Screenwriting : What is your creative identity? by Geoffroy Faugerolas

If I had to simplify myself as an artist, it would be "strange and wonderful." I live in my own world which has several different faces (since I'm not bound by one genre), my characters aren't people (or animals or even forces) I make up, but rather my friends that I'm introducing to you, the reader (and eventually viewer). I ignore reality as much as I can when I write since that's where I feel most connected to myself, but I also have a touch of realism in everything I write to give it that little something so no one can effectively copy me lol.

I'd like to think I write drama in particular as well as I do because there were several times where my whole life felt like a soap opera (so I can't help but laugh when people say love triangles, for example, are unrealistic or uninteresting). It's also what makes art have life; without drama, you don't have a story. I'm heavily influenced by anime and manga in particular, particularly from the 70s to the early 2000s. I consider the likes of Osamu Tezuka, Satoshi Kon, Kunihiko Ikuhara, Rumiko Takahashi, Naoko Takeuchi, Riyoko Ikeda, Ai Yazawa, Wataru Yoshizumi, and CLAMP my rivals because I greatly respect their works and hope to be half as good as them.

Hey, Geoffroy Faugerolas. Here’s my artistic statement: “Terrifying stories you won’t forget and action-packed fun you can’t miss. I’m a Horror Action screenwriter who writes high-concept stories and flawed characters. My scripts aren’t just terrifying and fun potential money-makers. They’re about things people deal with in real life, like dysfunctional families and relationships, poverty, bullying, and facing your fears."

Geoffroy My Creative Identity

I write the way directors ideally direct — shot by shot. I visualize the entire film in my head, with music, colors, and rhythm. What’s the director’s secret? Intense focus. For 50–70 days, that world is the only thing that exists. That’s how I write: I don’t just imagine what isn’t there yet — I believe it is there. And I have to get it down fast. Why? Because for a few days, the whole film is right there with me, vivid and alive. Wait too long, and all I’ll be writing is the memory of it — like trying to describe a dream hours after waking. If I stretched it out over a year, I’d be writing from habit, not inspiration. But when I capture it quickly, it’s like shooting it with an 8K ARRI camera, frame by frame. If I start second-guessing myself or let others shake my vision, it turns into a worn-out VHS copy.

I write full, production-ready screenplays — often in two weeks — complete with lead and supporting characters. It's like photographing a rainbow: either you catch it now, or you'll end up faking it in Photoshop. I’m always open to notes and revisions, but I build the script in a way that rarely benefits from too much tinkering. My scripts are extremely director- and actor-friendly — you could start shooting tomorrow. I’m aware others will shape it later — that’s okay. Editing is the final form of directing, after all. That’s why I don’t obsess over whether a line “can be acted” — I write it as if it’s already spoken. To me, the screenplay is a raw capture of a living world. Others will color it, sure — but let them adapt to the raw footage, not the other way around.

I like my scripts to feel like movies when read. It all started in childhood, sketching scenes from films — basically storyboarding before I knew the word. A painter once told me, “Develop the picture as a whole,” and I’ve carried that advice ever since. I write the beginning, middle, and end all at once. My style? Two things: First, I only write stories that clearly reflect my voice — humor is key, emotion even more so. I could tell the whole story in visuals alone, but not everyone reads that way. Like a Tarantino film — sure, the exploding head is funny, but you need the dialogue. And you need it now, not later. Second, if asked, I can write in such a way that the film feels like a Spielberg, Tarantino, or any other filmmaker’s work. It’s as if it were their film, with their signature style. I can blend styles when needed, creating something that feels just like one of theirs, but at its core, it’s always my story.

I think the drive for me is with a lot of my own experiences, perspective and inspiration from other medias, along with the drive to push satire and trying to make the audience reflect upon themselves.

"Strange and wonderful" caught my eye, Banafsheh Esmailzadeh. Your personality and passion shine through your artistic statement. I think it could be shorter though.

You did a great job articulating what makes your voice unique, Patrick Kovács! Your artistic statement has a strong opening, and I can tell you're part director from the way you wrote your statement (things like "it’s like shooting it with an 8K ARRI camera, frame by frame"). I suggest making your statement shorter.

I think you're on the right track with your statement, Justin Groats. I suggest adding more though, like what themes you write about.

Patrick Kovács If you write for yourself to direct, it makes total sense!

Justin Groats love this. Anything particular about your experience that's pushing you in that direction?

Geoffroy, I’d say my scripts are ready for immediate production, but flexible enough for collaboration too. I believe most directors appreciate when the foundation is solid and doesn’t need to be rebuilt. Same with studios — they want something fully thought through.

Today, a lot of development happens because rough drafts hit the market. I write complete, adaptable scripts — a feature can quickly become a series if needed.

And no, I don’t write just for myself to direct — I write for the ideal directors.

Hi Jefroy,

Thank you for this inspiring post. It’s a great reminder that our creative identity is as vital as our scripts. I believe my storytelling always returns to the intersection of trauma, memory, and justice—often through morally complex characters and layered emotional landscapes. I’m drawn to stories where silence speaks louder than words, and where the line between victim and villain blurs.

Looking forward to learning from others and growing with this community.

As a screenwriter, I’m drawn to stories where personal pain meets global consequences.

My creative identity lives at the intersection of philosophical themes, emotional survival, and societal breakdown. Whether it's a father grieving through climate collapse (Blackout Protocol) or a killer shaped by childhood trauma (TREE), my work often explores how human fragility responds when systems—social, moral, or environmental—fall apart.

I tend to write in grounded genres like psychological horror, slow-burn thrillers, and climate-focused dramas, but the through-line in all my writing is the conflict between truth and denial — both within individuals and in the world they inherit.

I aim for stories that linger, that leave you questioning not just what happened, but why it happened — and what it says about us.

Would love to hear what you think — and to connect with other writers who explore darkness with purpose.

Like most people, I’ve watched movies since before I can remember. I’m a former baseball coach and scout. I’ve never just watched a baseball game purely for the sake of entertainment as I would pay close attention to every detail and learn just as I would while watching movies. I’ve always been very analytical, wanting to understand what works, what doesn’t and why.

I’ve not only written three outstanding screenplays/stories as I have an ability to visualize every single scene, I also try to share my vision with whoever reads my scripts and insert them into the story. I take it upon myself to produce every single document I can possibly make to aid in the future production of each story.

Great job on your artistic statement, Ahmad Shah Dilawari! I'm not sure what "layered emotional landscapes" means though.

You got my attention right away with the opening line, Yaşar Taşbaş. I think your statement could be shorter, but excellent job on it overall!

I like your artistic statement, Phil Savage, and it got my attention right away. Your comment is broken up into lines, so I can't tell how long it is/if it needs to be shorter.

Geoffrey, I’m reminded of a quote I once heard: “How could you have lived and not have a story to tell.” It’s important to always be true to yourself. Your words will then speak volumes and resonate with others.

To me, everything always boils down to fear. And all fears stem from the root fear: death—whether physical or psychological, like losing your identity or losing control.

Marco Pieper .That's such a powerful insight — fear as a root system, with death at its core. I completely agree.

In my horror writing, I often find that even the physical threats (monsters, isolation, violence) are really just metaphors for something deeper — the fear of non-existence, or of losing what makes us "us".

Sometimes, the scariest thing isn’t death itself, but slowly fading into irrelevance, or becoming someone we don’t recognize anymore.

LAURIE ASHBOURNE - writer/producer who impacts with emotional roller coasters, that seep under our skin and push our buttons.

The unifying thread of all of my stories is that I develop character flaws and arcs from their family (whether that is current dysfunction, historical legacy or values) and that applies to all genres.

Fantastic artistic statement, Laurie Ashbourne! My favorite part is "impacts with emotional roller coasters, that seep under our skin and push our buttons."

Interesting request.

I tend to live in resonant themes that include loss and grief; romantic and familial love; the struggle for identity; friendship; the effects of societal pressures; and the desperate desire to build a better life.

Geoffroy, thanks for asking this question! Every story I've created is one of human persistence to achieve while improving the quality of life for themselves and their loved ones. Flaws are as key as attributes. I also place the story in the midst of a time in history for which I have a passion and have researched extensively. Tragedy, injustice, romance, greed, disappointment and triumph!

I really enjoy reading everyone's artistic statement. And don't forget to include the reason why you are drawn to these stories. I know it's hard to be vulnerable, but it helps the execs understand who you are and why you are the best person to tell these stories!

Fantastic job on your artistic statement, Catherine Cole!

Thanks for the advice, Geoffroy Faugerolas ("don't forget to include the reason why you are drawn to these stories").

Adding the why... All my life I've been curious of society and what makes people 'tick' within it. This could be due to my family history, stories about which I've been told since childhood. My people settled in one place in the 18th century and many still live there!

My advise is to start with WHAT LIFE EXPERIENCES HAVE INFLUENCED YOU and then go into HOW DOES THAT INFLUENCE YOUR WORK?

Well in that case, I would add to my answer that the reason all of my films are emotional rollercoaster that get under your skin by building on a foundation of family (dysfunction or other) is two-fold: 1) I studied advertising and journalism at a school founded by Ben Franklin's Poor Richard Club and its focus went a lot deeper than practical instruction; it dug into the science behind what motivated and engaged people. 2) Then when I went to Disney, I realized that the model they use to produce family films applies to any story in any genre. That and having to sit in a room as Jeffrey Katzenberg demanded our work would never be done unless we made everyone cry, are events in my life that have shaped me and my work forever.

Here's a few of my favorite ones over the years:

As a Black gay man who grew up in the South and spent the majority of his youth in the Baptist church, the themes in Brandon’s writing usually center around: community and family, the supernatural, queer, BIPOC life and music... all with a dash of soap.

As a multiracial woman born to one of the only Chinese-American men in her small Texas town, Callie has never fit into a mold. She aims to tell stories that inspire and educate audiences, helping those who don't fit the mold feel a bit more understood while drawing attention to the inherent connection we all share with one another, no matter how seemingly different we are.

Lawrence is a dramedy writer with a rich heritage and an eclectic background whose scripts often explore issues surrounding gender, sexuality, disabilities, addiction and mental health through the lens of unseen worlds like drag culture or the military. An LGBTQ+ Middle Eastern American Army Brat who became a drag queen, Lawrence is uniquely positioned to champion the stories of those who are different and to challenge what it means to be normal.

With an eclectic background as a biracial citizen of the world, Stephen is unique positioned to write high-concept, socially-conscious stories that highlight the perspective of the “Other”.

Micheal began his writing path when he wrote a play about a subject that has always been dear to his heart: homelessness. That play won him a statewide playwrighting contest and he soon realized the power of words. He forged a career that eventually took him into the writers’ room on the hit network television series PRISON BREAK.

Thanks for the examples, Geoffroy Faugerolas!

Thank you Geoffroy!