Alright – so today we’ve got the honor of introducing you to Sarah Nocquet. We think you’ll enjoy our conversation, we’ve shared it below.

Hi Sarah, thanks for joining us today. Can you talk to us about how you learned to do what you do?

I learned the rules of screenwriting during my film and television production degree at NYU. We were taught all about structure, character journey, balancing wins and losses… And I love those things, I’m a fan of structure. I love figuring out a script like a puzzle or a math problem, where pieces fit together and equations balance out. Learning to “be a screenwriter” has been a separate process that I’ve undergone outside of an academic framework. As with any art, you need to practice and iterate in order to develop a personal relationship to your craft.

The biggest lesson I’ve learned is to detach my ego from my work. When I was a student, every film I made felt urgent, passionate, like a piece of myself; as if it were the best thing I’d ever made and I’d never make anything again. Persevering with screenwriting on my own after graduating, I quickly realized this wasn’t a sustainable approach. Especially with longer-term projects, you can’t rely on being enthralled with your idea to keep yourself going. You need to separate your worth from the worth of the script; gain the confidence to know that you’re a good writer, regardless of your opinion of what you’re writing at the moment. Finding that certitude in your own abilities allows you the freedom to recognize when your work isn’t meeting your standards or taste level, without any deep fear that it reflects on your own value. The truth is that most of what I write is not great– because it’s not fully formed, or it’s an attempt that isn’t quite right. Accepting that without apprehension or judgment has made it so much easier and more peaceful for me to plow ahead with endeavors.

Sarah, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

I’m a screenwriter and director with a focus on independent narrative filmmaking, working in NYC (where I got my start), London (where I spend most of the year), and Paris (where I grew up). I work as a writer for hire: as a story writer, script consultant, and all out screenwriter (as of 2024 I’ve written two feature screenplays on commission, with a third on the way). I’ve also assistant directed over 40 productions, including shorts, features, music videos, and commercials.

My short psychological thriller “Speed Queen 51” starring Rory Culkin premiered at Palm Springs ShortFest 2024, and was acquired by Kinogo Films for distribution as part of an anthology feature. My 5min drama “Decoy” starring Lia Williams is planning a festival run in 2025. I’m currently developing my first feature film, a chamber-piece absurdist thriller set to shoot in 2026. I wrote the first draft last year at my annual writers retreat, which I’ve been running for 5 years now– every year, my friends and I each write a feature first draft in 2 weeks (following two months of weekly meetings to workshop our outlines together).

I’ve always been drawn to protagonists who are searching for how to define themselves. Women especially see their identity so strongly linked to how they’re perceived—bossy, easy-going, pretty, young, old, serious, funny. It can be hard to describe yourself without relying on what others think of you. We may come to wonder whether there really is a difference between who we are and who we seem to be… while quietly clinging to the belief that there is a deeper self, unknown to all, that could break through circumstance unaffected. What do we owe our true selves? Is our obsession with authenticity sometimes, in the end, a hindrance to the path we find through the world?

I write stories in which women question their identity, and reconsider how much power the world has to define who they are. These usually take the form of quiet, psychological thrillers, tinged with a layer of irony underscoring the heavily individualistic approach that leads us to ask such questions. I play with paranoia, assumptions, and confessions in an unreliable world.

For you, what’s the most rewarding aspect of being a creative?

I get so much joy from seeing my projects to fruition– but so much anguish as well. It’s a painful process! Even if I’m able to one day make a living writing and directing my own ideas, I don’t know that I’ll ever want to stop working on other people’s films. It’s so fulfilling and edifying to help a fellow filmmaker see their vision through; and there’s a freedom in brainstorming creative solutions without the high stakes of your own vision on the line. The friendships I’ve formed over ideas sparked in a crisis situation are so precious to me, and those experiences add to my arsenal for tackling my own projects. Finding a team that can support me in that same way when I have tunnel vision with a script I’m writing, or scene I’m directing, is the most gratifying part of the process. If nothing else, filmmaking builds creative bonds; and that will always be my favorite aspect of the craft.

Are there any resources you wish you knew about earlier in your creative journey?

I find it really important to create an immersive environment for myself that keeps me thinking about my projects in my downtime; I think you can make a lot of progress on an idea just by holding it in the back of your mind. One great way to do that is to listen to podcasts about writing, directing, and getting your films made! Here are a few that I love: Scriptnotes (the OG screenwriter’s guide), The Screenwriting Life (with more of a focus on the human experience of being a screenwriter), Making Movies is Hard (directors/producers explaining step by step how they got their indie film made), The Director’s Take (similar interviews with a UK focus); and then for broader industry interviews, Directors UK, The No Film School Podcast; and for general artistic inspiration, Mike Birbiglia’s Working It Out. There are many others of course! These are just the ones in my current rotation.

The best resources are the ones that put you in a position in which success is knowable and accessible. The biggest barrier to accomplishing your film goals is believing they aren’t realistic. If you surround yourself with stories from people who have done the things you want to do, it will be much easier to picture yourself doing those things too! Listening to these podcasts, attending film festivals, sharing experiences with friends in the industry are all valuable uses of your time. They’re often also a very welcome break from the solitary hours spent with your own projects. Remember you are a part of the film world, and you help build it as much as it helps build you!

Contact Info:

• Website: https://www.sarahnocquet.com/
• Instagram: https://www.instagram.com/sarahnocquet.mov/

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