Sherry Mills

Sherry Mills began developing her skills as a screenwriter with Bantu Biko, the story of Steven Biko, the South African liberal killed in detention by the apartheid government, developed under the gui ...Show More

Sherry Mills began developing her skills as a screenwriter with Bantu Biko, the story of Steven Biko, the South African liberal killed in detention by the apartheid government, developed under the guiding hand of Academy Award winning director, Richard Brooks (Truman Capote's "In Cold Blood," "Looking for Mr. Goodbar"), for Hemdale Pictures. The Cowboy and the Cossack for Warner Bros. was next, followed by Robinson Crusoe, also for Hemdale, and then as writer/director of what Sherry describes as a ", into the less literal," rock-opera, King Death, for Billy Idol and 20th Century Fox. A re-write of The Jungle Book, the hit motion picture for Walt Disney Productions, followed and soon thereafter, the highly successful, The Adventures of Pinocchio for New Line Cinema, which underscored her knack for giving a film "heart". Collaborating with long-time friend, Tom Sheppard, Sherry and Tom created the eagerly awaited sequel, The New Adventures of Pinocchio, bringing a new twist to a well-known tale.Sherry has demonstrated her ability to excel in almost any genre but is mostly drawn to the controversial, and has recently devoted herself to two such projects: The Queen's Physician, the true story of the ill-fated, scientifically obsessed court physician to Queen Elizabeth I, starring Al Pacino and Emily Watson, and Midnight Boogie, as writer/director. Based on fact, and spun from metaphor, Midnight Boogie, is an epic, original story, which focuses on America's oil interests and duplicity in war-torn Angola during the 1980's.Turning her attention to New York, The Glass House, a polemical drama and, "brilliantly crafted" dissection of racism and redemption, set in the 1930's American South, was performed at several off-Broadway theaters, including The American Theater of Actors, garnering critical and public attention. Unafraid to grapple with complex themes through human absurdism, and encouraged by confirmation of the play's "integrity and effectiveness," Sherry continues to explore what she best describes as, Credo quia absurdum (I believe because it is absurd). Hide