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Interview with top model, actress, stuntwoman, and filmmaker Gia Skova

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After starting her career as a model, Gia has successfully made the transition into acting. Even though she starred as the lead actress in the movie The Serpent, it was also her directorial debut. As well as that, Gia is releasing her comic book!

Here, we catch up with Gia at New York Fashion Week to discuss her role in the event, as well as the passion she has for bridging the fashion and movie worlds together in her work. 

Gia, can you tell us about the fashion show you are attending? What is your role in the show?

I’m thrilled to be part of the CatWalk FurBaby show at New York Fashion Week (September 5, 2024) at Sony Hall. 

The second annual CatWalk FurBaby philanthropic fashion show was a resounding success, uniting models, designers, and furbabies to support an array of significant causes. Showcasing stunning designs and involvement from philanthropic organizations representing ELYSIAN Impact’s areas of giving, the event highlighted the power of collective action. It served as a catalyst, demonstrating that combined efforts can generate far-reaching effects, and proving that fashion and compassion can incite positive change in the world.

Combining fashion and philanthropy in support of diverse charitable causes, the event, presented by Elysian Impact and hosted by New York Fashion Week founder Fern Mallis, took place at Sony Hall during Runway 7’s NYFW shows.

As the lead model, I’m honored to be representing this innovative brand and showcasing their stunning designs on the runway.

I am thrilled to share that I won the prestigious Publisher’s Pick award in the opening show at NYFW! I was honored to share that win with the team at Operation Kindness from Texas and designer D’Marsh Couture. I was also delighted to be joined on the catwalk by an adorable Pomeranian dog named Daisy.

Being part of this show means the world to me, especially since it’s at New York Fashion Week, one of the most prestigious events in the industry. It’s a celebration of fashion, art, and creativity, and I feel privileged to be among the best of the best. But what truly resonates with me is the opportunity to be inspired by other women. As a model, I’ve had the chance to work with incredible designers, stylists, and models, and I’m constantly in awe of their talent, dedication, and passion. Seeing women succeed and push boundaries motivates me to do the same. It’s a reminder that we’re stronger together and that our collective success is what truly matters. This show is particularly special because it’s not just about the clothes or the runway—it’s about the community, the camaraderie, and the shared passion for fashion. I’m excited to be part of this celebration and to be inspired by the incredible women around me.

How does it feel to be part of the show?

It’s an absolute honor to be part of this prestigious event. New York Fashion Week is a highlight of my career, and I feel privileged to be working alongside top designers, models, and industry professionals. The energy backstage, the excitement of the crowd, and the thrill of strutting down the catwalk—it’s an exhilarating experience that never gets old. Having transitioned from a successful modeling career to becoming an action actress, I cherish the memory of that pivotal step. I’m passionate about bridging the two worlds by incorporating designer talents into my film work.

What do you think makes NYFW so special?

Having walked the runways of Paris, Italy, and Asia, I can confidently say that New York Fashion Week stands out for its cosmopolitan flair and opportunities to discover fresh perspectives on style. For me, being part of NYFW is always a source of inspiration for my film work. I often collaborate with art directors to bring my ideas to life for my movie characters’ looks.

Notably, I worked with renowned costume designer Roger J. Folker on the movie Bleed for This alongside Miles Teller and on The Serpent, which I directed and starred in. His impressive portfolio includes styling Brad Pitt in Mr. and Mrs. Smith. I always draw upon my fashion expertise to inform my creative decisions in film. We created a distinct image for the heroine Lucinda, a comic book character who joins the ranks of iconic heroes like Batman, Spider-Man, and Catwoman. As the creator of this character, I had the opportunity to contribute to her stylish wardrobe and accessories when we worked on the first part of The Serpent, with Roger’s guidance. This is where fashion and cinema intersect.

What does it mean to you to be inspired by other women?

It means everything. As a woman in a competitive industry, it’s easy to get caught up in comparison and competition. But when I see other women succeeding, pushing boundaries, and breaking barriers, it motivates me to do the same. I believe in the power of female empowerment and the importance of lifting each other up. Being inspired by other women reminds me that we’re stronger together and that our collective success is what truly matters.

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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