Q&A with SCREENWRITER Chad B. Hamilton, Writer of Sinner Man
Tell us about the moment this screenplay began for you.
The legend of Robert Johnson has always fascinated me and I always wanted to do my own spin on it in some shape or form. I've struggled with iterations of this concept all throughout film school, but nothing felt exactly right (not to mention I found it twice as hard to crack as I was in the process of learning story, craft, style, and figuring out myself as a writer). After graduation I tried to move on to other projects but Robert just would not leave me alone. I took this as a sign that this was something I needed to get out, and if I was going to truly consider myself a writer, I needed to finish what I started.
What idea unlocked the screenplay for you?
It took understanding that I needed to write this story as a character-driven African-American family drama that happened to exist in a world where supernatural events happen, rather than just a film about jazz and black-eyed demon con men. Don't get me wrong, I love that stuff! But it's icing on the cake. Not the actual cake.
Why did this story feel important for you to tell now?
I was fresh out of grad school and I needed work. We have an industry that is in recession and the job market is hyper-competitive. I had (have) a lot of anxiety about that. I'm constantly asking, “Will my work stand out?”, “Is it polished enough?”, and “What am I missing?” I also tend to make small films about Black men navigating their place in the world. Will the reader or potential employer understand what I'm trying to say, or do they possess an unconscious bias that would result in my work not scoring as high?
What was the biggest creative challenge?
The biggest challenge would have to be balancing the themes and subjects I wanted to explore with the genre tone I wanted to contain it in. At the end of the day, we're making a movie. The audience wants to be entertained and feel something as well.
What kept you writing?
A teacher once said writing is like managing/owning a store. Some days the customers come in and some days they don't. Either way, you still gotta open the shop. Do the work.
What surprised you most as the screenplay evolved?
DJ (the brother) was originally built to be a firm obstacle for Eli. Over the course of the drafts I saw him open up in a subtle and more complex way. He loves his brother dearly, but their father made the relationship between them tricky as children and they've now brought this with them into adulthood.
What do you hope audiences take away?
“I need to see this on the big screen!”
Has performance changed the way you understand the work?
All the time. It's fun to see what kinds of subtext a performer can give to a line by saying it in a particular way or tone. Elevates the work!
What does “Make Time for Your Dreams” mean to you?
Act now. Don't wait for the “right time.” Consistency is key and that doesn't mean 100% every day. Some days you have 10% and others you have 90%. The point is you keep showing up in whatever windows you're able to do that in.
What are you working on next?
A few more shorts and a potential pilot script. Most importantly, I'm laying the groundwork for Sinner Man the feature.
Is there anything audiences or journalists should know?
Along with being a finalist at Bushwick Film Festival, this script has also placed at Nashville Film Festival, Flickers' Rhode Island International Film Festival, and New York International Screenplay Awards.
What advice would you give to writers just starting out?
Open the shop (keep writing).
What film or storytelling did you love this year?
Black Girl (1966) by Ousmane Sembène.
GET TICKETS → https://www.bushwickfilmfestival.com/tickets
The 19th Annual Bushwick Film Festival returns October 7–11, 2026, bringing filmmakers and audiences together for five days of independent film, conversation, and community across Brooklyn.
Philadelphia-based filmmaker and university professor Chad B. Hamilton had been circling the legend of Robert Johnson since film school when Sinner Man finally came into focus as a character-driven family drama. The short screenplay follows an injured young musician facing a supernatural bargain on the eve of a career-changing competition, using genre as a way into questions of ambition, sacrifice, family, and what someone is willing to give up for a dream. Hamilton describes the supernatural element as the 'icing on the cake,' with the emotional life of the characters remaining at the center.
