We Speak Actors
Hannah Margetson on embodying the grotesque in ‘Hellboy: The Crooked Man’

Actress Hannah Margetson appears in some unforgettably creepy scenes in the new film ‘Hellboy: The Crooked Man’. In the reboot of the franchise, Hellboy discovers a remote community dominated by witches and led by a sinister demon; Hannah plays the mysterious Cora Fisher. Director Brian Taylor worked directly with Mike Mignola, the original creator of the Hellboy comics, to bring the story straight from the comic book to the screen. In a recent Business Insider article, Brian Taylor compliments Hannah’s performance, calling her “an incredible actor and just an out-of-this-world physical performer.” Hannah is also the founder and co-director of Snake Height Creative Company, which offers worldwide services in talent representation, casting, and events. Here she talks about pushing herself in grotesque scenes, supporting other artists, and “punk-rock filmmaking”…
Tell us about ‘Hellboy: The Crooked Man’ – and who would you recommend it to?
“The film is like a fever dream, loaded with hidden references that are mystical, comic, abstract, and absurd. I’d recommend it to folk horror fans who appreciate gritty, unconventional, and grotesque storytelling, especially those comic book fans who love the original characters and artworks from Mike Mignola and Christopher Golden.”

What was your experience of working on the film?
“It was profound! I dived deep into the collective unconscious, exploring Jungian symbolism.”
“I was lucky enough to work with an incredible team and the legendary Brian Taylor, whose punk-rock filmmaking methods made the experience unforgettable.”
Can you describe your character, Cora Fisher?
“Cora Fisher is a deeply complex character, and embodying her was a heart-wrenching journey. She’s been stripped of everything and treated cruelly, yet still has this innate drive to help and give. Playing her made me reflect on motherhood and the resilience women carry in such a brutal world. Cora’s journey is about survival and sacrifice, and there was something deeply cathartic in expressing a sliver of her story.”
The scene where Cora is wrapped in an ouroboros snake was intense! What was it like filming that?
“That scene was powerful in every sense. Filming it, I found myself rigged high in the forest alongside my serpent companion – it reaffirmed the meaning behind the name of our company, Snake Height, which my co-director Andreas Breilev and I chose a year earlier. Now I have this symbolic scene as proof to why I followed my intuition and trusted my creative path.“
“This movie is filled with haunting encounters, and you have to dodge witch balls and shoot some zombies along the way, but on the other side lies a world of magic.”
There’s a scene in the film where Cora’s empty skin lies on the bed – astonishingly this was created using practical effects, not CGI. What was that like to film?
“Filming that scene was truly extraordinary. The fact that we used zero CGI and relied solely on practical effects allowed me to tap into my full potential, not just as an actress but also as a movement artist. Brian’s vision for this scene made it disturbing and delightfully disgusting in all the best ways. It’s definitely a standout moment for me in the film.”

Tell us about setting up Snake Height Agency?
“To me, Snake Height means constant renewal and transformation on the creative journey. We started the company in the circus environment, as it felt instinctive to support the artistic underdog and produce experimental theatre and film with our own team. Then Snake Height represented me as an actor and helped me land this role as Cora. And with Snake Height’s CastIn’Ladders – our casting portal – launching in 2025, the company is set to expand that vision even further. I want to continue creating space for specialist artists to trust their instincts and express themselves fully. There are exciting things on the horizon, and I can’t wait to see where this journey takes us next.”
‘Hellboy: The Crooked Man’ is available to watch on Amazon Prime Video and other streaming services now.
Photo credits: Stills from the movie ‘Hellboy: The Crooked Man’, DOP Ivan Vatsov,Production company Bulgarian National Film Center, Distribution company Ketchup Entertainment
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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