ALI MOZAFFARY
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ALI MOZAFFARY

What inspired you to write a script rather than a novel or short story?
I am a filmmaker, and I mainly write scripts for films, so it was clear to me that this idea would fit a social drama/ thriller screenplay format.

Was there a specific film, TV show, or personal moment that first made you say, “I want to write like that”?
There have been many over the years, but Breaking Bad and Beter Call Saul have definitely been a great source of inspiration for “I want to write like that!”. I’ve even studied and analyzed the pilot script from Breaking Bad once for my own learning (not
for this project). But also works of Michael Haneke, Asghar Farhadi, AARON Sorkin and many others.

What’s your writing routine like? Do you follow a strict schedule, or are you more intuitive about when and how you write?
I need to know what I’m writing (not staring at a blank page and wait), and I need to be prepared mentally, like I need to know I have a good uninterrupted 2–3-hour bracket given that I have a full-time job, so I can let the writing flow. But yes, I try to follow a schedule and give myself one-hour time limits and write within that, then take a quick break and repeat, sometimes it can go for two to three hours uninterrupted if I’m lucky.

When you're starting a new script, how do you shape your ideas? Do you use outlines, beat sheets, or dive right into scenes? What inspires your scripts? Characters? Plot? Theme? Action?
When I’m shaping an idea from scratch, I write down images, moments or sometimes a whole scene where I’m establishing the source of inspiration and expanding on that. Then, depending on the project, sometimes I outline, sometimes I write a whole scene- by-scene breakdown and sometimes I put images together before I write it to see how it’s shaping (only on specific projects though). Inspirations can come from different places; sometimes it’s a theme, sometimes it’s an image I’m haunted by, sometimes it’s a ‘what if’ on a given situation. But over the years, I realised it’s best not to start with a theme and instead follow a character or a situation, and shape a good plot first, and then see what theme is emerging. Robert McKee has been a great source of learning and reshaping my whole approach to writing.

How do you handle writer’s block or those inevitable moments of self-doubt?
I used to be so afraid of it! Then my attitude changed and I realised it just means I’m not ready, so now if I have an idea, I try to research or daydream about it as much as possible and write notes or watch films or go to places that would help me prepare for it mentally and then I’ll get to work and I have something to write. In terms of self-doubt, I have a few close filmmaker friends whose value and honest opinion I really rely on and it often helps talking to them or going to sources like Robert McKee’s books or reading and/or listening to artists I admire. But eventually it’s a judgment call decision after you’ve done all that. their opinion

What tools—software, methods, rituals—do you consider essential to your writing workflow?
First pen and paper. Making notes on my phone and then typing them into the screenwriting software.

Do you write with production realities in mind, or do you let the creative vision lead first and adjust later?
I used to let the creative vision fly free and then think of production limits, but now I’m more practical, and still sometimes the imagination is ahead of what’s available.

When a scene isn’t working, what’s your go-to strategy for fixing it? Rewrite, workshop, walk away—or something else?
I first think of the scenes intention and the objectives. Is it really needed for the character arc, a certain plot point or a stylistic motif? Is it helping or killing the rhythm? Then I’ll either rewrite or walk away and come back to it with fresh eyes the next day.

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How many scripts have you completed? How many have you started and not completed (we all have those)...and why are they still unfinished?
Over the years, I have written eight scripts, two of which I turned into films. The scripts I have not completed or started are probably around 4 or 5 at least. Many reasons, including lost interest in the idea after going back to it, weaker characters or plots and/ or time, and my knowledge not being right to finish them.

Have you earned recognition in this or other competitions? What’s your strategy whensubmitting your scripts, and how has contest feedback shaped your work?
I am a finalist in your competition. One of my other scripts, A Feast for the Beasts, was a finalist at Finish line screenplay competition. Often, it’s really helpful to see where and how you can improve it with fresh eyes. Or even some angles you’ve never seen your script from.

Have you done anything at this point to promote yourself or your writing (besides entering online contests)? If so, how would you gauge the effectiveness of those efforts?
I am enlisted on VicScreen’s talent placement after submitting my work to them. They are the government body in charge of film and TV funding and production in Victoria, Australia, where I live. I haven’t had any opportunities to work in the industry yet.

Have you pitched to producers or taken meetings yet? What have those experiences taught you about the business side of screenwriting?
Yes. My scripts have been chosen three times to attend to Melbourne Film Festival’s pitching industry event (MIFF 37 South), which is one of the biggest in Australia. I’ve made good contacts and a few producers have offered meetings with me after the festival pitching session. But still yet to find a producer who’s willing to produce or fund  my projects, which I understand comes down to industry credits and more films I need to make to prove my talent.

What do you see as your greatest strengths as a writer? Your greatest weaknesses?
My strength I’d say would be in creating a visual world because I also direct my own work, and how I like to write clear and unfolding plots with nuanced characters. Dialogue is still my area of weakness that I need to improve.

How do you balance your writing with your “day job”?
Oh, that’s the toughest part! I try to plan my writing around days when my work is quieter so I can save energy for the afternoons/ evenings. Otherwise, it’s mostly weekends.

What message or emotional response do you hope audiences walk away with after experiencing your work?
It varies from work to work. I want them to identify with characters, feel the story is really unfolding in front of their eyes and most importantly, give them a cathartic experience.

What are you working on right now the world needs to know about?
An intense psychological drama-thriller that is a finalist in your competition. And an art heist movie, I dream of making into a feature film one day.

Where do you see yourself five years from now as a screenwriter—and how do you plan to get to that place?
Having made a feature film, and being able to work as a writer-director or director in the film industry. The how is the tricky part for many of us, by continuing to create quality work, getting it seen through festivals, online platforms, getting an agent and hopefully growing with my work towards long-form narrative in film and TV.

What advice would you give to any aspiring writer hoping to follow in your footsteps?
I’m still pretty much an engaging writer, so not sure what advice I can give, but I’d say focus on becoming a good writer by learning the craft from legit sources. Too many of us complain before putting the real work in ourselves. Robert McKee’s books (Story, Character and Dialogue) for me were an incredible help, I was so stubborn to learn writing structure and principles as I thought it would interfere with my more ‘arthouse taste’, but I found his teachings so guiding and liberating, actually. Getting honest opinion on your work, directing some of your work because after all scripts are made to become films one day.