ANDREA MASI
 Actor-Songwriter-Screenwriter Andrea Masi
How did you discover The Wiki Screenplay Contest and how did you decide to enter this contest among all the others?
I discovered the Wiki Screenplay Contest through my acting lessons. At the time, I was exploring various contests and had a full list in front of me — but this one stood out. I wanted to be sure I was entering something serious, something credible. It was really important for me to know that if I placed or even won, it would be because the contest was respected and judged by a real, experienced jury. That credibility meant everything to me. Where do you live (City, State, or Country)? I live in Los Angeles, which I now consider home. I’ve previously lived in London, and with my Italian roots, I still travel to Italy from time to time. But there’s something about LA — its energy, its creativity — that makes it feel like the perfect place to grow as an artist. I’ll admit that the opportunity to travel brings a rich diversity that nourishes both my storytelling and my soul. Your script stood out among hundreds of others. What was the inspiration for your story and why did you write a script instead of a short story or a novel? What inspires your overall journey into screenwriting? I began this journey as an actor. I’m also a songwriter, but when I started writing scripts, it came from a deep desire to create the kind of roles I would love to play myself. It was important to write something that felt emotionally fulfilling from an actor’s perspective — something that would challenge and inspire. The story I wrote is partly drawn from my own life, and largely from things I’ve observed or imagined experiencing. It’s rooted in everything I’ve learned about human nature through a variety of life experiences — that was the foundation. But the script evolved — a lot. It went through many different versions before reaching the one I ultimately submitted. While the structure shifted over time, the core characters remained intact throughout. My journey into screenwriting is very much shaped by my acting background. I’m always thinking about what an actor would feel playing a role — and how an audience would react. Whether it’s laughter, tears, or just a moment of connection, I want my writing to move people. That’s what drives me. How do you decide which stories to tell, and what draws you to these particular themes? I don’t really decide — I let creativity choose for me. People often ask, “What’s your voice as a writer?” or “How did you find your voice?” But for me, it’s the other way around: I didn’t find my voice — the voice found me. I believe true creativity flows when we stop trying to control it too much. I don’t chase specific themes; instead, I let life bring experiences and ideas to me, and then I translate those into stories. That’s how it works for me — I just turn what life gives me into something cinematic. I always say: I twist fantasy into screen reality. That’s my mode, and my guiding principle when I write. What is your typical writing routine? How do you structure your workday to stay productive? Truthfully, I don’t follow a strict routine, and I don’t structure my days in a conventional way to stay productive. My process is entirely driven by creativity. There are times when I’ll write for twelve hours straight, completely immersed — and then there are days when I don’t write at all. And that’s okay. Of course, when deadlines come into play, you do have to adopt a more disciplined mindset and push forward. But I’ve learned not to fear the gaps in productivity — they’ve always been part of my rhythm. This is what I’m made to do, and I trust the process. I know I’ll never stay away from the page for too long. |
How long did it take you to write your script...and what is your writing process? Do you outline...use index cards...white board...or just start with FADE IN?
I started writing the bible of the show before diving into Episode 1. The project began in 2022 under the title The London Guy — that was its first form. Then I moved to Los Angeles and it became The LA Guy. Same core story, but it needed to reflect where I was. Eventually, it evolved into The Mindley Method, which is the title that truly captures what the story has become. The bible came to me very quickly — I think within a day or two, the main arcs and storylines were already clear in my mind. But once I began writing the pilot, that’s when things started to shift. Scenes from future episodes came to me organically, and I wrote them down as they surfaced. But when you're truly inside the world of the script, every scene has to land, every line has to deliver — and that’s where the real sculpting begins. I wouldn’t say I follow a structured outlining process. Sometimes I’ll create a loose outline, especially if a particular case or situation in the episode needs tight construction. But overall, I let the story guide me. It’s a fluid process, shaped by instinct, imagination, and a growing awareness of both marketability and emotional truth. How do you handle writer's block or moments of doubt (we all have them) during your creative process? I don’t really try to “handle” those moments — I just let them pass. When I feel blocked or trapped in a script, I simply step away and do something else. That’s usually when the inspiration comes rushing back. It’s like that saying about love: when you chase it, it runs — but when you let go, it often comes to you. I treat creativity the same way. I trust it will return when it’s ready. What tools or software do you find essential to your workflow as a screenwriter? Celtx is absolutely essential for me. It’s my go-to tool — intuitive, reliable, and designed in a way that really supports my writing flow. I honestly adore working with it. How do you approach competition entries, and what have you learned from participating in these contests? Which contests have you entered...and how has your work been received overall? Have those contests been helpful to you in your writing? I’ve entered a few contests where I performed really well, and I’m proud of how my work was received. It’s been consistently well-positioned, and I think that has a lot to do with the fact that the project is marketable — and I say that in the most positive way. Some people treat “marketable” like it’s a bad word, but I don’t see it that way at all. If your goal is to reach people — to have your work seen and experienced — then marketability matters. Something is marketable because people genuinely want to watch it. That doesn’t make it less artistic; it means it connects. From that perspective, I believe my project resonated and was received exactly how I hoped it would be. |
Can you share a specific challenge you've faced in your screenwriting and how you overcame it?
One of the biggest challenges I’ve faced is realizing that sometimes, the scene you were most excited about — the one you thought was the emotional core of the episode — simply doesn’t belong. You pour your heart into it, you’re convinced it’s the moment that will elevate everything... and then something feels off when you try to build around it. Eventually, you realize that while the scene may be well written, it just doesn’t serve the episode as a whole. And that’s the hardest part — letting go of a scene you were deeply attached to. It feels like you have to mourn it, to accept that what gave you so much hope now has to be sacrificed for the greater good of the story. It’s tough. But it’s part of the process. If you are balancing your “writing time” with a “day job”...how are you managing that? At this point, I’m not. In the past, I’ve had several jobs and experiences that have definitely helped shape my writing — for example, in the pilot episode of The Mindley Method, there’s a child who appears as one of Dr. Mindley’s patients, and I once worked with children myself. That experience gave me insight and emotional texture I could bring into the script. But today, I’m fully focused on writing and creative development. I’m not open to doing anything outside of that unless it directly contributes to my career or fuels my creativity. I’ve reached a point where that focus is essential. Where do you see yourself in five years as a screenwriter? I hope The Mindley Method will be deep into Season 2... maybe even Season 3 or 4 — who knows? That would be a dream. But beyond that, I hope my experience in the industry will have offered me new opportunities and growth, both creatively and personally. Whether I’m working as a screenwriter, stepping back into acting, or exploring other creative roles, I know I’ll still be telling stories. I see myself continuing to create, to offer the best of who I am, and to connect with people through the work. That’s what matters most to me. What is your ultimate ambition as a writer? To be fulfilled, to be happy, and to offer people what they truly want to see. I think that’s the key — creating stories that resonate, entertain, and move others, while also staying true to who I am as a writer. If I can do that, then I’ve succeeded. The film and television industry is constantly evolving. How do you see the role of screenwriters changing, especially with the rise of streaming platforms and emerging technologies like artificial intelligence? Have you used A.I. in your writing; if so, how have you used it? This is a huge topic right now. I recently saw someone on LinkedIn claiming that AI would replace writers entirely — and to be honest, I thought, if you truly believe that, you're probably not a very good writer to begin with. Sure, AI can produce something that’s well-formatted, even technically “good” — but often, it’s too perfect. And when something is too perfect, it lacks emotion. That’s the key difference. Screenwriting isn’t just about structure — it’s about heart, nuance, imperfection, and raw humanity. That’s what AI can’t replicate. That said, I do see AI as a helpful tool. For example, when I need to research something complex — especially in science or highly specific subjects — it can provide useful data and context. In that way, it’s like a modern dictionary. A resource. But it’s not the voice. It’s not the soul of a script. I’m not afraid of AI. What I do find unhelpful is the tendency to ignore it or pretend it doesn’t exist. It’s here. Every generation has had to confront changes in the industry — and yet, stories have survived. Great writing has always found a way. If you believe in your voice and your humanity, then you’ll keep creating. That’s what matters. Which film or television writers inspire you? Why? It might sound surprising, but I don’t actually watch a lot of television, and I wouldn’t say I know the film industry inside and out. My inspiration comes more from how stories make me feel than from specific names or credits. That said, I’ve always admired the work of Spelling. When you see how many shows they produced that truly connected with audiences — it clearly meant something. I admire creators who are able to deliver a full range of emotions within a show. That ability to entertain, move, and reach people — that’s what really inspires me. |
What’s your all-time favorite movie or television show?
For movies, I’d have to say Titanic. It might not be the most original answer, but honestly — it never disappoints. It’s beautifully done, emotionally powerful, and unforgettable. I think that’s why it resonated with so many people around the world. As for television, I’ve had a few favorites over time. Sometimes I’m in the mood for a classic soap opera, other times I’ll go back to an old series, and the next day I might want something totally modern. My taste changes depending on the day. I don’t have a massive range of shows I follow, but when I love something, I tend to watch it again and again — like an old friend I come back to. What advice do you have for aspiring screenwriters? Keep all the doors open. If you find yourself stuck in a story, it usually means something needs to change — and that’s perfectly okay. Don’t be afraid to let go of parts you were attached to. Sometimes the story needs to breathe in a different direction, and the best thing you can do is stay open to that. Writing is not about forcing the plot to work — it’s about listening to the story and trusting when it needs to shift. Let the unexpected happen. That’s often where the magic is. What else are you working on that the world needs to know about? (links to your projects?) I’m currently developing other projects — one leans toward comedy, and the other is more dramatic. One of them explores the theme of death, which I believe is something deeply relatable to everyone. It deals with the emotional chains we sometimes hope to create in order to fix our past mistakes. It’s still in progress, but I’m excited about where it’s headed. That said, my main focus right now is The Mindley Method. I’m in the process of finishing Season One, and it’s taking time — because I want every line to deliver something meaningful, without ever feeling too theatrical. I want it to feel real, sharp, and emotionally true. That’s where most of my energy is going at the moment. The hardest part — and also the reason I’m so focused on TMM — is finding the right balance between the drama and the comedic elements. I want to offer the audience a fully relatable and emotionally honest experience. Where can the world find you online? (Social media links, etc.) You can find me on my website — IMDbPro — as well as on LinkedIn and Instagram. And hopefully soon, you’ll also see me featured in People magazine, The Hollywood Reporter, and across the festival circuit. That’s the dream — and I’m working hard to make it a reality. Website: https://andreademasi.com/# IMDB: https://www.imdb.com/name/nm17121358/ Instagram: https://www.instagram.com/andreademasiofficial |
