We Speak Actors
Why spooky movie ‘Behave’ starring Georgia Viero and Christian Vit is a must-watch

The psychological horror film ‘Behave’ follows a group of young people whose friend has been killed in mysterious circumstances. They escape to a country house, but something has followed them there… This creepy movie is co-written by Georgia Viero, an actress, producer, screenwriter and TV host who started her career in Rome, appearing in TV shows such as ‘Don Matteo’. She also hosted the well-loved soccer programme ‘Il Processo di Biscardi’.
As well as co-writing ‘Behave’, Georgia also stars in the film as lead character Polly, a young Italian mother who is trying to protect her son. Polly is pivotal to the suspense of the film, leading the audience through a harrowing journey of survival. Nothing is as it seems, and some terrifying scenes make the viewer doubt the very basis of human values.
Georgia was partly inspired by the classic Italian book on human behaviour, ‘Galateo’, which she twists to bring real horror to ‘Behave’. This helps shape the film’s narrative, infusing it with elements of psychological terror.”
“The film is not just a slasher film, as it pays homage to the Italian ‘giallo’ (murder mysteries/horrors) of the past, which are a big influence in Italian film culture.”
“It also recalls the atmosphere of famous 1990s horror movies such as ‘Scream’ and ‘Urban Legend’.”

Because she was both writer and star of ‘Behave’, Georgia said her experience of working on the film was intense: “Working behind the scenes and in front of the camera for ‘Behave’ was a real challenge,” she said. “I had meetings with director Francesco Gabriele and my co-writer Dan Sproson to explain my ideas about the story and characters. Even some aspects of the mask [that the killer wears] were born from my crazy mind!
“Also, in order to prepare myself to play Polly, I had to study with my vocal coach David Gwillim to balance RP English and my Italian accent. Along with Christian Vit, the co-executive producer, and Francesco, I was also a casting director, and it was hard to find a couple of actors for two roles in particular, but I think we made the right choices.”
When asked if it was easy to play the character of Polly because she wrote her, Georgia said: “I can’t say it was easier for me to play Polly just because I created her on a page. To be honest, maybe it was even harder. One of the most beautiful things about this job is that you have to make choices; sometimes you are on the right path, but sometimes you aren’t, even if you know by heart all of your character’s nuances. The director then has the hard work of changing your path if you are on the wrong one. And you can start again from there.”
She added: “Halloween is a perfect time to watch ‘Behave’. It will appeal to horror lovers, but also those who love mystery stories. And for sure, the movie will make you think a lot about the unpredictable complexity of human behaviour, and how sometimes you can really trust no one!”
Also appearing in ‘Behave’ is Italian-born actor Christian Vit, known for his roles in ‘Game of Thrones’, ‘FBI International’ and ‘Holby City’. In ‘Behave’, he plays the role of Charles, a central character who faces unspeakable horrors throughout the film. Charles is the gardener and guardian of the countryside retreat where most of the film takes place. He is very reserved, and has a sinister and imposing presence. Due to tragic events in his past, he chooses to live a tranquil and secluded life, but switches between his love of nature and heavy drinking sessions.
Christian brings a powerful performance that adds to the film’s intense atmosphere. With a strong mix of awkwardness, danger and vulnerability, Christian creates an aura of mystery around his character.

In addition to his role in ‘Behave’, Christian is also starring in the latest season of Netflix’s ‘Vikings: Valhalla’, which was released in August 2024. He plays the recurring role of The Emir of Syracuse during the siege of the Byzantine empire. He is involved in the first big duel of the season and to prepare for the role Christian had to study classical Arabic; he also had several weeks’ training to learn the long and complicated fight sequence.
Christian enjoyed the contrast of acting in a smaller independent movie like ‘Behave’. He said: “Filming ‘Behave’ has been a terrific experience. When you’re filming an independent movie, everything has to be optimised and made effective in the shortest possible amount of time. This means a lot of responsibility, especially for those behind the camera. Every single member of the cast and crew gave their absolute best to add value to production.
“Every role I have played has something unique.”
“In the case of ‘Behave’, it was the first time in my career where I had to act with a northern English accent.”
“That was a challenge for me, of course, especially considering I didn’t have much time to learn it, but also it allowed me to explore the character from a different perspective. I really enjoyed it.”
Christian added: “I think ‘Behave’ is the perfect Halloween movie: it has the atmosphere, the chills, the plot, and the classic horror-movie elements. It all makes ‘Behave’ the perfect choice for a scary night in front of the telly.”
You can watch ‘Behave’ on Amazon Prime, Tubi, Fawesome, Movie Central c/o Youtube…
Featured photo credit: © Thespian Films Ltd
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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