I can’t remember what got me into writing screenplays, but I had been writing copy as an arts editor and I recall distinctly feeling that I’d had enough about writing about other people’s work. This led to me experimenting with a couple of dark gothic stories. One was based on hell being a rundown holiday camp, but like Cuba. The other was an apocalyptic story, set in my home city of Bristol and it was about a man who collected evidence of the apocalypse. However, I always had loved films, from the time my Dad took me to see Kubrick’s 2001: A Space Odyssey and maybe that influenced my move into writing for film. Since those days, the movies that have influenced the kind of films and TV series I write, are Ridley Scott’s ‘Blade Runner’, Chris Carter’s ‘X-Files’, Andrei Tarkovsky’s ‘Ivan’s Childhood’ or ‘Stalker’. And whilst I’m thinking about influences I’d maybe add Kieslowski’s ‘The Double Life of Veronique’. That’s quite a mix of sci-fi, conspiracy, the historical and then the poetical. I guess it leaves me open to a wide range of genres to tell a story. I love big world stories, not suburban love trysts. I would just get bored and have them all commit suicide. It’s be over in 45-50 minutes. I would say, that I don’t or can’t write comedy, but then my second feature length script is a dark comedy about Big Pharma, so it seems I do write comedy, albeit of a very dark kind. My philosophy always searches for encounters with a spiritual reality, for a non-violent path and resistance against authoritarianism. I’d also say that I’m influenced by the path of spiritual anarchy, but that’s a little difficult to unpack here without you fearing for your safety! Finally: What do I snack on when I’m writing? Well, I drink water and eat a handful of almonds each afternoon.

Thank you, Richard RB

I can't really relate, mad respect to writers. One of the courses I had to take in college for my acting major was playwriting. It was such a struggle for me. By the end of the semester you had to turn in a one act, I thought I would never get there. Writing papers for any class, especially a research paper, I procrastinated. I would rather give an oral presentation than sit and write for an hour. I can not sit still long enough. However, I couldn't be an actor if there weren't writers. Somehow I managed to write a one act and get an A. I have not ever done it again. Comedy is hard as an actor, I would have no idea how to write it.

I loved what Teresa Hsiao had to say about collaboration in writing comedy. I treasured the time with my four wild brothers around the kitchen table. I think I turn every diner experience into a writer’s room — the patrons just don’t realize it. I haven’t been in a real writer’s room. I hope I’m invited someday. I was intrigued by how directors “collaborate” with actors to great performances out of them. I was tickled to hear Wong Car Wai (and other directors) who say that it begins with “writing” with the actors in mind. I learned a bunch. Thanks for posting, RB!

Great share, RB! I never thought of writing Comedy as a collaborative process, but it makes sense, especially in a writers’ room. Sometimes I listen to music or movie scores when I write, but most of the time I need it silent. In the "Directing Actors - 24 Filmmakers on Writing, Casting, Prep, and Shooting" video, Wong Kar Wai said the best way to work with an actor or actress is to customize the role for him/her because you can borrow something from that person and in a way, the experience or performance will be unique. I do that sometimes with my spec scripts. I'll write roles for actors and actresses and since I've seen their movies and watched their interviews, I know things about them, which shape the roles I'm writing. Teresa Hsiao talked about the shows that inspired her work and her approach to writing Comedy in a collaborative way. The first script I read/the script that inspired me to write scripts was "Office Space." Horror movies and shows from the 70s, 80s, and 90s inspire my scripts now. The main approach I've followed throughout my journey is "plan and have backup plans" (with my scripts, pitching, etc.).

I've always loved the collaborative process in writing. I've always felt that writing is a lot like parenting whereas you instill and bring out in your child (or your character) the best traits to flourish and then get out of the way and release control. As mistakes happen, treat them as if they are simply part of the journey. I love Ed Catmull and John Lasseter's approach to this in the early years of Pixar with the philosophy of "failing fast" - learning from that and moving on to the next thing quickly. We tend to dread mistakes and condemn ourselves when we make them while forgetting how little they mean in the grand scheme. Subsequently, characters can become better shaped with input from others and we should never discount where a good idea can come from.

Loved Teresa’s video here. Collaboration is the backbone of every great project.

Thank you, Richard RB

I really enjoy these, RB! So true with Teresa about comedy writing - so much of it is collaborating. The project I'm working on right now is in pre-production and we're playing around with the script. It's a lot of fun hearing my cast bring their ideas to the table and I find it makes the scenes play a lot better too.

"Being able to put something on paper is always the challenge." What I love about Teresa mentioning that, is that it's a reminder that it never really gets easier. Creating something will come with challenges every single time and it's not a reflection of the artist if you're struggling, only if you give up.