KAT-BYLSKA PRIMARY
 KAT-BLYSKA PRIMARY
Where do you live (City, State, or Country)?
Los Angeles, CA USA 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? The inspiration came from frustration, rage, and the deafening silence around systemic cruelty—particularly toward animals. I kept asking myself why, in a world oversaturated with content, no one was telling this story. Why are the perpetrators always treated as misunderstood, the crimes minimized, and the victims (especially the voiceless ones) completely forgotten? That disconnect—the way society tiptoes around abusers and looks the other way—is what lit the fuse. I chose a screenplay because film punches harder. It doesn't politely knock on the door of your conscience. It kicks it in. A novel allows you to linger; a script forces you to move—scene by scene, moment by moment, no escape. And let's be honest, audiences today have the attention span of a cracked iPhone battery. Visual storytelling is the language they speak. So I wrote a story that speaks loud. Also, I didn't want this message diluted by internal monologues or over-explaining. I wanted it raw, visual, visceral—justice served in 90 minutes or less. With a side of irony and just enough dark humor to make you uncomfortable about laughing. 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? How long did it take? Emotionally: forever. Literally: a few months—depending on which breakdown you're referencing. There were multiple versions, each one a little more savage, a little less polite, until I finally landed on the one that stopped asking for permission. As for the process? Let’s just say I don’t have some dreamy montage of post-its and inspirational quotes on a cork board. My brain doesn’t do “Pinterest.” It does “revenge with a plot twist.” I start with the ending—always. If I don’t know how it ends, what’s the point? Then I reverse-engineer the hell out of it. I’ll scribble ideas like a psycho in a notebook, mumble character dialogue while doing dishes, and eventually stitch it together into something resembling a spine. Only after that mess do I clean it up into an outline. No index cards, no whiteboard—I tried that once. Looked like I was trying to solve a murder. Then I do solve one—on the page. And no, I don’t “just start with FADE IN.” I start with motive. Then I decide who bleeds for it. What is your ultimate ambition as a writer? To wake people the hell up. I’m not trying to be the next darling of Sundance or Netflix’s algorithmic pet project. I want to weaponize storytelling. I want my work to crawl under your skin, keep you up at night, and make you question why you ever thought certain things were normal. My goal isn’t fame—it’s disruption. And maybe fame is the only way I can really make it happen, at least based on recent trends. I want to expose the rot that hides behind perfectly legal loopholes and well-dressed abusers. I want to give voice to the voiceless—not in a sanitized, Oscar-bait kind of way—but with grit, fury, and irony that hits where it hurts. If I can build a platform big enough to shift how people think about animals, justice, and complicity—while entertaining the shit out of them along the way—then I’ve done my job. And if I scare a few cowards into silence or action in the process? Even better. Was your entry at The Wiki Screenplay Contest a full script or “the first ten pages”? Why did you make that choice? Full script. Always. Otherwise, why bother? And if I can’t imagine a full script, then I move on. Ten pages is a flirt. A full script is a commitment—and I didn’t write this story to wink across the room and hope someone notices. I wrote it to grab them by the throat and not let go until the final frame. I submitted the whole thing because context matters. The irony, the turns, the weight of what’s really happening doesn’t even begin to unravel in the first ten pages. This story is a slow burn with a flamethrower payoff—you need the full ride to feel the heat. Besides, if I can write a feature that leaves an audience rattled, not just intrigued, then why wouldn’t I lead with that? I didn’t enter to “get discovered.” I entered to be remembered. What’s your all-time favorite movie or television show...and why? While it’s an eclectic list, there are reasons behind each choice. A few including: Fight Club - is the manifesto I never wrote. It’s brutal honesty disguised as madness. A middle finger to consumerism, conformity, and the illusion of control. Plus, it's one of the few films that dares to say, “You are not your fucking khakis,” and actually mean it. Pulp Fiction - is storytelling anarchy at its finest—non-linear, morally sideways, and unapologetically stylish. Tarantino builds tension with a cheeseburger and has you quoting lines you shouldn't say out loud in public. That kind of tonal control is genius-level. Seinfeld / Curb Your Enthusiasm – Larry David is my spirit animal. He is the literal me – if I were rich, powerful, brilliant & everything else I aspire to be. He’s my therapy. Watching Larry David burn every social contract to the ground is wildly cathartic. It’s the one show that rewards you for having zero tolerance for bullshit and an allergy to fake people. It’s not comedy. It’s prophecy. Some additional titles on my list include: Reservoir Dogs, The Gentlemen, Hostel, Saw, High Tension, Martyrs, A Serbian Film, American Mary… What advice do you have for writers hoping to win a contest or place as a finalist as you have? Are you kidding? I am a perfect example of the blind leading the blind. I love that contests like this exist because otherwise, some brilliant work would otherwise never see the light of day. This business is rigged, period. Unless you have a network or connections, you are pretty much fvcked. But here’s the PC response: Write like you’re not trying to win. Seriously. The minute you start chasing approval, you’ve already watered down whatever voice you had. Contests don’t need another “technically solid” script that checks all the boxes and says nothing new. They need something alive. Something that smacks them across the face and makes them forget they have 200 more entries to read. So here’s the advice no one gives: Bleed on the page. Tell the story only you can tell. Burn the rules if you have to. If you’re scared someone might hate it, good—that means someone else is going to love it. Also: polish your formatting, know the structure—but don’t become a slave to it. Use it like a weapon, not a cage. AND for the love of all that’s holy, learn & know how to properly use the language (whatever language) – spelling, grammar, the whole nine yards. It baffles my mind some of the shit I see in print these days – not just scripts, but every day articles. It’s an embarrassment & people who don’t proofread should not be in this business. And finally? Grow a thick skin and a short memory. Rejection is part of the ride. Keep writing anyway. Let the gatekeepers come to you when they realize you built something they can’t ignore. But hey – what the fuck do I know, really. What else are you working on that the world needs to know about? A lot. And none of it’s cute. I'm building a universe where justice isn’t theoretical and karma doesn’t need a calendar. From dark comedies to psychological thrillers, everything I write ties back to one unapologetic through line: exposing the systems that protect cruelty—especially toward animals—and flipping the script on who gets to walk away clean. I’m developing a documentary series under the working title Boobiekatz—it peels back the glam of industries like fashion, entertainment, and breeding to reveal the rot beneath. No filters. No euphemisms. Just truth with teeth. There’s also a trilogy in progress, starting with Karma Kat—a courtroom thriller meets vigilante horror-comedy. Think Legally Blonde if Elle were secretly Dexter with a cause. It’s about an animal rights attorney who defends the indefensible... only to make sure they don’t live long enough to offend again. The twist? You don’t realize who she is until it’s already too late. Another pet-project, so to speak, is a reality show based on Seinfeld’s concept of nothing – but in its truest form. And just for fun, I’m developing an Elm Street Origin story on how/why Freddy Krueger came to be. I’m not here to entertain the masses. I’m here to provoke the ones who think they’re untouchable. Links? www.katzkabaret.com https://voyagela.com/interview/meet-kat-bylska/ https://www.networkisa.org/profile/katz-entertainment www.slated.com/films/1027643 www.imdb.com/katbylska www.imdbpro.com/katbylska www.linkedin.com/in/katz-entertainment www.youtube.com/katzkabaret https://resumes.actorsaccess.com/bylskakat IG: karma.kat.movie |
