We Speak Actors
Actress Charlie Blackwood on her new role in the just-released Apple TV+ series ‘The Enfield Poltergeist’

Charlie Blackwood’s career debuted at The National Theatre, followed by The Royal Opera House, London. In quick succession, she fast became known for her lead role in ‘Matriarch’ movie released by Lionsgate and now she’s taken a new role in TV which has just been released. ‘The Enfield Poltergeist’ is produced for Apple TV+ by MetFilm and Concordia Studios, the same producers of Apple’s ‘Still: A Michael J. Fox Movie’ which is this year’s most Emmy-nominated documentary. The series is directed by Jerry Rothwell. Executive producers are Al Morrow, BAFTA winner Stewart le Maréchal, Oscar Award-winning Davis Guggenheim, Jonathan Silberberg and Nicole Stott.
Charlie, can you tell us about your appearance in the new Apple TV+ series ‘The Enfield Poltergeist’?
Sure, I play the role of Teacher in Episode One. The show is about the most famous and well-documented poltergeist haunting in history, which happened in Enfield, London during the 1970’s. The show’s creators of used real-life audio recordings taken at the time of the hauntings and actors to reenact those scenes. It’s very unique, and has a wonderful balance of reenactment, real-life interviews and beautifully crafted cinematic scenes. We had the cast & crew screening last week and I have to say this is such an awesome project to be part of. Audiences are in for a treat!
How did you prepare for the role?
My preparation was different to any usual approach for me, as we were acting alongside the audio recordings and therefore had to lip-sync. This seemed similar to when I watched ‘London Road’ at the National Theatre, however, achieving this on-screen seemed like a bigger feat, to give audiences an authentic, realistic close-up performance. The voice of the character I was playing was unfamiliar and brought out characteristics I would perhaps not have chosen otherwise. It was such fun to explore the breath and vocal inflexion of the teacher in the recording and bring her voice to life.
What was your experience on the set of ‘The Enfield Poltergeist’?
I love being on set, whether it’s film or TV; it seems to be my happy place.
“I enjoy the camaraderie that comes with a team of like-minded individuals coming together to create something new and exciting. Some amazing friendships have come from being on set, ‘The Enfield Poltergeist’ being no exception.”
Working with an earpiece was a new experience for me. We were given them on set to hear the audio recordings, which enabled us to keep the accuracy of the performance. It did take me a moment to get used to it. As an actor you’re actively listening to the other characters in the scene – it was strange to hear them so clearly in your own head!
Where are you currently more, in the UK or US?
I move between the UK and the US depending on work. However, with the SAG-AFTRA strike I have found myself in the UK for a longer period.

Which project should we look forward to seeing you in next?
‘Blue Salt’ is my next project which was filmed in Mexico in 2022. It’s just had its debut festival screening at The Monterrey International Film Festival, in which Variety selected it among the “10 Most Outstanding Films at Monterrey”. The story centres around the character I play, called Connie, who finds herself in a toxic relationship where she is being manipulated and essentially gas-lit by her partner Vic, played by Gustavo Sánchez Parra. Her situation is made even more harrowing by the fact that she’s isolated by language and cultural barriers. The film is directed by Alejandro Cervantes Polanco, who is making his feature film debut, alongside cinematographer Juan Jose Saravia, and production company Cómplice Films. I imagine it’ll hit a distribution deal for next year and will be released in Spanish and English – the Spanish title being ‘Sal Azul’. There is so much to say about ‘Blue Salt’, but it’s perhaps best to keep it under wraps a little longer, for when audiences will be able to get their hands (or eyes) on it!
All four episodes of ‘The Enfield Poltergeist’ are now available on Apple TV+
‘Matriarch’ movie is available on Sky Store UK and Amazon Prime US.
Featured photo credit: Oihane Molinero
We Speak Actors
Interview with Leonid Andronov, author of ‘First Draft Survival Guide’

In an industry where the blank page can be the most daunting hurdle for aspiring screenwriters, Leonid Andronov offers a much-needed lifeline with his book ‘First Draft Survival Guide’. Drawing from his own experiences of struggle and self-doubt, Andronov provides writers with a roadmap to navigate the messiness of the first draft—offering practical advice, humor, and much-needed encouragement. In this interview, we dive into the inspiration behind the book, explore some of the challenges new writers face, and discuss how ‘First Draft Survival Guide’ stands apart from other screenwriting resources. Whether you’re a seasoned screenwriter or just starting out, Andronov’s candid insights are sure to inspire and motivate you through the tough stages of your creative journey.
What inspired you to write First Draft Survival Guide? Was there a specific moment when you realized this book needed to exist?
At the time, I was deep into the second part of a psychological thriller novel, and I’d been stuck for two years. Exhausted. Frustrated. On top of that, two of my scripts were under consideration, and with the holiday season approaching, I knew I wouldn’t hear back for at least a month. Waiting drives me crazy—I’m terrible at it. I needed something to keep me sane.
During one of my masterclasses, we discussed the idea of a workshop about writing a first draft. To distract myself, I started organizing my thoughts on the topic, just to stay busy. And then, almost out of nowhere, this book happened.

I wouldn’t say I had a grand realization that the book was “needed.” It was more like a sudden creative explosion. I worked like a madman—15 to 16 hours a day—and by New Year’s Eve, the first draft was done.
What’s the biggest challenge writers face when starting their first draft, and how does your book help them overcome it?
Starting is easy. You’re full of energy, inspired by your idea, and eager to dive in. The real challenge comes when you hit the middle. That’s where enthusiasm fades, self-doubt creeps in, and suddenly, the finish line feels impossibly far away.
By the second act, most writers feel stuck—unsure of how to move forward, overwhelmed by everything that still needs to come together. Even if they have a rough ending in mind, actually getting there is another story.
That’s where my book comes in. It doesn’t promise to teach you how to write a brilliant script—that’s up to your talent. But it does guide you through each stage of the process, highlighting common pitfalls and giving you tools to stay organized, focused, and motivated.
My goal is simple: to help writers survive the hardest part of screenwriting—getting through that first draft—and come out the other side with something they can build on.
You’ve mentioned laughing at your own mistakes in the book. Can you share one of the funniest or most memorable lessons you learned as a screenwriter?
Oh, I’ve got a good one.
I once made the rookie mistake of showing an unfinished script to a producer friend—just days after confidently telling a masterclass, “Never show your first draft to anyone in the industry!” I even stressed that early drafts are for you and your beta readers only.
And what did I do? I did something even dumber—I showed him a half-finished script. I was stuck, I needed feedback, and since we were good friends, I felt safe.
The moment I started reading it out loud, I felt like I was falling into an abyss. He just sat there with a poker face, and the deeper I went, the more I wanted the earth to swallow me whole. Funny enough, days earlier, we had been discussing me directing the project.
Let’s just say… nobody talks about that project anymore. Not even me. Don’t ask—I might start crying.
Your book isn’t just about writing—it’s about what comes next. Why did you feel it was important to include that “what next” section?
Many new writers think, “Okay, I’ve just written a fantastic screenplay. Where should I send it?” But the harsh truth is, nobody is sitting around waiting for your script.
The numbers say it all—back in 2020, the WGA registered over 50,000 works, yet only 25 spec scripts were purchased. Do the math.
Does that mean you should give up? Absolutely not. But it does mean you need to understand the industry. Many writers today are shifting into producing because it’s one of the best ways to bring their scripts to life. Others stick to the traditional path, but even that requires more than just a great script—you need a full package: a logline, a synopsis, sometimes a treatment, and a pitch deck.
When I was starting out, nobody explained why I needed these materials or how to use them. That’s why I included this section in the book—to demystify the process and show writers how to navigate the business side of screenwriting.

What makes First Draft Survival Guide different from other screenwriting books?
I didn’t want to write another theory-heavy textbook. Most of the screenwriting books I read early on focused on how to write a great script, using examples from Hollywood blockbusters. That’s great—but let’s be real.
When you’re starting out, are you writing the next Inception? Or are you aiming for something achievable, like an indie film?
A great script is the result of multiple rewrites. But nobody really talks about the first draft—the messy, flawed, crucial first step. My goal was to write a book that feels like a conversation with a friend—someone who’s been there, who understands how daunting the first draft can be, and who’s here to help.
And maybe I’m the only one saying this, but: Writing should be fun.
Apparently, I’m not alone in that belief—when First Draft Survival Guide became the #1 Hot New Release and later the #1 Bestseller in the Play & Scriptwriting category on Amazon, it was clear that this kind of book was exactly what writers were looking for.
If you could sum up your approach to screenwriting in three words, what would they be?
If you’re asking about how I write:
System. Research. Writing.
I’m very structured. I spend a lot of time researching and organizing my thoughts before I even start writing. And then, when I do write, I go all in. If I’m not feeling it, I wait. But when the moment comes, I work fast—sometimes finishing a draft in just two or three days.
If you’re asking about what I write:
Underdog. Drama. Visuals.
I love underdog stories. I started as a dramatist, and that love of drama has never left me. And my writing is highly visual—people often say reading my scripts feels like watching a movie. To me, that’s the highest compliment.
What do you think is the most misunderstood part of screenwriting?
For people outside the industry, screenwriting is practically invisible—and, frankly, they don’t care. The most frustrating misconception? The idea that “anybody can write.”
Some people assume that being smart or successful in another field means they can whip out a screenplay if they feel like it. Well, they’ve clearly never tried.

There’s also this ridiculous notion in filmmaking circles that, when it comes to financing, a script is only worth the price of the paper it’s printed on. It’s absurd. Without a script, there’s no movie. Maybe that’s why we end up with so many garbage films.
Many writers struggle with procrastination and self-doubt. How does your book address these hurdles?
When you’re stuck, it’s easy to spiral into self-doubt. Writers are naturally self-critical, and that can be paralyzing. I’ve been there—I know how miserable it can feel.
In my book, I focus on tools to help writers relax, rekindle their inspiration, and even prevent those blocks from happening in the first place. One of the most interesting ideas I explore is the inner child—understanding how to communicate with it and why it’s crucial for creative work.
For writers unfamiliar with this concept, it can be a real game-changer.
What do you hope readers take away from First Draft Survival Guide—not just as writers, but as creatives?
Any creative process is still a process. It’s not easy, and sometimes it feels like torture.
My hope is that this book gives writers the tools and perspective to push through the hard parts—but also to find joy in the journey.
Fetured photo credit: Jose D. Rodriguez
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