We Speak Actors
Johnny Solo on acting with Hollywood greats and embracing his Greek roots

Look out for actor and producer Johnny Solo in two high-profile TV shows later this year. He will appear alongside Hollywood royalty – Jodie Foster and Annette Bening – in the Netflix biopic ‘Nyad’, about the marathon swimmer Diana Nyad, and has a recurring role in the hit comedy show ‘What We Do In the Shadows’. It’s a far cry from his degree in economics and earlier corporate career – here he talks about how he traded it for the acting life, his love for producing, and why his Greek heritage is so important to him.
Tell us about your exciting upcoming projects.
“I’m in a huge Netflix biopic, ‘Nyad’ as Aris Nyad (who’s Greek!). It stars Jodie Foster, Annette Bening and Rhys Ifans, and is directed by Jimmy Chin and Elizabeth Chai Vasarhelyi (Academy Award Winners for ‘Free Solo’). I’ve also got a recurring role as Nico on the huge Disney/Hulu hit comedy TV show, ‘What We Do In the Shadows’, starting this July.”

How did you get into the film industry?
“I went to New York University and studied economics. I met so many actors and directors there, and I fell in love with their artistic lifestyle. I was in awe of their courage for pursuing their passion. So I started taking acting workshops at the Stella Adler Studio of Acting, and eventually worked with some amazing private coaches long after I graduated from university. I was working at a corporation while studying until I quit my job and started auditioning for roles. One of my first jobs was a major film, ‘Man On A Ledge’ starring Sam Worthington, Elizabeth Banks and Edward Burns. After meeting Eddie, he added me to the cast of his independent movie, ‘Newlyweds’, where I starred as Miles. It was a big success and became a Tribeca Film Festival favourite.”
Your Greek roots are very important to you, aren’t they?
“Yes, both my parents are Greek and I grew up in a real immigrant first-generation household in New York City. After years of TV and film jobs, I started a TikTok and Instagram account under the moniker @JohnnySoloNYC – I’ve made so many viral videos about being Greek American. Some of my videos on TikTok and Facebook have been viewed by 500k to a million viewers! I’ve also played Greek roles a few times in Hollywood projects. My experience growing up as a Greek American was beautiful, with so much care put into the cultural traditions. I loved celebrating both holidays as a Greek and as an American. But it was also a bit limiting because my first language was Greek, and both my parents spoke Greek to me when I was a child. However, education was very important to my family as well.”

Can you tell us about your work as a producer?
“I’ve produced a few short films and a web series of my own. ‘My Ex is Dating a Hipster Chef’ and ‘Captain Sensitivity’ were both featured on Amazon Prime. And working on the feature film ‘Love Magical’ as a producer helped me understand casting better. I worked with my good friend Justin Foran, who taught me so much about what directors look for in actors in the audition room and most importantly the style and feel that they bring. I love producing and hope one day to produce a feature again, once I have the right script and team.”
What have been your favourite acting projects to date?
“My favourite acting projects have been in ‘Newlyweds’ and ‘Fitzgerald Family Christmas’. Also as a recurring character, Bazooka, in the ‘Lights Out’ TV show alongside Pedro Pascal. I’ve also been a recurring character (Tommy Vance) on CBS’s ‘FBI’, and Al, the security guard in ‘Hunters’, which stars Al Pacino. I realised when I was working with Edward Burns that my best acting is when I am present, alive and being myself. It’s something that sounds easy, but takes time to accomplish unless the actor immediately connects with the script.”
Featured photo from film ‘Captain Sensitivity’
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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