Exclusive GITS Q&A: Greg Russo (Part 2)

Today Part 2 of the interview with screenwriter Greg Russo who has sold two spec scripts — “Down” and “Autobahn” — in the last 18 months.

“Down” is a contained thriller: “A newly married couple are trapped in an elevator with a mysterious stranger.” In a way, “Autobahn” is a contained thriller as well, albeit the Protagonist stuck in a car he has to drive super fast. What attracts you to this formula and how different was writing this storyline, a moving contained thriller, than “Down” which is a more static narrative?

Yeah, I’m a sucker for these movies. I love watching someone trapped in a shitty situation, struggling to get themselves out of it. This stems from what I call “sordid wish-fulfillment” something I believe I share with film audiences, and is the core reason why these thrillers, if done well, will continue to find success. It can be summed up with this question: “What if that happened to me?” — “What if that was my daughter that was taken?” “What if my wife was picked up by a trucker and vanished?” — “What if my house was broken into by three sadistic psychos?” — Relatable, high-concept thriller premises are, in my opinion, the single most terrifying types of film narratives. Not that we, as a collective movie-going audience, would ever want those things to happen to us, but I swear, we LOVE watching them happen to other people. Human nature I guess.

As for the “moving” aspect, I just thought the irony was too beautiful. My protagonist is trapped, he can’t move, but he has to keep moving! The core narrative constructs remain the same, however.

What were some of the biggest challenges you faced in writing “Autobahn”?

My motto’s simple. “Keep it fast, keep it fun.” It’s a challenge every time.

How did the sale of the script go down? How was it different for you than when you sold “Down”?

It was a more protracted process. It left me with more time to contemplate the fate of my life (aka far more anxiety attacks).

What’s the latest on “Down”?

I wrote it to a place I felt happy with it. It’s in active development and trust me, no one wants to see it on the screen more than I do.

Do you plan on continuing to focus primarily writing thrillers or are you looking to expand your horizon in terms of genres?

Thrillers cast a wide net so there’s so much room to play within that genre. But I’m also a sucker for the guy’s guy action film. I would love to help lead the charge to bring back the fun action flicks from 85–95, coincidentally my favorite films. But yeah, thrillers all the way. I love them too much to turn my back on them. And besides, I’m not serious enough to write drama or funny enough to write comedy.

Having sold two spec scripts, do you think you’ll go that route again?

Writing on spec is the single most liberating process for a writer (if you’re not starving). You’re the boss. But for me, what I decide to work on comes down to the idea. If someone approaches me with an idea that’s better than the one I’m working on. I’m in. If not, I’ll continue to work on my own stuff.

Finally after eighteen months working as a Hollywood screenwriter, are there some things you’ve learned about the craft and/or business of screenwriting you could share with aspiring writers?

I know 18 months is a very short time for a screenwriter, so please take this with a glass of salt, as anything I say will undoubtedly fall somewhere between inspiring and depressing, but hell- I’ll give it a shot and the reader can decide: Want it. Really fucking want it. And do anything you can to put yourself in the best possible position to get it. If you believe in yourself and put it out there to your family, friends, the universe that this is what you’re going to do with your life and you’re going to bust your ass until you do it. The divine screenwriting goddess will heed your call, she’ll visit you in the night, and bestow upon you that golden chalice we call a screenwriting career. Drink it in. Enjoy it. And then be ready with that next script once she pisses off ;)

“Really fucking want it. And do anything you can to put yourself in the best possible position to get it.” In 2 lines, Greg sums up one major point of text and subtext I promulgate on this site over and over. If you really want it, you will read scripts and analyze them. If you really want it, you immerse yourself in cinema by watching hundreds of movies. If you really want it, you will write pages daily, and rewrite them until you get them right. If you really want it, you will do everything in your power to learn the craft.

Oh, by the way: The pitch Greg casually tossed out that he sold? You can read about that deal here.

Please drop by comments to thank Greg for taking the time to share his insights with us and wish him well.

Comment Archive