An Interview with Scott Morgan “Sexiest Screenwriter Alive”




Scott Morgan, “Sexiest Screenwriter Alive” is the writer, director and producer of the sit-com Cupid’s Bow, here is a link to his website:



Q: What is Cupid’s Bow about?


A: Cupid’s Bow is my latest sitcom, and also the most popular Pitch Short I created, and it can be seen on my website,  It’s Glee as a sitcom, essentially, with a sexy girl band like The Pussycat Dolls as the leads.  I shot and funded it myself.


Q: What inspired you to write it?


A: I had been trained by the great 3-camera sitcoms, on set, and now am lining up to be a show runner, and creator of sitcoms.


Q: You have placed in finalist positions in every screenwriting contest you entered. What competitions did you enter?


A: I won Best Director and Best Picture for my first 35mm film called Playing Solitaire.  Aside from that, I’ve either won, placed 2nd, placed in the Top 10, placed in the finalists, for over 8 screenwriting competitions.  In addition, I’ve had options and writing assignments at the studios and networks, and written for Academy Award winners and famous actors. 


Q: What made you interested in directing?


A: I think that for a writer with enough vision and focus, moving toward Directing is natural. However, only a small percentage of any aspiring Directors really have the talent it takes to get the recognition of being a de facto bankable Director.


Q: What makes you the sexiest screenwriter alive?


A: What makes me the sexiestscreenwriteralive? That’s a great question. The persona of sexiestscreenwriteralive was developed for a new media form I created called Pitch Shorts, which are like music videos that pitch products and film scripts or tv shows with gorgeous, flirty, funny girls — much like the fun sexy ads on Superbowl shows, but they are 5-7 minutes long.  The motto of what I create is “CREATIVE GENIUS IS SEXY.” And due to my hyper creative mind, I’m the SEXIEST according to clients and my actresses!  Yea for me. I’m helping screenwriters get acknowledgement for their creative contributions to filmmaking, getting them out of the shadows into the limelight.


Q: Why do you think making a video pitch is important?


A: Pitch Shorts fill a void needed more and more in this world where technology advances so fast and the demographic buyers of products and movie tickets is lured to many ways.  It also offsets the unreal rise in advertising costs for films.  A film can spend $10-45 million on ads to release, and tv shows spend up to $20 million for a new series. Pitch Shorts can be shot for less than $20,000, in less than a week, and available in a week. This is like immediate low cost advertising that can be updated monthly. A Venture Capitalist told me this is incredible, much like music videos driving fame and products.  I already got clients hiring me to create them for new software and fashions, as well as movie pitching. So I created the template for a whole new marketing tool. Imagine if no one thought of the movie trailer, and suddenly they’re out there. That is similar to filling a key need for marketing and branding. All done with highly watchable gorgeous women delivering the details.


Q: What is your weirdest behind the scenes story?


A: Nothing “bad” has happened on any Pitch Short shoot (yet.)  We froze shooting in the cold rain in little clothing, we had to adapt to shooting with paper bags on the actress’ heads for Cupid’s Bow.  I must say though, that these are so new that actresses show up not knowing what to expect.  Some interviews with them on my website show how funny it was and hyper creativity took over.   They all are very talented, and great at Improv, so it was fun to shoot. Always tons to learn, lots of lines, very challenging for them, but they delivered!  Um, I guess it’s weird that even as the sexiest screenwriter alive I haven’t been swarmed by love offers — hmm, I have to look into that snub.  LOL.   Just kidding. The girls respect me as a Director because I respect them and see their comedic talent under their perfect looks and bodies. 


Q: What are some of the screenplays that you have optioned and to whom did you option them?


A: Hard Knox was optioned in a big way by Paramount, Supertanker by Silver Pictures, writing assignments for key A list producers and Directors at Universal, Warner Brothers, HBO, several TV pilots were produced including Sam n’ Ella’s, Club Fiji, Cupid’s Bow, and some docu-dramas.


Q: What sort of training have you had?


A: I was mentored by some of the greats in Hollywood, including Freddie Fields (Glory, Midnight Cowboy, American Gigolo, others) and was partners with the fantastic Barry London on an Independent venture. He was the top head at Paramount for decades and taught me more about marketing a film and superior writing.  That led to the coveted writing assignment for the Nobel Family to write their epic family saga. That script was received exceptionally well, and they are working on finishing the financing. 

Q: Who are some of your influences?


A: My greatest influences in screenwriting and directing are Freddie Fields+Jerome Hellman (who mentored me, Glory, Midnight Cowboy, American Gigolo) and Barry London (head of Paramount– Forrest Gump, Titanic, Braveheart, Ghost, Top Gun, etc.) and for directing I prefer the Sidney Lumet style of relating to actors.   Currently, what I find inspiring in general is the speed of innovation, and how creative people use imagination from the history of man (visuals, hand arts, beauty in humans, word play) in new ways to touch the souls of viewers in a more total experience.  Interactive films and tv, marketing, etc.

Please note; Eliza’s interviews are done by email. All answers are unedited and come right from the lovely fingertips of her subjects:)



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