Film Producer Nick Oleksiw on the Entertainment Industry: Business Insights and Screenwriting Advice

Nick Oleksiw is a producer in Los Angeles developing film and TV projects and teaming up with others across town including MACRO, Thunder Road, Olive Bridge, and Sony Pictures. He specializes in high-concept thrillers, action, comedy, romantic comedies, 1-hour serialized TV drama and 1/2-hour comedy and dark comedy TV series. He began his career at APA, Sidney Kimmel, and Immersive Artistry, which laid the foundation for his current work. His notable credits include Doble, Welcome To Mercy, and Silent. He currently runs Mischief Entertainment. Nick shares his industry insights with Creative Screenwriting Magazine.

What is your current remit in terms of your company and the types of projects you’re looking for?

Fun, high concept hooks front and center. Personally, I’m big into thrillers, horror, and adventures — and separately, comedies and rom-coms.

How do you define a writer’s voice?

A writer’s voice is simply their unique take on any story. Because we’ve collectively read and seen thousands of stories over time, it can feel hard to stand out today. A great writer can take a familiar tale and put their own personal, unique spin on it. That’s their voice.

Describe your ideal writer?

An idea writer is someone who, not only consistently writes, but also aims to get better. This means someone who is constantly reading what’s out there. Specs of things being optioned and selling. READ as much as possile. Be hungry. Be disciplined. After that, be able to communicate effectively. Communication is key in this industry and it’s no different with a writer and their rep, exec, producer etc.

How many scripts should a writer complete each year?

Be prolific! But once you feel like you have a handle, quality over quantity is crucial. This can be 3 specs you’re really proud of in a year. For others it can be way more. Everyone is different.

Should writers be thinking about production and distribution or just the writing?

Writing shouldn’t be in a vacuum. Best writers think from a producer’s perspective and even an audience’s. In this case YOU are the audience. Write what YOU want to see while being mindful that you probably can’t afford one tenth the budget of a Marvel flick.

Should writers swing for the creative fences or stick with more familiar genre stories?

Ideally both. Genre is always dependable and fun. But do something NEW and DIFFERENT within the space. Don’t just write another contained cabin in the woods horror — find a NEW angle or element that makes it feel FRESH. This is your hook.

Do you think the industry is more willing to invest in riskier projects now?

Yes and no. Everyone will say IP only and then suddenly Project Hail Mary crushes all expectations. Then again, that movie hails from well-known filmmakers with established track records. So you and YOUR big original sci-fi epic might have a tougher time out there… we’re not all on equal footing!

How can writers better strategize their careers?

Write consistently and for the love of God please READ as many specs as possible. Ones that sell, ones from the Black List, ones from your Reddit thread. Read as much as you write and as much as you consume Netflix. Seriously. And yes I’m speaking to YOU, the writer reading this.

Can you describe a script you’ve recently read that stood out on the first page?

Read a pilot set in medieval times where one side was catapulting dead bodies through the sky and into their enemies’ territory. Hooked and read that thing in one sitting.

by Staff Writer

From our in-house editorial team.