Interview (Part 6): Chris Wu

My interview with 2021 Black List writer for his script Mr. Benihana.

Chris Wu wrote the original screenplay “Mr. Benihana” which landed on the 2021 Black List. Recently, I had the opportunity to chat with Chris about his creative background, his script, the craft of screenwriting, and what making the annual Black List has meant to him.

Today in Part 6 of a 6-part series to run each day through Saturday, Chris provides some tips on the screenwriting craft.

Scott: Congratulations again, it’s a terrific script. A few craft questions for you. First of all, you’ve been writing a lot in TV. Are there differences that you can articulate between writing TV and writing movies?

Chris: I always like to think of the difference between TV and film, similar to the difference between a short story and a novel. Features are more contained. Much like a short story, you can figure out the beginning, middle, end and craft the perfect story to fit within that framework.

In TV you’re having to figure out this entire saga and multiple stories past the first chapter. It’s a different storytelling. It involves some different ways of thinking about your characters and plot.

Scott: I think I saw on IMDb you’ve got another feature script that you’re developing. Do you enjoy bouncing back and forth? Is that how you envision things playing out here careerwise?

Chris: I actually do. I like to write in both formats. I also think the process of writing features and television are different in my experience.

In television, it’s mostly the writers’ room. So you’re with a group of other writers. You’re working together. It can feel more like a 9:00 to 5:00. You have coworkers, and it’s collaborative.

In features, for the most part, it’s a bit more solitary. I waver between the introvert and extrovert in myself. There are times when I do crave the camaraderie and the creative energy of working with others. And then there are times when I’m like, “OK, I’d like to just be by myself as I figure this out and write it.”

Scott: Recently, I was talking with a writer friend who’s on staff for a TV series. And he told me that a script where a scene went over a page and a half, that was going to get flagged immediately. Have you found that to be a thing in TV? Where the page count, the real estate of a script, is so limited, every scene has to be as tight as possible.

Chris: It certainly depends. But yeah, I’ve found the real estate in an episode to be narrower than movies. The pace and structure of TV seem to dictate scene length. Scenes can’t get too bloated or meandering.

Scott: Let me ask you another TV question. It used to be that you’d write a spec on an existing TV series. Though, it seems like over the last decade or so, showrunners have become much more open to reading original material. Do you have any thoughts on that? Should writers have one of each or more of each, just focus on the original stuff, or focus on the specs?

Chris: I started off writing specs. To my understanding, that was the preferred writing sample. Your job as a television writer working under a show runner is to emulate their voice. Makes sense why specs were samples.

Now I feel like I only have originals. No one asks for my specs. I haven’t written any specs in the last five years or so. There’s a little bit of a different prioritization. The show runners are looking perhaps for original voice, original ideas. I’m speculating here, but they’re assuming that you’re able to match their voice. That’s almost a prerequisite.

But I would say, especially for new and emerging writers, specs are a great way to learn how to write television. It trains you to study a show, study the structure, study the characters, and emulate it. Especially the types of shows you enjoy and you would want to write for.

Scott: That’s some good advice. I’m going to ask you one final question: What advice you have to offer aspiring screenwriters, TV writers about learning the craft and breaking into the business?

Chris: [laughs]

Scott: That’s the big one, right?

Chris: That’s the big one.

Scott: It’s either that or how do I get an agent?

Chris: Exactly.

[laughter]

Chris: My advice would be to learn how to celebrate your accomplishments. Especially in this industry, where you hear no all the time. But even in your day to day. When you’re a writer, you are in effect your own boss. It’s very easy to create a long list of tasks for yourself and to feel disappointed at the end of the day for not finishing all of them.

The taskmaster in me was particularly vicious. I’d beat myself up all the time. It was a long process for me to learn how to focus on my accomplishments. To be able to pat myself on the back for the small stuff. And to set realistic schedules and goals for myself.

Be kind to yourself. It’s important.

For Part 1 of the interview, go here.

Part 2, go here.

Part 3, go here.

Part 4, go here.

Part 5, go here.

Chris is repped by John Zaozirny at Bellevue Productions.

Twitter: @wu_stein.

For my interviews with dozens of other Black List writers, go here.