Write On: Peter Katz - Manager & Producer, Story Driven
Write On: A Screenwriting Podcast
Release Date: 03/19/2025
Write On: 'Hedda' Writer/Director Nia DaCosta
Write On: A Screenwriting Podcast
“I love adaptations. The beauty of adaptation, especially a classic, like Shakespeare and Chekhov or Ibsen, they’re such a gift because they give you this beautiful framework, and it’s almost like they’re begging you to take it and make it your own,” says writer/director Nia DaCosta about adapting Henrik Ibsen’s 1891 play Hedda Gabler into her new film Hedda. Set in the 1950s, the movie stars Tessa Thompson in the lead role, Imogen Poots as Thea, and reimagines the character Eilert Lovborg as a queer woman (now Eileen), played by Nina Hoss. We chat with Nia...
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Write On: 'Splinter Cell: Deathwatch' Creator/Writer Derek Kolstad
Write On: A Screenwriting Podcast
“As you do draft after draft, it becomes shorter and rendered down. And [Keanu Reeves and I] would go through scenes going, ‘Can people say less? Can the action be tighter? Can the action sequence be shorter?’ The action is an extension of the hero’s journey and if you don’t give a sh*t about the character, it doesn’t matter how great your action is,” says Derek Kolstad about his writing process with actor Keanu Reeves when they worked on the script that would become John Wick and spark an entire franchise. On today’s episode, we speak with screenwriter Kolstad about his...
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Write On: 'After the Hunt' Writer Nora Garrett
Write On: A Screenwriting Podcast
“People never lie so much as after a hunt, during a war or before an election.” –Otto Von Bismarck “It's funny, because when I was writing After the Hunt, I definitely wasn't like, ‘Oh, I want to write about this current socio-political moment.’ I was really just invested in the characters and the story,” says screenwriter Nora Garrett about writing a screenplay that probes the dynamics of power, privilege and social accountability. She adds, “What I didn't even realize was something that was drilled into me because of my acting training – that the work, the scripts,...
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Write On: 'Anemone' Co-Writer/Director Ronan Day-Lewis
Write On: A Screenwriting Podcast
“[My dad] really started to inhabit the characters, especially Ray, speaking as him during the writing process. That was when I realized this was going to be its own kind of special beast. Working with him taught me so much as a writer and storyteller; by the time we got to set, we had a shorthand for everything,” says director and co-writer Ronan Day-Lewis about writing the script Anemone with his father, Daniel Day-Lewis. The film Anemone, starring Daniel Day-Lewis, Sean Bean and Samantha Morton, paints a portrait of a family torn apart as they struggle to come to terms with...
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Write On: 'All Of You' Writer/Director Will Bridges & Writer/Actor Brett Goldstein
Write On: A Screenwriting Podcast
“You have to love all your characters. Even if you're writing a bad guy. You, the writer, have to write them with love and empathy, and treat each character, give each character, a full life and a full arc in your story, even if their screen time is small. Essentially, if you were following that character, they also have a full story, a full life,” says actor/writer Brett Goldstein about how he approaches writing characters in film and TV. On today’s episode, we chat with writer/director Will Bridges and writer/actor Brett Goldstein about their new film All of You, starring Imogen...
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Write On: 'Mussolini: Son of the Century' Director Joe Wright
Write On: A Screenwriting Podcast
On today’s episode, we speak with director Joe Wright whose new limited TV series Mussolini: Son of the Century, explores fascism through the early political career of Italy’s Prime Minister Mussolini in the 1920s. The show is incredible storytelling from beginning to end, mixing opera and techno rave music while drawing chilling comparisons to the current rise of fascism around the world. “We all have a dark side. We all have the choice to be the best of ourselves, or the worst of ourselves and we usually land somewhere in the middle. Working on Mussolini allowed me the...
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Write On: 'The Toxic Avenger' Writer/Director Macon Blair
Write On: A Screenwriting Podcast
“The thing that started it all off was me saying [the character Toxie] should be a guy in a suit. In other words, let’s not do a computer-generated creature, let’s have a person in a suit and have that handmade, hand-stitched kind of quality to it where you can sort of see the seams a little bit and have that be part of the fun. I also said let’s have it be rated R. Hopefully y’all are not interested in a family-friendly PG-13 version of this movie, because that’s not what the fans of the original are going to want, so let’s keep it in the R-zone. And let’s make sure it stays...
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Write On: 'Sirens' Creator/Showrunner Molly Smith Metzler
Write On: A Screenwriting Podcast
“Our goal in writing [Sirens] was to write something that makes you think, and offers the opportunity to re-examine your own assumptions that you made about these characters. And it's taxing. We ask some difficult questions. It's not The Perfect Couple. It's not a murder show. We're going after something thematically that’s really large and really ambitious, and that's why the Greek mythology came to mind. These are epic stories. These are about blood, and moms, and torture, and trauma, and pain. These themes are not tiny. These are complicated, juicy stews,” says showrunner and creator,...
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Write On: 'The Home' Director/Co-Writer James DeMonaco and Co-Writer Adam Cantor
Write On: A Screenwriting Podcast
“Write your own anxieties. Get into your own psyche. I think if it scares you – like, I'm terrified of guns, and that's where The Purge came from. But here, there were various generational fears and whatnot that led to The Home, Adam's fears and my fears about getting older and our anxiety. So I would say if it's born from your fear, the majority of the audience probably has a similar fear. I think we are communal in that way. Fears are not singular, so I think you should work off your own fears, and on a practical level, if you can keep the budget small, you're in a much better place...
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Write On: 'Abraham's Boys' Writer/Director Natasha Kermani
Write On: A Screenwriting Podcast
“Vampires hold incredible destructive power, and so we're very drawn to them, sort of like moths to a candle, right? I think that's sort of eternal, and that's the reason every culture, pretty much around the globe has some version of the vampire because it represents that very human conflict of what we desire which is so in tune with and aligned to things that can also destroy us. That just feels very honest and eternal, so I don't think [vampires] will ever go away. I think they will be an eternal part of our mythologies,” says writer/director Natasha Kermani, about the everlasting...
info_outline“Sameness is terrible. Your goal is to cut through it. If you have a unique perspective, you’re going to take vampires or anything that everybody thinks they know and do it in a way that’s really exciting and gets people really pumped up about it. There are all these incredible worlds to explore, but there just needs to be somebody that can take you there that has a different way of doing it… I want to see creators that offer something specific and unique. Specificity is key to me. I don’t want a cover band. I don’t want people covering what has been before. I want to see something new. I want to see a badass band with a new singer or new lyrics, a new style of music,” says Peter Katz, founder of Story Driven, a literary management and production company.
On today’s episode, we speak to Peter Katz, a manager and producer championing writers with fresh, unique voices who are forging new ground. We talk about what he looks for in a writing sample, why he loves being a judge in Final Draft’s Big Break screenplay competition, and why short stories are having a bright moment in the film industry.
“Recently, I’ve actually seen TV executives starting to think about short stories as a foundation for potential shows. It’s a really effective way to communicate an idea quickly, in a really conceptual way, but also, it’s not like a pitch. It’s very tonal. You have character perspective and you have the style that the author brings to it. So I think it has a really unique marriage between pitching the concept, but also immersing you in a world in a very short period of time. That’s why I think it’s been effective in selling to a market, because you could share a short story with somebody and it doesn’t demand a lot of time. If it’s developed properly, you’re able to learn about the potential of this project and then quickly share with somebody else on your team. And overnight, a lot of people can sign on to a project because it doesn’t take as long as other mediums,” says Katz.
To hear more about Katz’s perspective on the industry and what he looks for in a writer’s voice, listen to the podcast.