Andrea Mann

Andrea Mann is a screenwriter based in the UK

Those Three Little Words That Mean So Much

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Learning to ‘trust the process’ can change your life. Trust me. (And the process).

Trust the Post-it

I’m in the first draft of a feature script at the moment, with all the ups and downs that entails.

The ups include thoughts like: I’m writing a film script! I used to manage a cinema and now I’m writing a film script!! – inwardly screaming and running around the house like Olive when she’s told she’s through to the finals of the Little Miss Sunshine pageant.

The downs include rather different thoughts, like: What the f— am I doing? Should I really put that there? Is this rubbish? Oh god, it’s rubbish. Is this script going to be any good? At any point? I bet Mike White’s scripts are great off the bat! …and so on.

I often talk to other writers and creatives about how a) the voice of your Inner Critic never goes away but b) you can help it to become quieter, and less frequent, by doing such things as nurturing the voice of your Inner Best Friend instead.

When I’m in the thick of a first draft, my Inner Best Friend reminds me that they’re known as Shitty First Drafts for a reason. That nobody will see this draft but me. That it doesn’t need to be good, it just needs to be written. That it doesn’t matter if it’s rubbish for now, as long as I push on through. That I should just keep swimming. At which point I realise that my Inner Best Friend is, in fact, a fish. Called Dory.  

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You’re Not Too Old, And It’s Not Too Late

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Not writing screenplays until my 40s, I thought I was a late bloomer. Then my 88-year-old mum published her first novel.

They’re not an obvious pairing, but bear with me: what do my 88-year-old mum from Leeds and 53-year-old Mexican actor Carlos Diehz, star of hit movie Conclave, have in common?

Apart from both having great taste in necklaces, the answer is: they’re both late bloomers.

Carlos Diehz – who plays the crucial role of Cardinal Benítez in the BAFTA-winning, Oscar-nominated film – was an architect for 30 years (still is, in fact), and didn’t start taking acting lessons until the Covid pandemic hit. Conclave is his very first feature film. 

My mum, Annette Mann, was a primary school teacher her whole working life – then in her retirement wrote a novel: an imagined sequel to Jane Austen’s Persuasion. This year, 250 years since Austen’s birth – and 88 years since Mum’s – we finally put Pride and Persuasion out in the world:

My mum isn’t the only person I know of smashing it out of the park at this point in her life, either.

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A Permission Slip From Me (And David Lynch)

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Even the young Mr Lynch felt he needed permission to be an artist. This is yours.

David Lynch had so much wisdom and empathy to share about creativity and life that it’s no surprise his recent passing led to an outpouring of admiration and love not just for his body of work but also for him as an artist and as a human being.

Whether he was talking about creative ideas being like fish (“We don’t really create an idea. We just catch them, like fish. No chef ever takes credit for making the fish”) or debunking the myth of the tortured artist (“You don’t have to suffer to show suffering”), the filmmaker and artist constantly exuded wonder and joy at both the world around him and the thrill of living “the art life”.

Of all the inspiring and fascinating video clips, stories and anecdotes that were being shared about Lynch following his death, one clip in particular, from a 2019 interview he did with Artforum, hit me. Because in it, Lynch describes the exact moment, aged around 14-15, that he realised he was allowed to be an artist:

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