyed and Wicked, of course! Many people very dear to me have worked extremely hard to see us all to get to this moment. More news coming soon!
Any news with your project or career you would like to share?
More news on the Wild Eyed and Wicked release coming soon!
Gordon Shoemaker Foxwood
Writer/Director Wild Eyed and Wicked
Jeremy Curl
Jeremy Curl
Film or Script Selected:
The Highest Brasil
Year Selected:
2023
Bio(s):
Jeremy Curl is an Anglo-Irish writer and director. Before film, he undertook expeditions without motorised transport to document extremely remote, little-known tribal areas of Africa. He has walked across the Sahara twice, interviewed the Castro family about Cuba’s political future and exhibited his expedition photographs widely, including alongside Nelson Mandela in 2010. In 2013 he was presented with an award for achievement in desert exploration by Crown Prince Hamdan bin Mohammed Al Maktoum of Dubai. On his adventures, Jeremy has been kidnapped, arrested, stabbed, shot at, stung, bitten and almost died of thirst. All good preparation for being a filmmaker in Hollywood. The Highest Brasil is his first feature film. Nominated for the Jury Award for Narrative Feature at Austin Film Festival 2023, it has been described as ‘bonkers,’ ‘a statement of doom’ and ‘reminiscent of The Coen Brothers.’
Credit Line(s)
Writer/Director of The Highest Brasil
Socials
Instagram: @brendanfilmsofficial
How did you get your break or start in screenwriting?
I think any kind of writing is born from experience. The more things you try, see, do, the more you have to work with when you start typing. I’d say that was my start in screenwriting.
What was a major turning point in your career?
Probably the moment I started writing The Highest Brasil, I realized there was no going back, there was no choice anymore. I was going to have to make films.
What are you working on right now?
Currently in pre-production on my next feature The Great Attractor. It’s about what happens when two people attempt to become one. Literally. It’s a very dark absurdist comedy and there are plenty of technical challenges in bringing it to the screen but I think audiences haven’t seen anything like this yet. Plus it involves chainsaws and quantum physics.
What are some of the biggest lessons you have learned?
Take heart that you only really learn a lesson when you have a setback. If you don’t give up, you’ll learn a lot of lessons and get better, stronger. Don’t give up. Embrace the suck.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
During an expedition in a very remote part of Africa, my camels ran off leaving me without water, food or supplies. I was dangerously ill, passing in and out of consciousness. To add to the problem, a pride of lions had been following me for a few days. I crawled under a bush, thirsty, tired, covered in vomit and wondered if I was found whether anyone would re-use my clothes. I decided to write a note to the person that might find me. I thought that these would be my last words, so they better be good. I approach any writing I do in the same way now. Make it count.
What are some of your favorite films?
Deerskin, Dogtooth, Mulholland Drive, The Idiots, Being John Malkovich, The Master, Fitzcarraldo
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Efthimis Filippou, Oliver Stone, Charlie Kaufman, The Coen Brothers, Todd Solondz, Werner Herzog
Share a memorable experience from Austin Film Festival?
Attending Austin Film Festival as a filmmaker is like drinking from a fire hose. Everywhere you turn there are stories, ideas and people who love the craft of storytelling. The stand out memory for me was discussing Italian cinema while in the back of a moving pick-up truck.
How have you been spending your time since being a part of Austin Film Festival?
Putting the team together and getting ready to shoot the next project. I live in Ireland and the office is a small church in the countryside, but it doesn’t have a floor, so that is obviously on the list too.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
Being recognised by such an illustrious festival is an incredible honor. It was a pleasure to screen The Highest Brasil to a filmmaking audience and the movie has received a lot of attention as a result. Seeing the sheer weight of talent at Austin has spurred me on to try new ideas and grab the chance to learn from the best.
What are you looking forward to in 2024?
Looking forward to the release of The Highest Brasil later in the year and trying to bring authentic, original ideas to the screen. Every day is a school day.
Any news with your project or career you would like to share? Include links so we can help spread the news.
The Highest Brasil will be released everywhere later this year. You can watch the trailer here: vimeo.com/user186689013/thehighestbrasiltrailer
Jeremy Curl
Writer/Director The Highest Brasil
Jessica Mena Esteves
Jessica Mena Esteves
Film or Script Selected:
A Glass Darkly
Year Selected:
2023
Bio(s):
Jessica Mena Esteves is a genre/drama writer who has worked on a number of development rooms for Starz, Amazon, and Showtime and has been staffed on shows like Vida, Work In Progress, and The Republic Of Sarah. Jess likes to call herself a character writer because of how much she believes that character is the pinnacle of storytelling. She is passionate about telling stories that center around women, people of color, and the queer community. She graduated from LMU’s Writing and Producing for TV MFA Program.
Credit Line(s)
Writer on Vida, Work in Progress, and The Republic of Sarah
Socials
Instagram: @jessclickhere
How did you get your break or start in screenwriting?
I met a working alumni just before graduating in 2019 and sent her one of my scripts in case a supporting staff role opened up in her world. She liked my script and shared it with her colleagues on Vida. The showrunner liked it, so I landed an interview with her, which got me staffed.
What was a major turning point in your career?
Probably, getting diagnosed with an auto-immune disorder. It forced me to change my relationship with stress and my mental health in general, which transformed my relationship with work. Writing is still very difficult but it’s much easier now in a lot of different ways. I’m hopeful I’m well enough to have a different, much more positive, turning point in the future.
What are you working on right now?
I’m working on surviving this year! It’s a whole new bleak world after a summer of strikes. I’m working on two original pilots that’ll hopefully get me staffed, and my team and I are looking for a development project that I could help bring to fruition.
What are some of the biggest lessons you have learned?
Resting, not just your body but your mind, is incredibly important. You have to keep things balanced or you’ll run your body into the ground. Caffeine and naps can’t save you!
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
The Republic of Sarah was the most difficult. We had to do so much research to come up with those storylines, and the network was on the cusp of undergoing a major shift, so there was a lot of uncertainty about what the show needed to be. All the writers and staff I worked with in the room have a special place in my heart.
What are some of your favorite films?
After Yang, Lilo and Stich, My Girl, Portrait of a Lady on Fire, Bottoms, Children of Men, Girl with a Dragon Tattoo, TomBoy, The Iron Giant
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Kogonada, Greta Gerwig, Michaela Coel
Share a memorable experience from Austin Film Festival?
Being able to listen to Cord Jefferson talk about his process of writing American Fiction, how it worked out, and the challenges he overcame during the filming process, is something that’s going to stay with me for a long time.
How have you been spending your time since being a part of Austin Film Festival?
I’ve been writing and connecting with folks that I met at the festival which has been lovely.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
Speaking about my experiences and connecting with everyone at the festival was incredibly empowering and validating. Writing for TV can be a really lonely job, and not many people understand how much of yourself goes into the work, so being with so many writers and talking about writing was incredible.
What are you looking forward to in 2024?
Seeing how the industry shakes out in this new era and what kind of original content survives the Great Contraction.
Jessica Mena Esteves
Writer Vida, Work in Progress, and The Republic of Sarah
Kimberly Manky
Kimberly Manky
Film or Script Selected:
Debra
Year Selected:
2023
Bio
Kimberly Manky (she/her) is a screenwriter working in both TV and features. She grew up in a very small town in Northern British Columbia with the highest crime rate in Canada (not her fault), and went on to study Screenwriting at Oxford, and receive a Master’s Degree (Honors) from the University of London in Screenwriting and Narrative Fiction.
Kimberly writes stories that are full of hope, heart and humanity. She aims to facilitate change and combat stigmas around mental health and disabilities, and hopes that her writing can bring awareness and understanding to these common human experiences. Her comedic TV pilots, specs, and features have placed in numerous screenwriting competitions, including The Academy’s Nicholl Fellowship in Screenwriting and the Austin Film Festival’s Teleplay Competition. She is a Fellow of RespectAbility’s Entertainment Lab, a 2023 Mentee for the 1in4 Coalition Writers Program, and an alumna of the Canadian Film Centre’s Norman Jewison Film Program Writers’ Lab, an incubator that has launched some of Canada’s most celebrated creators. Kimberly has a slate of TV and features projects in development.
Socials
Credit Line(s)
Writer Debra, Magnus The Magnificent, Canadian Film Centre Alumna
How did you break in or get your start in screenwriting?
About twenty years ago I was reading scripts for a Vancouver producer and he had me read Juno by Diablo Cody. It had a two-fold impact on me: I felt really inspired, and I also felt like I was never going to write something that good. I kind of put writing to the side for a few years and got a “real” job, but every time I watched a great movie or TV show, I knew that I should pursue it. I moved to England to do a Master’s Degree in Screenwriting, and I know people have mixed feelings about higher education in the arts – but for me, it was a way of prioritizing screenwriting. I was paying ridiculous amounts of money for a piece of paper, so I might as well give it my all.
What are some of the biggest lessons you’ve learned?
Celebrate all of the little wins along the way. This career path can be hard when you don’t see immediate results, but make sure to acknowledge your achievements. Finishing a draft or placing in a competition are victories. I keep a bottle of champagne in my fridge, ready to pop when I get some good news. I think seeing it in there when I grab milk for my morning coffee might help manifest something?
What’s the hardest scene or project you’ve ever had to write? How did you navigate that challenge?
I have been working on a new half-hour comedy pilot with mental health themes and I am drawing from my own experiences. I call it a “traumedy” because it’s comedy and trauma in equal measure. I have found the process hard at times, but also therapeutic. I recently learned that writing about difficult experiences can help process the emotions and promote post-traumatic growth, which is the ability to find meaning in the experience and make positive changes. I also think knowing that someone might connect with my story helps me push through any uncomfortable feelings. I really want people to feel seen and understood.
What was a major turning point in your career?
When I got into the RespectAbility Entertainment Lab in 2022 it was a turning point because it was the boost of encouragement and support that I needed. The lab had great programming and it also helped fill in a lot of the knowledge gaps about the industry. After the lab, I formed a writing group with some of the other participants and I think having the support of a great group of people has spurred all of us on in our careers.
What are you working on right now?
I am developing my pilot Debra (AFF Comedy Teleplay Pilot Semifinalist) and I am working on the aforementioned “traumedy” about my fear of flying. I am also re-writing a period family feature.
What are some of your favorite movies?
My first favourite movie as a kid was Ferris Bueller’s Day Off and I still watch it every time I’m sick so I feel like I’ve gone on an adventure. I also watch Home Alone every Christmas season. It’s the perfect movie: heart, humor, and Catherine O’Hara. Growing up, I loved adventure movies and watching Star Wars and Indiana Jones were formative for me. The movie that made me want to make movies was The Royal Tenenbaums. I remember leaving the theatre in awe because it was so stunning visually and the story was so affecting. I felt so many feelings! If I may add my favourite TV shows… Portlandia, Facejacker, Curb Your Enthusiasm, What We Do in the Shadows, Fleabag, Last Man on Earth, Seinfeld, and Cunk on Earth.
Who are some of your favorite screenwriters?
In terms of TV writing, Larry David is right up there. I’ve been reading about the history of Seinfeld and it sounds like they were very much out of their depth, but somehow managed to write the most successful sitcom of all time. Larry David truly has a beautiful mind. I also remember seeing Carol Leifer’s name in the credits of Seinfeld and thinking how cool it was that a woman was holding her own, and writing some of the best episodes of the series (The Hamptons). Tina Fey, Amy Poehler, Emily Spivey, and Paula Pell have always been huge inspirations to me since their SNL days, and beyond. I also really love Greg Daniels. I read a great book (The Office: The Untold Story of the Greatest Sitcom of the 2000s by Andy Greene) about the making of The Office, and it’s clear that Greg Daniels always put the heart first – he wanted people to connect with the characters, and they really did. I read it while I was making the proof of concept for my TV series Debra and it really inspired me in terms of the environment I wanted to create for the cast and crew because I think it comes through on screen. At the end of the shoot everyone said it was the best set they had ever been on – and I’m sure it wasn’t just because I asked them repeatedly and stared at them until they said yes.
In terms of movies, I have only recently realized (after rewatching Star Wars) that George Lucas should win all of the awards. Every year, he should be given several more awards. The world, stories and characters he created have sparked so many imaginations. It’s incredible. In terms of rom-coms, nobody did it better than Nora Ephron (although IMO, I don’t think that Sally would have faked an orgasm in a New York deli). In terms of comedy, lately I have found a new appreciation for Judd Apatow. I am reading his book, Sick in the Head and it’s really surprising me. He is so honest and vulnerable, and I can relate to so many of the things he has experienced in terms of mental health and generational trauma. Now, I look at his stuff differently. I have a soft spot for John Hughes and the coming of age stories that helped me come of age. In terms of stories that are wildly original and unforgettable, it’s Wes Anderson.
Share a memorable experience sparked from Austin Film Festival.
I was not able to attend the festival this year because it was the same week as my shoot! I was so sad because the festival was offering special events for Semifinalists and many of my friends attended. I had major FOMO. I will definitely be there this year.
What are you looking forward to in 2024?
I just graduated from the Canadian Film Centre’s Norman Jewison Film Program which is an incubator for Canadian creators. I was in the Writers’ Lab, where I developed a feature and a TV series. There were four Writers, five Producers, four Editors, and five Directors in the program – and even though we are all so diverse and we all work in different genres, we all support each other and want to find ways to continue to work together. I’m hoping that happens in 2024. I think we might create a new genre?
How have you been spending your time since AFF?
I have been in an absorption mode: reading a lot about writing and watching a lot of movies and TV – especially pilots.
Any new news? (Include a link so we can share!)
At the Canadian Film Centre I created a proof of concept for my comedy series Debra, which is about a middle-aged mermaid trying to get back up on her tail (but it’s really about wanting to belong). The short stars Juno Rinaldi (Workin’ Moms), who absolutely nailed the title character, and it was directed by Dani Kind (Workin’ Moms), who was such a supportive collaborator. Dani brought on her friend Stuart Campbell (The Handmaid’s Tale) as the Director of Photography, and he immediately got what we were doing and it was incredible to have what was in my head on screen, exactly as I pictured it.
If people would like to watch it, here is the link: https://www.youtube.com/watch?v=1x8uhGvtxlA
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
I am so grateful for the AFF Community. There has been so much support and encouragement from the AFF programming staff. It was a career highlight to have my comedy series Debra included in the Producer’s book. In the past few weeks, I have had quite a few producers reach out and I’m having some great meetings. I am feeling really optimistic and excited about what’s next.
Kimberly Manky
Writer Debra, Magnus The Magnificent, Canadian Film Centre Alumna
Louisa Hill
Louisa Hill
Film or Script Selected:
Los Angelez
Year Selected:
2023
Bio(s):
Louisa Hill is an award-winning playwright, screenwriter, and director. With an MFA from the University of Iowa’s Playwrights’ Workshop, she has written for television shows including Evil, Transparent, and Dear Edward. In addition, she sold a dramedy pilot about Christian teenagers to HULU and an animated screenplay to the Russo Brothers’ studio AGBO. She’s developed TV shows with production companies including Likely Story, Green Ribbon, and Exhibit A. Playwriting awards include the Mark Twain Award for Comic Playwriting from the Kennedy Center American College Theatre Festival, a nomination for the Ovation Award for Best Original Playwriting from the LA Stage Alliance, and third place in the Humanitas Foundation & Center Theatre Group’s Playwriting Prize. Los Angelez is her directorial debut. It received its World Premiere at the 2023 Austin Film Festival, where it was nominated for a Jury Award for Original Series.
Credit Line(s)
Los Angelez, Evil, Transparent
Socials
Instagram: @lou.is.a.hill
How did you get your break or start in screenwriting?
When I was in graduate school for playwriting, the television writer Rick Cleveland saw one of my plays and encouraged me to consider writing for television. I’d never imagined writing for television before—the concept seemed impossibly foreign to me as a theatre kid from a small town. But thanks to his generous encouragement and introductions, I landed a job as a writers’ assistant and moved out to Los Angeles.
What was a major turning point in your career?
After five years of working as a writers’ assistant, getting my first staff writing job on my favorite show Transparent was life-changing.
What are you working on right now?
I’m a writer and co-executive producer on Evil (Paramount Plus). I’m also developing my own television projects and writing a horror screenplay that I aspire to direct.
What are some of the biggest lessons you have learned?
Keep going! Surround yourself with people who want you to thrive.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
I seek to approach each writing challenge with both rigorous research and internal searching. If I’m writing a character or situation that’s unfamiliar to me, I draw from my own lived experiences to empathize with the character’s humanity and then turn to research to enliven the specifics of their reality.
What are some of your favorite films?
Some of my favorite movies include Midsommar, Dirty Dancing, Singin’ in the Rain, Portrait of a Lady on Fire, Let the Right One In, Amelie, and Parasite
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Ari Aster and Céline Sciamma are two favorites
Share a memorable experience from Austin Film Festival?
After the second screening of Los Angelez at the Galaxy Theatre, my producer Sarah and I got into a Lyft back to downtown Austin. Our car arrived– a pickup truck driven by a gruff man in his 50s.
The driver asked what movie we’d seen and I told him that my short had screened as part of the film festival. “What’s it about?” he asked.
I hesitated– feeling unsure about talking about my queer film in a stranger’s pickup truck in an unfamiliar city, unsure what hostility I might encounter. But perhaps it was the adrenaline from seeing our film play on the big screen, perhaps it was the open-heartedness I felt after a week of connecting with so many kind and enthusiastic creatives at AFF– but I pushed past my fears and shared with him: “It’s about a woman who comes out as queer at age 30 and embarks on a messy belated adolescence as she figures out how to date women.”
There was a breathless moment before he responded — Sarah and I braced ourselves for a homophobic tirade — until he said: “I need to watch that.”
The driver proceeded to share that he’d recently left his marriage of 30 years— because he was gay. And although he finally felt like he was living his authentic life, it wasn’t the fantasy he’d envisioned. It was lonely, he admitted, navigating the modern queer dating scene in his 50s.
We spent the whole ride discussing our overlapping experiences and existential questions: what does it mean to excavate a part of yourself at an age when you’re supposed to have it all figured out? To be a baby gay when you’re an adult in all other areas of your life?
It was a profound experience to connect with a stranger in such an intimate way and I credit the open-hearted environment of AFF with inspiring me to open up to him that day.
How have you been spending your time since being a part of Austin Film Festival?
I’ve been brainstorming how to get back to AFF! Excited to finish my next project and share with you all.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
Being selected for the Austin Film Festival has been a monumental step in my career. It’s the first film festival that my directorial debut Los Angelez was accepted into. This honor and the meaningful connections I made at AFF have been so validating for my aspirations to continue to direct.
What are you looking forward to in 2024?
I’m grateful to be back in the writers’ room for Evil after a very long hiatus due to the strikes! And I’m excited to make another short film this year.
Louisa Hill
Writer/Director Los Angelez, Writer Evil, Transparent
Mac Smullen
Mac Smullen
Film or Script Selected:
Souvenir, Alaska
Year Selected:
2022
Bio(s):
Mac Smullen is a New York based writer and filmmaker. In a former life as a freelance video editor, Mac cut weekly videos for media websites, music videos for independent hip hop labels, and any other gig he could get his hands on. In 2020 he produced the documentary short Children of the Moon, about 2nd-generation members of a religious cult. As a screenwriter, Mac has taken his TV projects through the Sundance Institute’s Episodic Story Lab and IFP’s Film Week. Last year, Mac sold his AFF award-winning pilot script Souvenir, Alaska to Warner Bros. Television.
Credit Line(s)
Writer Souvenir, Alaska
Socials
How did you get your break or start in screenwriting?
I’d been taking stabs at writing since my film school days,but going through the Sundance Labs was a big moment of early validation for me, and would lead to my first experiences trying to take a project to market. Even though that specific project hasn’t been made (yet!), the journey was invaluable in so many ways, and Sundance’s support was a candle in the darkness for someone with no real connections trying to break into the industry.
What was a major turning point in your career?
Landing incredible representation was a big turning point for me. When you’re trying to get a foothold in this intensely competitive business, it can be so difficult to cut through the noise on your own. Finding someone who really appreciates the potential of your work and can help open doors for you changes everything.
What are you working on right now?
Last year, I sold a pilot script to Warner Bros.Television and attached some brilliant folks to it. We’re currently developing the project and will hopefully be taking it out to buyers soon. Otherwise just working on a couple spec features.
What are some of the biggest lessons you have learned?
Good things take time.
What are some of your favorite films?
Alien, The Exterminating Angel, Videodrome, Wings of Desire, Suspiria, Eyes Without a Face, Force Majeure, The Ring, etc.
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Rod Serling, Charles Beaumont, Richard Matheson
Share a memorable experience from Austin Film Festival?
Accepting an award for screenwriting in front of a room full of pros like Sarah Polley, Darren Aronofsky, and Edward Neumeier was surreal to say the least.
How have you been spending your time since being a part of Austin Film Festival?
Reading, writing, arithmetic.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
I’ve attended AFF twice as a finalist, and always have a good time during the conference. The community is inviting, the panelists always leave you with food for thought. And winning the AMC One-Hour Pilot Award ended up getting my material in front of all sorts of amazing people, including my current awesome representation.
What are you looking forward to in 2024?
Every aspect of it. It’s going to be an absolutely perfect year with zero complications whatsoever. Can’t think of a single thing that could go wrong.
Any news with your project or career you would like to share? Include links so we can help spread the news.
Mac Smullen
Writer Souvenir, Alaska
Melanie Abrams Fierstein
Melanie Abrams Fierstein
Film or Script Selected:
PREtirement, High Crimes
Year Selected:
2023
Bio(s):
Melanie Abrams Fierstein is an L.A.-based first-generation-American screenwriter specializing in brow-raising, socially relevant dramas/dramadies, true stories, and IP adaptations. Previously, Melanie was an accomplished speechwriter and political consultant for candidates including Secretary Hillary Clinton, Senator Elizabeth Warren, and many other candidates across the U.S. Melanie combines her experience in politics with her unique perspective as a disabled woman to write stories with diverse leads that trigger much-needed larger conversations. Melanie’s scripts have been featured on Coverfly’s Red List & Top 1% and have earned over a dozen accolades including NBC TV Writers Program Finalist, Warner Brothers Writer’s Workshop Finalist, Austin Film Festival Semifinalist & Second Rounder, Diverse Voices Official Selection, and many more. She also owns the options 17 bestselling novels which are in various stages of development with major production companies. When she’s not glued to her laptop, Melanie enjoys reading murder mysteries, painting, and going to theme parks.
Credit Line(s)
Writer/Producer for The Domestic Diva; Adapting Kathryn Croft’s The Girl You Lost
Socials
Twitter: @melfierstein
Instagram: @melfierstein
How did you get your break or start in screenwriting?
I worked as a speechwriter, organizer and political staffer for a decade. I would write screenplays between campaigns, and even won my category in the 2015 Hollywood Screenplay Contest, but never had the time to commit 100% to a career in screenwriting even though that was my real dream. Right before COVID I got a year-round job as a political writer based in D.C. This would mean a permanent move from my hometown of Los Angeles and really saying goodbye to what I truly wanted to do. So I took a big leap of faith and turned the job down, retired from politics, and wrote my first TV pilot in 2020. It did really well in the festival/competition circuit including being a Semifinalist at AFF and from there I kept writing, submitting, meeting other writers, and honing my craft which led to signing with a manager last year. I’ve also gotten the rights to 17 bestselling novels and having that IP behind my name has really helped to legitimize me as a writer.
What was a major turning point in your career?
Honestly – and I really mean this – it was my first time placing in AFF. It really solidified my belief in myself and my skills, and attending the festival opened up a whole new world of networking and education and friendships that I didn’t even know existed in our industry. My first time at AFF connected me with multiple producers and absolutely set me on the path I’m on today. Also, getting my first book option. I stuck my neck out and luckily, the author trusted me. That’s now a series in development.
What are you working on right now?
I’m currently adapting a bestselling thriller novel into a limited series, and I’m working on a passion project – a feature that toes the line between dark family drama and fantasy. It’s a new genre for me, but I’m loving it. I’m on page 91 so I’ll be done in either a week or a year, we’ll see.
What are some of the biggest lessons you have learned?
The script is never done, both on a creative level – there’s always a new idea, or an improvement to be made – but also on the business level. You can’t make it in this industry if you can’t put away your ego and take notes and feedback. Your script is a living document, and many people will be breathing life into it along its journey; being able to let go of control is pivotal. Also, having a background in politics, I was taught to always have on my media face, be prepared with a perfect answer to every question, and write with the voters in mind. But with screenwriting – both the art and the business – I’ve learned that, as hokey as it may sound, being authentic is the most important thing. At the end of the day, the nature of this business requires you to spend a lot of creative time with other people. You won’t be able to give your peers and your projects what they need if you aren’t being true to your own personality and vision, and you won’t attract the best team for you if you aren’t being yourself.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
I wrote a Texas-based true crime miniseries about a multi-millionaire megachurch pastor who murdered a woman but got out of prison using the church. I worked with the Dallas County District Clerk to dig up the old police and court records from 1975 (they started digitizing in 1978, so I had to pay someone to scan thousands of pages and mail them to me!). Sifting through all those records was way more gruesome than I anticipated, and filling in the blanks while staying as true to the victim’s memory as possible was a masterclass in imagination, organization, and patience. Hundreds of notecards all over the wall helped with the organization, but I really had to turn inward for the imagination and patience.
What are some of your favorite films?
I wish my answers were cooler, but I’m a sucker for a good blockbuster. My favorite film of all time is Titanic – I’m a 90s kid and I can still remember the first time I saw it on the big screen. It’s the perfect film. I’m also a big fan of The Shawshank Redemption, Jurassic Park, Back to the Future, The Holiday, The River Wild, Flightplan, anything Hitchcock…I could go on and on. I am genre-agnostic; I love any good story.
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Aaron Sorkin, David E. Kelley, Jesse Armstrong, Nancy Meyers, Melissa Rosenberg, Linda Woolverton, Philippa Boyens, Peter Jackson & Fran Walsh, Kirsten Smith…again, I could go on and on.
Share a memorable experience from Austin Film Festival?
How can I pick just one?! I’ve met so many amazing friends at AFF and there have been too many incredible, informative panels to count. I really enjoyed meeting Nic Pizzloatto last year; True Detective had a big influence on my true crime work, and he’s such a genius. I also love sitting on the couch at the Driscoll chatting with an awesome person over drinks, only to realize later they produced one of your favorite movies. I’ve had many, many meetings arranged because of meeting people at the AFF roundtables, too – those are my favorite part of the festival! Getting that 1:1 time with execs who are genuinely there to lift the curtain on some of the more confusing aspects of the business with no judgement is priceless.
How have you been spending your time since being a part of Austin Film Festival?
My answer is generic but true: writing. I always come away from AFF motivated and excited to hit the pages. Since the festival I have gotten the rights to a new book and written two new pilots!
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
AFF has continued to lift my voice and make me feel like I have a place in this industry. This is a hard lifestyle no matter what level of success you’re at, and I know every writer agrees when I say it’s dangerously easy to doubt yourself and lose motivation. But AFF reminds me every year that my stories are important and that my voice is worthy of being heard. I’m endlessly grateful and hope to participate in AFF at every level of my career.
What are you looking forward to in 2024?
I signed with a new manager late last year which is incredibly exciting, so I’m looking forward to all the work we’re going to do this year. I’m also excited to get started writing a new TV show based on the incredible life story of my rock star grandma. I love writing colorful, interesting, brilliant women, and she was definitely all of that.
Any news with your project or career you would like to share? Include links so we can help spread the news.
I am adapting the Kathryn Croft thriller novel The Girl You Lost into a limited series; I am an NBC TV Writers Program finalist, and I have a series in development – but no links (and series is under NDA still)!
Melanie Abrams Fierstein
Writer/Producer The Domestic Diva; Adapting Kathryn Croft’s The Girl You Lost
Myung Joh Wesner
Film or Script Selected:
Gray Matter
Year Selected:
2018
Bio(s):
Ever since Myung Joh Wesner was crowned the spelling bee queen of Rolla, Missouri, she’s been obsessed with words. A love of writing carried her through high school, followed by undergrad at Harvard and an MFA in Fiction at the University of Virginia. Her pilot Gray Matter was a semifinalist at AFF in 2018. Her first feature, Mountain Man, was a 2019 Academy Nicholl semifinalist. Apex, co-written with Aja Gabel, made it onto the 2019 Black List, was optioned, and is currently in development. She sold her pilot Safe House to ABC Signature, where it’s also in development. She has staffed on shows for Lucasfilm, Hulu, and ABC. In 2023, she was named a fellow for K.Period Media and Blumhouse’s inaugural screenwriting lab, in partnership with the Sundance Institute, with her sci-fi horror feature Lunaria. She lives in the Catskills with her husband.
Credit Line(s)
Writer, Star Wars: Skeleton Crew and Death And Other Details; Writer/producer, High Potential
Socials
Twitter: @myunglet
How did you get your break or start in screenwriting?
After writing some short-form content for my director husband, I pivoted from prose to screenwriting. I wrote a pilot or two, as well as a feature, before trying my hand at a short film. A producer who read that script offered to send my longer samples to managers and agents he knew, and that’s how I got repped. Which was the start of everything!
What was a major turning point in your career?
When I sold my pilot script, Safe House, to ABC Signature. It enabled me to quit my terrible freelance jobs and pursue my passion for a living.
What are you working on right now?
I am staffed as a producer on a show called High Potential, premiering on ABC this year. I’m finishing my last pass of a neo-noir feature I co-wrote with a friend, which we sold to a production company a while back, as well as working on a first draft of a big IP-based feature, which was an open writing assignment I landed almost two years ago.
What are some of the biggest lessons you have learned?
- It takes a looooooong time for anything to come to fruition, which is why I always try to have at least three or four projects going at any given time, split between TV and features.
- Fear and insecurity don’t ever really go away, at least not for me and a lot of writers I respect. But I have decided not to waste time on impostor syndrome. People are nice, but no one will risk their reputation or their neck or their job simply to do me a favor—if someone is giving me a chance, it’s because they think I’m worth it. Why would I go out of my way to doubt them?
- Despite what pop culture would have you believe—and yes, I know many of the horror stories are true—there are a ton of cool, friendly, smart, talented people working in Hollywood. I’ve been very lucky to work with a lot of them in my relatively short time in this industry.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
The hardest project I’ve ever had to work on is one I’m CURRENTLY working on: a feature based on a big piece of IP. I’m fortunate that my execs are extremely smart and lovely people, but it can be hard to trust my instincts and voice when I’m trying to balance creativity with the exigencies of working within an established world. At times I feel like a chef who was hired for her great sandwiches, but now I’m working at a soup restaurant. (Ok—I obviously wasn’t hired for my metaphors, but you get the drift.)
Learning to be patient, with myself and with the process, has been the key to moving forward. Gratitude is also vital. I’m constantly reminding myself how lucky I am to be writing a huge feature film with executive partners who want to deliver the best possible piece of ART, not just a box office hit. There are no egos involved: the only thing that matters is the work, and for that I couldn’t be more grateful.
What are some of your favorite films?
Parasite, The Dark Knight, After Hours, Moonstruck, Mad Max: Fury Road, Michael Clayton, Home Alone
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Tony Gilroy, David Koepp, Phoebe Waller-Bridge. I find inspiration from the people I work with on every project.
Share a memorable experience from Austin Film Festival?
It has to be seeing Tony Gilroy at a mixer. Given that writers are a rather shy bunch in general, he wasn’t mobbed after giving a short speech, so I just walked right up to him, shook his hand, and told him how much I loved not only Michael Clayton but also the first script he ever had produced, The Cutting Edge. He told me never to worry about what new writers are / aren’t “allowed” to do, and I took that advice to heart. It’s never steered me wrong.
How have you been spending your time since being a part of Austin Film Festival?
Getting my screenwriting career going!
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
Other than grad school, it was the first time I felt taken seriously as a writer. And having my first pilot place as a semifinalist made me feel like I was definitely on the right track. It’s so gratifying to get confirmation you don’t suck as a writer—especially confirmation from someone you’re not related or married to!
What are you looking forward to in 2024?
Covering set for the first time as a producer on the new show I’m staffed on, High Potential. Hopefully seeing the shark movie I wrote with one of my best friends go into production. Selling my pilot to a network. Finishing that IP feature project. And watching my episodes of Star Wars: Skeleton Crew when that’s released!
Any news with your project or career you would like to share? Include links so we can help spread the news.
Myung Joh Wesner
Writer, Star Wars: Skeleton Crew and Death And Other Details; Writer/producer, High Potential
Nick Gambino
Nick Gambino
Film or Script Selected:
The Fuck-It List
Year Selected:
2022
Bio(s):
Earning his wit and slick sense of humor growing up in Hell’s Kitchen, NYC, Nick primarily writes comedy. He’s written on assignment for numerous production companies and his dark comedy screenplay The Fuck-It List won the Drama Feature award at the 2022 Austin Film Festival.
Credit Line(s)
Socials
Twitter: @NickGambino1
How did you get your break or start in screenwriting?
I wrote my first three screenplays when I was 11 years old. They were terrible and will never see the light of day, but that was my first attempt at doing what I loved. The next attempt, and the one that finally stuck, was fourteen years later. I had a mid-life crisis of sorts at 25 and clearly saw the brick wall at the end of the path I was on. I pivoted away from the dead-end job I’d stuck myself in, downloaded screenwriting software and began my journey.
What was a major turning point in your career?
I won the Austin Film Festival Drama Feature Screenplay Award in 2022 for The Fuck-It List. With that win under my belt and a new batshit crazy spec script ready to go, I linked up with Roadmap Writers. They introduced me to my now manager who introduced me to the town and my now entertainment lawyer. Then we got to work.
What are you working on right now?
I’ve got a ton of projects I’m juggling. I’m working with several different producers and production companies, all of whom have made some of my favorite movies. I’ve got a spec feature being packaged, another one out to the town and I’m developing yet another with an Oscar-nominated producer. I was just hired on a project I can’t talk about, but I’m excited about. Those are just a few of the fun things I’ve got going on. Oh, and I just wrote my first video game for this up-and-coming company which was a blast.
What are some of the biggest lessons you have learned?
Persistence is key. It took me over a decade to get to the point where real success is tangible. I didn’t know it would take this long, but I kept writing. I kept getting better year after year. I regularly analyzed where I was at and made intentional moves to get to the next level. All the while, I tried to remember that both ups and downs were merely phases. I think Chuck D said it best, “Don’t let a win get to your head or a loss to your heart.” I hold onto that and keep moving forward.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
That’s a hard one. Probably my third feature screenplay. Everything I’d written before that was terrible. I had gotten away from features and was only writing shorts because I was scared. I cringed whenever I read any of my stuff, but, despite that, I felt like I was finally ready to be good or at least decent. I had a great concept and knew what I wanted to write. That was daunting because what if I finally felt confident, but I was still bad? What if I took this great concept and just botched it? To overcome that, I treated each scene like its own movie and tried my hardest not to mimic anything else I’d seen. I needed to make every page unique and special and, most importantly, I had to finish it. I forced myself through those pages and wouldn’t allow myself to abandon the script no matter how much I may have hated it on a given day. By the end, I sat back and realized I had finally written something good. And that was huge for me.
What are some of your favorite films?
Too many to name. Jerry Maguire, When Harry Met Sally, Moonstruck, Seven Samurai, Dog Day Afternoon, The Big Lebowski, Fargo, Beverly Hills Cop, Scent of a Woman, Heat, 12 Angry Men, His Girl Friday, Blade Runner, Jurassic Park, Trading Places, The Blues Brothers, Ghostbusters, Planes, Trains and Automobiles. I’ll stop now.
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Aaron Sorkin, Quentin Tarantino, David Koepp, Scott Frank, Jason Gruich
Share a memorable experience from Austin Film Festival?
When I won in 2022. It was a whirlwind. I walked around the rest of the day with my bronze typewriter. Everybody was so nice and congratulatory. It felt like it was a win for my whole group of screenwriter friends and that comradery was really special.
How have you been spending your time since being a part of Austin Film Festival?
I’m not sure exactly what this question is asking. I’m always writing and when I’m not, I’m spending time with my two kids and my 100-pound yellow lab. I love them all more than oxygen.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
Being with other writers is what has made me a better writer. I honestly believe, in my heart, that if I hadn’t met my closest writer friends, I would be mediocre at best. They push me and inspire me to be great. And as long as I continue to strive for greatness, I will keep leveling up as a screenwriter.
What are you looking forward to in 2024?
Seeing many of the projects I have in the works take their next step toward being made. The truth is, a lot of things don’t get made, but as long as we keep laying those bricks, we give ourselves a fighting chance.
Nick Gambino
Writer The F#uck it List
NJ Draine
NJ Draine
Film or Script Selected:
The Housing Situation on Neptune
Year Selected:
2023
Bio(s):
NJ is a Chicago-based educator, playwright, and singer-songwriter. Through their music and storytelling practice, they are most interested in exploring the bitingly absurd, the poetic, and the surreality of experiences yet to be realized.
Credit Line(s)
Writer The Housing Situation on Neptune
Socials
Twitter: @njdraine
Instagram: @njdraine
How did you get your break or start in screenwriting?
I placed in AFF for a stage play that I wrote and am focusing on theater right now. But being at AFF definitely pushed me to consider screenwriting more seriously. So, maybe AFF was the start.
What was a major turning point in your career?
I will say that it made all the difference when I fully committed to being a writer no matter what.
What are you working on right now?
I’m collaborating on a musical at the Goodman Theatre inspired by the underground Black Drag Ball scene that existed in Washington D.C. in the late 1800s.
What are some of the biggest lessons you have learned?
Trust the process. Always trust the process. I uncover most of what makes my story in the writing and not the planning. But it’s hard to jump in not knowing all the details. It takes a lot of surrendering/trusting that it will reveal itself in time.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
To be honest, all of it is kinda hard. Writing is hard. I navigate it by finding balance and trying to focus on smaller, day-to-day goals rather than fixating on larger ones.
What are some of your favorite films?
I can’t do this, so I’ll just put some recent rewatches that keep on giving– Nostalghia, Yi Yi, Drive My Car
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Michaela Cole, Ruben Ostlund, Lucy Prebble, Asghar Fahardi
Share a memorable experience from Austin Film Festival?
Being in the room and hearing writers talk about process was invaluable– especially in panels for The Bear and Watchmen.
How have you been spending your time since being a part of Austin Film Festival?
Writing, reading, and teaching a class on Magical Realism.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
It was great to be surrounded by so many writers and filmmakers. I returned home very inspired.
What are you looking forward to in 2024?
More community. More stories.
NJ Draine
Writer The Housing Situation on Neptune
Sabrina Brennan
Sabrina Brennan
Film or Script Selected:
Band Of Mothers
Year Selected:
2018
Bio(s):
Sabrina writes outlandish, female-driven comedies, because no boys talked to her in high school. She recently finished her first season as a staff writer on a Disney TV Animation project. She has written and developed content for Mattel and Baobab Studios. And on top of all that?! She also designs board games and draws weekly comics on her Instagram! Okay…wow! I would DEFINITELY want to be friends with HER!
Credit Line(s)
Writer for Disney TV Animation and Mattel
Socials
Instagram: @Sabrinamantha
How did you get your break or start in screenwriting?
Every 6 months or so, my friends and I all camp out in one of our houses for a weekend and each try to write a pilot/short/anything in 48 hours. At our end-of-writing-marathon script reading, a really cool new writer in our co-hort said she thought I was funny, and I was like “okay, new friend, amazing.” Turns out she worked at Mattel, and asked if I wrote stuff for kids. So I lied and said “duh of course I do!”… Then ANOTHER 48 hours later, I sent her a brand new (and probably typo-filled) kids pilot, which lead to my first real writing job!
What was a major turning point in your career?
I was outside Frank’s Pizza with my dad when I got the text; the kind of text that’s soooo exciting to get, but a small part of you kinda wishes it was a phone call instead? For the drama of it all? Anyway, the text was to tell me I got staffed on a show for Disney+! So it’s okay that it wasn’t a phone call, I’m not gonna over-think it. All that matters is that it was dream come true (convenient because dreams are like Disney’s whole thing). I got to work with a team of writers who’s work I really admired and learned the most important thing about writing which is– sorry, I just can’t get over it, like, aren’t your reps supposed to CALL when there’s good n— sorry, you’re right, I’ll drop it.
What are you working on right now?
I’m currently shopping around the feature version of my muscial-comedy pilot script that got me into AFF way back when! Since AFF, the project was optioned by two awesome (and really nice) producers, and we’ve recently attached a Tony-nominated composer to write the music (spoiler alert: it sounds amazing and made my mom cry)!
What are some of the biggest lessons you have learned?
No one cares if you don’t work on your art today, so you have to be the one who cares and do it!
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
Every time I hit the 4th draft of a project I find myself saying “this is so bad it should be illegal,” so I force myself to read it out loud with a friend or family member because I often find that they’ll read jokes or interpret characters in new ways I never thought of before and it will reignite my love for the project!
What are some of your favorite films?
Barb And Star Go To Vista Del Mar, When Harry Met Sally, and any other movies with two people’s names in the title.
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Tina Fey! Kristen Wiig! My friends!
Share a memorable experience from Austin Film Festival?
The best way I can describe AFF is that it felt like summer camp but for writers! I quickly found a group of friends at the fest and we all hung out the whole time! And the friendships stuck too, I just went to a wedding of one of my AFF friends last year!
How have you been spending your time since being a part of Austin Film Festival?
Lots of writing, playing board games, and cuddling with my cats!
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
Being a finalist of the Austin Film Festival not only made me seem more legitimate in the eyes of industry, but also to myself. It gave me the confidence as an artist to be like “wait, I can actually do this!”
What are you looking forward to in 2024?
Something I’ve learned these last few years is you never know when a really cool opportunity is going to pop up out of nowhere, so… I’m excited for another one of those!
Sabrina Brennan
Writer for Disney TV Animation and Mattel
Sam Henderson
Sam Henderson
Film or Script Selected:
BREAK; The Walls
Year Selected:
2022
Bio(s):
Sam Henderson makes up one-half of the filmmaking team, 4amtentrevival, and is a Theatre and Film Professor, professional actor and musician. 4am’s previous short screenplay, Con Alma, placed in several competitions, including WeScreenplay’s Diverse Voices Semi-finals. The completed short film made its debut at the Oscar-qualifying RSF Martha’s Vineyard African American Festival and went on to screen at the Oscar-qualifying St. Louis International Film Festival. Their most recent short film, BREAK, was also selected to play at St. Louis, but had its World Premiere at the Oscar-qualifying Austin Film Festival. Sam’s teleplay, The Walls, which is still seeking representation, was also a Second Rounder at the Austin Film Festival.
Credit Line(s)
Director and Co-writer of BREAK, Writer of Teleplay, The Walls
Socials
Instagram: @sammyrayday
How did you get your break or start in screenwriting?
I co-adapted my writing partner’s, Ryan Romine, short story, Willow Weep for Me. It went on to place or win about a dozen contests. We knew we were on to something.
What was a major turning point in your career?
BREAK having its World Premiere at Austin Film Festival changed a lot for us both practically and emotionally.
What are you working on right now?
I’m in pre-production for a short film called, ADO.
What are some of the biggest lessons you have learned?
Patience will get you everything you want. It’s okay if the thing you’re making doesn’t get made the way you planned it, as long as the finished product is better than what you expected.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
There’s a scene in my upcoming short, ADO, where a school teacher has to recite Shakespeare to an active shooter, who recites it back. I navigated the challenge by making Ryan figure it out, for the most part.
What are some of your favorite films?
Midnight Cowboy; Magnolia; Sling Blade; The Shawshank Redemption; Winter Light; Manhattan
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Paddy Chayefsky, Ingmar Bergman and Charlie Kaufman are the GOAT. But not necessarily in that order.
Share a memorable experience from Austin Film Festival?
I shook Dustin Hoffman’s hand and briefly got to thank him for his career. An indelible moment.
How have you been spending your time since being a part of Austin Film Festival?
I’m a Professor at Baylor University, and I’m also a professional actor, as well as a filmmaker. So, I’ve been busy. Since before the strikes, though, I’ve mostly been in pre-production for what is the most exciting prospect of my creative career.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
It has mainly provided motivation, inspiration and encouragement to soldier on. The incredible speakers, writers and filmmakers who populate the fest every year provide just enough fuel for me to want to get up and work on the next project. Truer still when I have a project selected by the fest.
What are you looking forward to in 2024?
I’m looking forward to shooting my film!
Any news with your project or career you would like to share? Include links so we can help spread the news.
Apparently, I was selected as one AFF’s 25 Screenwriters to Watch! This is the biggest and the best news of the year, so far!
Sam Henderson
Director/Co-writer of BREAK, Writer Teleplay, The Walls
Sam Thor
Film or Script Selected:
Starpower
Year Selected:
2023
Bio(s):
Sam Thor is a queer Jewish writer from New Jersey who, while in LA for the last 5 years, has worked his way up the production ladder, supporting writers on hit shows like Peacock’s Bel-Air and FX’s The Patient.
While working on these shows, Sam has made sure not to neglect his own writing career. His scripts have placed at Austin Film Festival, as a well as Screencraft, Filmmatic and the Los Angeles International Screenplay Awards. He also runs a biweekly writers group because the best way to avoid working on notes for your own script is giving notes on someone else’s.
Credit Line(s)
Writer/Director for Starpower, The Forest of Yearning, Into The Labyrinth
Socials
Twitter: @sthor97
Instagram: sam.thor
How did you get your break or start in screenwriting?
Hard work, years of writing and failing and writing again until something clicked and then you start writing and succeeding. I don’t know if I believe in a “big break”, but instead you reach a point where you writing speaks for itself and doors start opening.
What was a major turning point in your career?
I believe my major turning point was internal: I started writing with such a tunnel-focused perspective, trying to churn out the most exciting story I could think of. Once I realized that the stories I wanted to write had to be bigger than my career goals, the character and the journey had to come first, then things began to shift for me. I rediscovered my love for story and became more excited to write than ever. And luckily, I still have that spark of passion whenever a new idea hits me.
What are you working on right now?
Starpower, the script that placed in the Austin Film Festival, is about to start production this month! I’ll be directing with a fantastic cast and crew, and I’m thrilled that this script, which was already a cathartic release of my own struggle with grief and moving past it, can now become something bigger. We hope to resubmit to Austin as well!
On top of that, I’m working as support staff on a show for Peacock (love working with these fantastic writers, especially post-strike) and pressing forward with my own writing. Every script I write now, I write with the goal of challenging myself to push farther and dig deeper. If there’s something I feel like I’m afraid to write, that usually means I have to do it.
Currently, I’m working on two features: a vampire horror-comedy and an anti-capitalist coming-of-age adventure.
What are some of the biggest lessons you have learned?
I think when I first started, I had a lot of ambitions that centered around success and showcasing those victories. And some of those insecurities bled into my earlier scripts: main characters who were fun to watch but were too perfect. They weren’t flawed enough to maintain our focus. However, in the more I looked inward, addressed my own issues, and allowed myself to be open to different points of view, the more my writing grew to encapsulate all of that knowledge. Looking back, there’s plenty of moments my life that were messy, dramatic, stupid, that helped my development as a person and without them, my writing would have remained naive. With each life lesson learned and each script written, we grow, and that growth is necessary for a career like this.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
In a recent feature, I focused on my struggle to write about sexuality. I’ve had characters that were queer, were straight, but I always avoided writing the scenes that focus on those real sexual interests. And as mentioned above, if it scares me, that usually means I have to write it. So I wrote an erotic horror feature. And it was gross, and it was difficult. But at the same time, it was fulfilling and exciting. It’s probably my favorite sample to date, so I’m glad I challenged myself to see it through.
What are some of your favorite films?
Arrival, Annihilation, Everything Everywhere All At Once, Ex Machina, Coraline
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Some personal favs are definitely Mike Flanagan, Alex Garland, Greta Gerwig, Damon Lindelof, Jesse Armstrong (still thinking about Succession every day)
Share a memorable experience from Austin Film Festival?
I could give a series of funny examples, like trying really hard to catch up to a writer I want to talk to while leaving the Omni Hotel and colliding face first into the glass door that I thought would open. Or approaching an actress I wanted to introduce myself to at the coffee shop just for the barista to announce across the room that my card had declined. (it was a gift card that just didn’t cover anything but the shame felt just as bad)
But the most memorable part of AFF was probably one of the last days at the Driskill, surrounded by dozens and excited writers, who usually seclude themselves in their computer screens, happily drinking and chatting and celebrating each other. Most of our “writing community” is online, so to see them all in-person felt monumental. I probably would have gotten emotional if I had more drinks but I had an 8am roundtable the next morning and very much had to go to bed instead.
How have you been spending your time since being a part of Austin Film Festival?
Prepping for production of Starpower, while also working full-time as support staff. On top of that, I had the privilege to write for another web series, an audio drama, and somehow finished a new feature script without burning out. Or at least, only burning out a little.
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
Austin Film Festival reminded me that writing, though we joke about how isolating it can be, is a communal experience. Your characters (usually) aren’t sitting in a room alone for the whole script, and neither should you. An experienced life will allow you to write an experienced script, so I don’t want to neglect my writing by keeping myself locked away. The community at AFF reminded me to cherish those encounters, and feel lucky to be a part of them.
What are you looking forward to in 2024?
Looking forward to working on a great show, and to having the time to continue my writing. We’ve been planning some meetings with reps as things slowly start to open, so fingers crossed that the ball starts rolling this year!
Any news with your project or career you would like to share? Include links so we can help spread the news.
I post most of my public updates through instagram (@sam.thor) if anyone wants to connect through there!
Sam Thor
Writer/Director Starpower, The Forest of Yearning, Into The Labyrinth
Sarah Kambe Holland
Film or Script Selected:
Egghead & Twinkie
Year:
2023
Bio:
Sarah Kambe Holland is a film director based in Austin, TX. She is best known for her debut feature, Egghead & Twinkie, for which she was also the screenwriter, co-producer, and co-editor. The film has screened at over thirty festivals and received a number of accolades, including the Jury Award for Best Comedy Feature at the 2023 Austin Film Festival.
On the commercial side, Holland directs film and video content at the advertising agency, 21GRAMS. She specializes in branded comedy content for social media and aims to execute creative ideas to the highest degree.
Holland loves working with emerging talent and developing multi-faceted characters, with a passion for telling queer and Asian American stories. She is currently writing her second feature.
Credit Line:
Writer/Director Egghead & Twinkie
Social Media:
Twitter Handle @shollandfilms
Instagram: @shollandfilms
How did you break in or get your start in screenwriting?
I was that weird kid writing a novel in the 7th grade… and not a very good one at that. I’ve always loved writing, but I realized I hated slogging through descriptions and just wanted to get to the dialogue. So, I wrote a few stage plays in college, then transitioned to short film scripts, and finally wrote my first feature.
What are some of the biggest lessons you’ve learned?
I’m learning new things every day, often by doing them wrong. I think the biggest lesson I’ve learned as a young filmmaker is don’t wait. You’ll never feel 100% ready to write and direct your first feature. You just have to try. If I had waited until I felt ready, Egghead & Twinkie probably wouldn’t exist.
What’s the hardest scene or project you’ve ever had to write? How did you navigate that challenge?
There’s a conversation in Egghead & Twinkie where Twinkie talks about being mixed-race. It was one of the most important scenes to me personally, which is what made it so tricky. I was worried that it might feel too serious or out of left field since the rest of the movie is basically a silly-goofy roadtrip romp. In the end, the solution was to just be truthful, to myself and to the character of Twinkie.
What was a major turning point in your career?
It’s hard to say because I’m only just getting started (I hope). But I will say that directing a feature and taking it to festivals like AFF has opened doors for me and introduced me to some incredible people.
What are you working on right now?
My second feature. It’s a queer time-traveling rom com.
What are some of your favorite movies?
School of Rock, Little Miss Sunshine, Shoplifters, Juno
Who are some of your favorite screenwriters?
Diablo Cody, John Hughes, Greta Gerwig… I have a physical copy of Lady Bird that I reference a lot.
Share a memorable experience sparked from Austin Film Festival.
So many! One that comes to mind was speaking to high schoolers at the Young Filmmakers Roundtable. Since I live locally, I was juggling work alongside the festival and it had been a pretty tough day. I remember driving over and just being exhausted. But I was instantly so refreshed and inspired after meeting with the next generation of filmmakers. It was really special to share the things I had learned while making my first feature, things I wished I had known when I was in high school.
What are you looking forward to in 2024?
We’re still trying to find the right distributor, but I can’t wait to release Egghead & Twinkie publicly! It’s been 6 years in the making. I’m stoked for people to finally see it.
How have you been spending your time since AFF?
I work full-time directing for an ad agency, so it’s been juggling that with trying to find distribution for Egghead & Twinkie, and of course, writing my next feature. I like to stay busy!
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
AFF is well known in the screenwriting community, so I think that being a part of the festival has been a stamp of approval on my work, in a sense. I’m moving to LA this spring, and while I’m sad to be leaving Austin, I’m optimistic that the momentum from AFF will help me turn the page on this next chapter in my life.
Any new news? (Include a link so we can share!)
My website: https://sarahkambeholland.com/
Egghead & Twinkie’s website: https://eggheadandtwinkie.com/
Sarah Kambe Holland
Writer/Director Egghead & Twinkie
W.A.W. Parker
W.A.W. Parker
Film or Script Selected:
The Baron
Year Selected:
2024
Bio(s):
W.A.W. Parker aka Adam (he/they) is a queer/Two-Spirit/Northern Cheyenne/white/writer in Los Angeles. Adam grew up in Montana and studied film and gender at Harvard. Their pilot The Baron made the GLAAD List and the Indigenous List. Their novel The Wasteland about T.S. Eliot won the American Fiction Award and the Foreword INDIES Book of the Year Award in LGBTQ+ Fiction. Their live-action short film The Roof is now on Disney+
Credit Line(s)
Writer for The Roof and The Baron
Socials
Instagram: @wawparker
How did you get your break or start in screenwriting?
Disney produced my short film The Roof.
What was a major turning point in your career?
My TV pilot The Baron landed on the GLAAD List and the Indigenous List.
What are you working on right now?
I’m rewriting my next feature and my next novel. And procrastinating on one with the other.
What are some of the biggest lessons you have learned?
Don’t take anything personally. And everything can get better.
What’s the hardest scene or project you’ve ever had to write in your career? How did you navigate the challenge?
My feature The Bastard required a lot of research to hone the story, but luckily I love spending days on details that might not matter to others.
What are some of your favorite films?
Amadeus and West Side Story
Who are some of your favorite screenwriters? Who do you look to for inspiration?
Tony McNamara, Aaron Sorkin, and Octavia Butler
Share a memorable experience from Austin Film Festival?
One time I brought a group of friends who didn’t know each other to a restaurant off the main strip in Austin, and I remember thinking: I was right where I wanted to be, connecting these wonderful people.
How have you been spending your time since being a part of Austin Film Festival?
Making the short film The Roof which is now available on Disney+
How has being part of the Austin Film Festival Community helped spark your storytelling journey or career?
I met friends through AFF. We bounce scripts off each other and help each other navigate the industry.
What are you looking forward to in 2024?
Finishing projects and starting new ones.
Any news with your project or career you would like to share? Include links so we can help spread the news.
Link for The Roof: https://www.disneyplus.com/movies/details/4DAAAWKdea14
W.A.W Parker
Writer The Roof and The Baron