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Actress Charlie Blackwood stars in toxic relationship drama ‘Sal Azul,’ a festival favourite

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British actress Charlie Blackwood, known for her powerful performances in ‘Matriarch’ and ‘Toxica’, takes centre stage in the new character-driven film ‘Sal Azul’. Premiering at the prestigious Monterrey International Film Festival in Mexico, ‘Sal Azul’ (which translates as ‘Blue Salt’) has already attracted critical attention, with Variety selecting it as one of the 10 most outstanding films in the festival. Featuring Charlie in the lead role as Connie, alongside actors Gustavo Sánchez Parra and Enrique Arreola, the movie delves into themes of manipulation and toxic relationships. Here Charlie tells us about the importance of encouraging emotionally healthy relationships, finding hope in darkness, and the joys of filming in Mexico, 

What’s the storyline of ‘Sal Azul’?

“’Sal Azul’ follows the emotional and psychological journey of two people trapped in a toxic relationship. My character, Connie, is in an intense relationship with a man who gradually isolates and controls her. “

“The film explores the dynamics of how manipulation can sneak into even the closest relationships and how difficult it can be to see the truth when you’re deep in it.”

“It’s a raw, emotional story about breaking free and reclaiming your identity.”

Photo credit: Cómplice Films

You play the lead role of Connie in the film. What can you tell us about her character?

“Connie is a complex mix of strength and vulnerability. As her relationship progresses, we witness how manipulation breaks her down. What I love about Connie is her resilience – no matter how far she falls, she finds the courage to stand up again. She’s a survivor, and I think that resilience is something a lot of people can relate to.”

What drew you to this challenging role?

“Connie’s arc of self-discovery and empowerment really drew me to the role. Her emotional journey is a rollercoaster, but what struck me most was her strength. Despite everything that’s thrown at her, she doesn’t lose herself completely. Watching her claw her way back to empowerment was such a powerful narrative. For me, Connie represents the idea that strength doesn’t always mean never breaking – it means knowing how to rebuild.”

How can this film raise awareness about toxic relationships?

“Manipulation in relationships can be incredibly harmful because it’s often subtle at first. It creeps in through small compromises, gaslighting and emotional control.”

“Unfortunately, many people don’t realise they’re in toxic dynamics until the damage has been done. That’s why films like ‘Sal Azul’ are important – they shine a light on these difficult issues and encourage conversations around mental and emotional health.”

What was it like filming in Mexico?

“Filming in Mexico was such an incredible experience. It was my first time working there. The location became an extension of the film’s emotional landscape, and the isolation of filming in a place where I didn’t speak the language mirrored what Connie was going through. It helped me tap into her experience and bring that authenticity to the screen. Also, working with the local cast and crew was fantastic. They were so welcoming, and while there was a language barrier at times, the shared passion for the project made communication much easier. The challenges we faced were part of what made the experience so unique and rewarding. It was fun, emotional and intense – all the things you hope for when you work on a project like this.”

Photo credit: Cómplice Films

What’s the target audience for ‘Sal Azul’?

“’Sal Azul’ is a film for anyone who has faced challenges in relationships or who has struggled to find their voice. It’s emotionally intense, but ultimately hopeful. I’d recommend it to people who enjoy character-driven stories with real emotional depth.”

‘Sal Azul’ is newly released on Amazon Prime Worldwide and Tubi USA

For more information about Charlie Blackwood, please visit:
www.imdb.me/charlieblackwood

https://www.instagram.com/charlieblackwood

https://www.facebook.com/CharlieBlackwoodOfficial

Featured photo credit: Oihane Molinero

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We Speak Actors

Interview with Leonid Andronov, author of ‘First Draft Survival Guide’

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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.

Photo credit: Kristina Pilskaya

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.

Photo credit: Jose D. Rodriguez

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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