The Stage 32 Videos: Writing

Greetings! I am Andrey Shvidko, a screenwriter and the author of the project "Homo incorporeus" (Incorporeal Man). As a writer, I am always looking for new ways to tell stories, and today I use AI as a powerful tool to amplify the meanings that matter.My latest work is a song and video titled "Pocketman". It’s a sharp, social commentary on the power of money and how it pockets our world. Think of it as a screenplay translated into the language of industrial rap and future technology. I would appreciate your professional perspective on this synthesis of social poetry and AI tools. Anyone who wants to watch this music video in full can do so on my YouTube channel, which is easy to find by its unique name: @HomoIncorporeus https://www.youtube.com/watch?v=2KQ8N_l4YaA

I’ve been working for months on something I truly care about, and I’m really excited to finally share it properly. What makes this special to me is the chance to work closely with two people who have shaped the way we all think about story: James V. Hart and Christopher Vogler. Not in a big conference, not in a crowded masterclass, but in a small, focused group where you can actually talk, ask questions, and work on your script face to face with them. It’s not just about lessons or theory. It’s about sharing meals, late-night conversations, script discussions, and those moments when a mentor says one sentence that changes how you see your whole story. For me, the goal is simple: create a place where serious writers can grow, connect, and spend a few unforgettable days focused only on story, craft, and the joy of being part of a creative community. In May 2026 we’ll be hosting Cinema Residency, a small international screenwriting workshop in Puglia, Italy. Just 15 writers, all working on their own projects, spending five full days together by the sea. If that sounds like something you’d love, you can find more information here: www.cinemaresidency.it

King of Fraud Trailer 20 sec

“ In his final attempt to save a dying horror radio show, Mike invites a voice actor live on air—unaware that the guest will turn the broadcast into a nightmare. ”

Walking actors, cinematographers, and designers through the details of their work on the page is obviously bad form. Nobody likes being told how to do their job... but what if you're right?

Financing is the process of soliciting investment capital or loans, based on the premise of a return of investment... and now we're going to talk about how I understand that process when it comes to feature film production.

What's the deal in Hollywood, when it comes to business? What goes into the financing of a motion picture? Let's talk about it!

A video I made of my niece. She’s a girl filled with deep curiosity, and I often see my younger self in her. I’ve never wanted to lose that childlike excitement or curiosity for life. When I was young, I was endlessly curious—always rummaging through my grandparents’ things. Their home was filled with pieces of the world: souvenirs from faraway places. My grandpa traveled often for work, visiting many countries. He didn’t talk much about those trips, maybe because to him they were just business, but to me they were everything. Those objects sent my imagination spinning—thinking about the beautiful journeys he took and the fascinating people he must have met. I wondered what their lives were like, who they were, and what stories they carried. I remember thinking how lucky he was, and dreaming that one day, that would be me—writing my own beautiful journey.

Some writers see short film as a medium that lets them off the structural hook. My advice is to look at it as a magnifying glass, showcasing the quality and strength of your fundamentals to the audience.

Is spectacle some weird magic that only shows up for certain movies, or is it just what you get for selling out your artistic integrity? No. In fact, spectacle is something you can create on command, to whatever artistic effect you like, using any materials you have on hand to work with.

Probably the favorite objection to the idea of an active dramatic structure is a writer's creative desire to build active characterization through catharsis. Let's not assume that a writer's ideas require a passive approach to the structure. Let's work out how to get there without asking the actor to sell a character to the audience.

In these videos, we've talked a lot about how writers need to put their agendas aside and build their stories around the actors... so what happens when a writer has something they want to say on the screen?