ANTHONY MARTINEZ
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ANTHONY MARTINEZ

How did you discover The Santa Barbara International Screenplay Awards and how did you decide to enter this contest among all the others?
I discovered The Santa Barbara International Screenplay Awards when I became of member of the networkisa (ISA connect). It was stated that, “Santa Barbara is where Hollywood started”. I thought, “If I’m going to compete, I rather do it on a professional platform with verified judges, where it all started”. Your judges don’t hide and they’re legit. That says it all.

Where do you live (City, State, or Country)?
Las Vegas, NV.

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?
My script was based on a true story. My mother and father told me a story that I still to this day could never forget. The entity in the story, “Mara”, was an actual stranded woman my father brought home in the 90s. She was lost or stranded. He was a Pittsburgh Police Officer. While she was there, strange occurrences started to happen. My mother lost her memory. My sister swore she saw the woman float—And worse of all, my dad remembers see her HOOVES at night! As for my overall journey into screenwriting, I’ve always loved to tell stories, create characters and worlds ever since I was young. It has always been a great passion of mine. It is true, life took me many different places. I was a U.S. Marine, a Police Officer, a Professional Bodyguard
and currently a U.S. Federal Agent. However, I continue to write and create stories, with the hopes of one day, I will transition into my passion full-time.

How do you decide which stories to tell, and what draws you to these particular themes?
Believe it or not, it may sound weird but, most of my ideas come from my dreams. I have a very vivid imagination, and I dream every single night. Dreams that I’m able to retain, I transfer into ideas for screenplays. Also, I’m a huge history buff. I incorporate a lot of Black American history, identity and culture into my work. Entertainment with substance or soul.

What is your typical writing routine? How do you structure your workday to stay productive?
I put fingers to keys every day. Even if I’m only about to flesh out a page or two. Uncompleted projects drive me nuts, so as long as I’m putting forth some effort to get those done, I’m good. So far, it worked. Over the course of 10 years, I was able to put together an impressive slate of over 18 screenplays, all of which are original IP.

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?
This screenplay took only two weeks to write. I start with the idea, brainstorming. Then I outline, Acts 1-3. The plot and premise are worked out. If everything makes sense to me, I will literally play the “film” inside of my imagination while I’m writing. I create the world and the characters, and they move. I see it happening, then I transfer it to the page. That’s where my child-like
imagination comes into play. I see the film while writing.

How do you handle writer's block or moments of doubt (we all have them) during your creative process?
If I find myself forcing an idea or a scene. I’ll try a few more times. If, for whatever reason, I’m unable to get through the block, I’ll abandon the idea. My philosophy is, “why force something that isn’t there?” Maybe what started out as an awesome idea, just doesn’t make sense anymore and that’s ok. I walk away and find inspiration elsewhere. Once I start a new project or a new
idea, I’m back in the game!

What tools or software do you find essential to your workflow as a screenwriter?
Online thesaurus and dictionaries. GOGGLE is a great tool. I have quite the collection of books also, ranging from religious texts to ancient histories to philosophical pieces, manuals, etc. The internet is a great tool, but I prefer diving into books, the “old school” way.

How do you approach competition entries, and what have you learned from participating in these contests?
You swallow your pride and your ego. You must leave them at the door. That will not help you, it will only be a terrible detriment. I love learning, having an open mind, an open heart and an ear for criticism. Competing lets you know where you stand, where you need to improve and what your strengths and weaknesses are. Invaluable game to make you better!

Can you share a specific challenge you've faced in your screenwriting and how you overcame it?
Yes! When I first start writing screenplays, I was terrible. I didn’t take the time to learn the proper format. I rushed into competitions and paid for script coverage before I was ready. My scripts were shredded and was even laughed at. But that’s exactly what I needed. It because the fuel and the wakeup call to SLOW DOWN, take the time to read, learn the format and the craft. Take a class, research, adapt and overcome. So I did, years later, I returned stronger and more capable.

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Where do you see yourself in five years as a screenwriter?
In five years, I see myself as an established screenwriter with multiple produced credits across film and television, projects that reflect both my voice and my values. I aim to be at the helm of original stories under my production banner, Urban Sixties Media, telling bold, culturally resonant narratives that center Black experiences across genres, supernatural thrillers, historical
dramas, grounded sci-fi. I want to be in creative partnership with visionary directors, studios, and streamers who are hungry for fresh perspectives and disruptive storytelling. More than just writing scripts, I want to be part of shaping the industry landscape, mentoring new writers, building pipelines for underrepresented talent, and creating space for stories that have never been told before. That’s the legacy I’m building, brick by brick, script by script.

What is your ultimate ambition as a writer?
My ultimate ambition as a writer is to build a body of work that outlives me, stories that shift culture, spark dialogue, and give voice to the silenced. I want to create films and television that are emotionally gripping, visually bold, and unapologetically rooted in truth, especially the truths that history has tried to erase. Through my company, Urban Sixties Media, I intend to redefine what it means to tell Black stories, expanding the genre, the scope, and the power of our narratives on a global stage. I want to move people. To challenge systems. To create characters that live in the audience’s memory. And ultimately, to open doors for the next generation of writers who look like me, so they don’t have to fight for the space I had to carve.

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?
The role of the screenwriter is becoming more central and more complex. With the rise of streaming platforms, the demand for original, serialized storytelling has exploded. Writers are no longer just crafting scripts, they’re world-builders, showrunners, brand architects. Audiences are global now, and they crave stories that are authentic, specific, and expansive. That means
screenwriters have more power, and more responsibility, to shape culture at scale. As for AI, it's a tool, but it can’t replace soul. It can synthesize, mimic, even generate structure, but it can’t tap into lived experience, emotional nuance, or ancestral memory. The future will favor writers who bring something no machine can replicate, vision, voice, and vulnerability.
That said, writers will need to understand and adapt to these tools, whether to accelerate development, visualize pitches, or protect their IP. Ultimately, I see screenwriters stepping into more entrepreneurial roles, owning more of their work, partnering across disciplines, and building ecosystems around their stories. We’re not just writing scenes anymore, we’re building legacies.

Which film or television writers inspire you? Why?
I’m inspired by writers who take risks, who disrupt form, elevate truth, and write with cultural purpose. Writers like Barry Jenkins, who blends lyricism with historical weight. His work on The Underground Railroad and Moonlight proves that intimacy can be epic. Jordan Peele inspires me for how he reinvents genre, using horror not just for scares, but for social autopsy. Ava DuVernay is a blueprint for artistic authorship and structural impact, someone who understands the power of narrative both on screen and off. David Simon The Wire taught me that television can be sociological literature. And I admire Misha Green for how she reshapes Black history into mythic, genre-infused landscapes. I also draw deep influence from writers like August Wilson, whose Hill District cycle proved that one block, one community, one voice, when rendered truthfully, can echo across
generations. These writers don’t just entertain. They transform. They tell the stories that weren't supposed to be told. That’s the tradition I aim to honor and extend. (P.S. I’m originally from the Hill District, Pittsburgh, PA) 

What’s your all-time favorite movie or television show?
HEAT! Greatest movie of all time!

What advice do you have for writers hoping to win a contest or place as a finalist as you have?
Write with voice, not just craft. Be bold, be specific, and say something only you can say. Polish the script but protect the fire. And submit when it’s undeniable, not just done. And SLOW DOWN. It’s not a race to see who submits first. Make sure you’re prepared.

What else are you working on that the world needs to know about? (links to your projects?)
I'm developing a slate of bold, genre-driven projects under my company, Urban Sixties
Media—each one rooted in culture, memory, and truth. Highlights include:
God – A grounded sci-fi thriller about the world’s first AI serial killer—and the engineer who may not be human himself.
Dead Homies – A supernatural gangland fable that reimagines the Bloods and the Crips as warring clans of werewolves and vampires in the streets of L.A.
The Crown and the Cross – A modern-day Harlem retelling of the life of Jesus, blending faith, politics, and revolutionary love.
Eight Seconds and a Name – A Black rodeo drama about legacy, rebellion, and the cost of silence.
My full slate is available on my website:
 www.urbansixtiesmedia.com

Where can the world find you online? (Social media links, etc.)
My LinkedIn: www.linkedin.com/in/anthony-martinez-12772336a