To quote Alfred Hitchcock “To make a great film, you need three things – the script, the script, and the script”. The script is the blueprint, the screenwriter is the architect in which worlds are built and shaped. Studying scriptwriting at Goldsmith, University of London writer-director Mono Ghose understands the importance of the script and has applied his skills as a writer into his skills behind the camera producing thought provoking stories.
We recently caught up with Mono to discuss his background in scriptwriting and how that transferred into his work as a director in commercials and a narrative designer in gaming.
How did your desire for storytelling start?
It started with my upbringing where story, films, sports and games were a central part of my life. I’ve always loved the way a good story can make people laugh, listen, and lean in. It’s a kind of magic that’s somehow both ancient and modern.
What was the most valuable skill you gained from studying scriptwriting at Goldsmith?
Learning to kill my darlings. At Goldsmiths, I learned that writing isn’t precious; it’s a process of brutal, loving revision. Also, coffee. I definitely mastered the art of surviving on cheap coffee.
Do you follow a strict structure as a writer or does it depend on the project?
It depends. Sometimes you need a solid structure to keep the chaos at bay, like putting up invisible walls for your ideas. Other times, you have to let the project breathe — wander off the path. In short: structure is important, but flexibility keeps the work human.
Do you think your skills as a writer gives you an advantage as a director?
Absolutely. When you understand the bones of the story, you can direct with real intention — not just pointing a camera at things and hoping for the best. You can focus on the truth and follow the emotional core of the scene, whether that’s the actor, setting or object.
What type of stories are you personally drawn to?
I’m a sucker for stories about imperfect people trying (and often failing) to do the right thing. Anything that mixes heart, humour, and a little bit of chaos feels true to life for me. I guess I’m drawn to the beautiful chaos of being human — the flaws, the funny bits, the occasional existential meltdown.
What’s the major difference between creating a narrative for commercial work versus designing narrative for video games and are there any other mediums you would love to craft stories in?
Commercial work, you have seconds to make someone care, connect, and remember you. Video games are more like being a tour guide in a city you secretly built — players want freedom, but you still need to lead them to find the good stuff. As for other mediums, I’ve produced a podcast series recently on sports and books but I’d love to do a film or narrative driven podcast series — there’s something magical about a voice in your ear painting entire worlds you can’t see.
To see more of Mono’s commercial work click here
And to see Mono’s video game narrative work click here