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From stage to screen: the versatility of actress Anna Silverman 

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Anna Silverman is an Israeli-Russian theatre and film actress based in London, who is known for her strong, emotional portrayals of often tragic heroines. She’s played the lead role in the Chekhov plays ‘Three Sisters’ and ‘Uncle Vanya’ on stage, as well as the much-loved Anna Karenina. Anna performs in both English and Russian, and is now moving into the film industry. Here she talks about learning from her grandfather, being part of a team and exploring new genres.

Anna, can you tell us about your beginnings as an actress?

“My love for acting began at a very young age. As a child, I was always drawn to storytelling and make-believe. I vividly remember putting on impromptu performances for my family and friends and reenacting scenes from my favourite movies and TV shows. It was in those moments that I realised how much joy and fulfilment I found in bringing characters to life and connecting with an audience.”

Who inspired you to become an actor and why?

“I was introduced to the stage from an early age by my grandfather, a famous theatre actor back in Moscow, who used the Stanislavski method. It sparked an interest in performing, so I spent my childhood growing up in the theatre, starring in productions and dreaming of leading roles in plays and movies.”

Photo credit: Ben MD Photography

You’ve acted in a lot of theatre projects, including several lead roles? 

“I had the pleasure to be part of incredible performances in leading roles, including the Anton Chekhov masterpieces ‘Three Sisters’ and ‘Uncle Vanya’. I aimed to fully inhabit the mannerisms and realities of every character.”

What has been your favourite acting project to date?

“Playing the lead role in ‘Anna Karenina’ was a dream come true for me.”

Anna is a complex and fascinating character with a rich emotional journey. As the enigmatic Anna, I had to delve deep into her psyche to understand her motivations, desires and struggles. She is a woman torn between societal expectations and her own yearnings for love and fulfilment. Her forbidden romance with Count Vronsky adds layers of passion and intensity to the character.”

What was the most challenging part of playing Anna Karenina?

“Conveying the depth of her emotions and the internal conflicts she faced. I had to embody her emotional highs and lows, from the initial excitement of falling in love to the torment of her isolation and eventual tragic fate. The role demanded a lot from me as an actress, both physically and emotionally. I worked closely with the director and the rest of the cast to bring Anna’s story to life authentically. The audience’s response to the production was overwhelming, and I felt truly humbled by the impact the performance had on people.”

Photo credit: Allan Jenkins Photography

How is it different working on film projects?

“I have had a great experience working on short films, which has been an incredible journey for me as an actress. These projects may be shorter in length, but they offer unique opportunities for storytelling and creative expression. One of the short films I had the privilege to be a part of was about an emotional break-up, betraying the feelings and trust between people. One of the things I appreciate most about working on short films is the close-knit nature of the production. The teams tend to be smaller, everyone involved is genuinely passionate about the project, and this fosters a strong sense of camaraderie.”

What are your plans for the future?

“I still have many dreams and aspirations! One of my biggest goals is to take on a challenging lead role in a feature film that allows me to delve into a multifaceted character.”

I’m also eager to explore different genres, from drama to comedy, and even action roles. I’ve always been passionate about social issues, and I’d love to use my platform as an actress to be part of projects that shed light on important topics and make a positive impact on society.”

www.annasilverman.co.uk

Featured photo credit: Allan Jenkins Photography

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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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