We Speak Actors
Billie Vee stars in her self-penned film ‘Sparrow’s Call’, premiering at the London Independent Film Festival


Greek-British actress Billie Vee has written – and stars in – the psychological thriller ‘Sparrow’s Call’, which is showing at London’s Genesis Cinema on Sunday 21st April. Billie is thrilled that the film, which is directed by Tim Kent, has been officially selected for the London Independent Film Festival as it explores the challenges of being a migrant in this country, a topic that’s close to her heart. Here she talks about growing up in the birthplace of theatre, why she loves writing, and filming her movie during the Covid lockdown.
How did you get started as an actress?
“I was born in Athens, Greece, the birthplace of theatre, and I couldn’t even remotely imagine that years later I would be making films in London. From a very young age I remember being in awe of actors on stage. However it was when my parents took me to the cinema for the first time that I felt completely mesmerised. That’s when I knew I wanted to be an actor and that my biggest dream was to star in an English-language feature film.”
Where did you train?
“I trained at the Greek Art Theatre Karolos Koun and I received my degree in theatre studies from the University of Athens. After graduating, I started working and gaining experience that spanned from TV and film roles and TV presenting to performing on stage, including the ancient open theatre Odeon of Herodes Atticus. Wanting to expand my artistic horizons and learn how to act in English, I moved to London, where I immersed myself into a journey of continuous self-improvement and development of my craft.”
You wrote the screenplay for ‘Sparrow’s Call’ – how did that come about?
“While continuing my career as an actor in London, I felt the urge to pursue my childhood dream of starring in a feature film. That’s how writing came to my life and I started creating my own work. ‘Sparrow’s Call’ (directed by Tim Kent and produced by Alessio Bergamo) is my first feature film as a writer, after having scripted several award-winning short films and a web series.
“When I write something, it comes from inside me, as a need to express something deeper and then it transforms into a work of fiction to entertain an audience, and make them think and feel.”
Where did you get the inspiration for ‘Sparrow’s Call’?
“‘Sparrow’s Call’ is inspired by my personal journey as a generic migrant in London. Being a foreign actor, I was constantly labelled as ‘Greek’ or ‘exotic”, so I took those labels and moulded them into a fictitious character, Val. The only thing that happened for real and that’s depicted in the film is an incident with a sparrow that took place when I was a child in my father’s village. That’s how I came up with the title of the film.”
What’s the plot of the film?
‘Sparrow’s Call’ follows the story of Mike, a successful philosophy lecturer and a family man who is captivated by Val, an exotic dancer, after saving her from danger. When they throw themselves into a rollercoaster of physical and intellectual connection, Mike fears his whole world is about to fall apart and must face the consequences of his affair.I play Val, who’s a migrant from Greece, but her nationality remains obscure throughout the film. She comes from a low socio-economic background, working in the sex industry as an exotic dancer. She is hardened by life and wants to escape from her environment. She lives with her grandmother who is severely paralysed, but whose mind works perfectly well. By a twist of fate, Val meets Mike and falls in love with him, but also sees him as an opportunity to get out of what seems to be a hopeless situation.”
What was it like working on the film set?
“Working on the set of ‘Sparrow’s Call’ was an absolute blast from start to finish. I had the chance to play opposite David Bark-Jones, who brilliantly portrays the character of Mike, and also to work with the wonderful Valerie Colgan, who plays my grandma.”
“All the cast and crew were truly committed to the project, the environment felt safe and the whole set was oozing positive energy, something that was much-needed considering the fact that we were filming during the Covid lockdown.”
Where can we see the film?
“‘Sparrow’s Call has been officially selected for the London Independent Film Festival and will be premiering on 21 April at the Genesis Cinema. It’s highly recommended for those who love twisted psychological thrillers with an existential touch and subtle social commentary.”
Photo credit: Ryan O’Donoghue
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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