Andrew Chapman

Andrew Chapman has this knack for getting under your skin with his storytelling. You look at Black Mirror (2011) and immediately, the dark, tech-obsessed world grips you—he doesn’t sugarcoat the messiness of the future. It’s all screens, paranoia, and that sick feeling in your stomach because deep down, you know it’s not that far off. Then there’s The Autopsy of Jane Doe (2016), a horror flick that doesn’t just rely on cheap jump scares. Chapman, co-writing, weaves this claustrophobic, creepy atmosphere—two coroners, a mysterious corpse, and suddenly the morgue feels like the last place on Earth you’d want to be. Every slice, every shadow, it’s like he’s daring you to look away, but you can’t. Division 19 (2017) rolls around, and suddenly we’re in a dystopian society where privacy is a joke and surveillance is king. People are basically products, everything’s for sale, and freedom feels like some forgotten myth. Chapman’s scripts toss you right into these worlds—no hand-holding, just raw, unsettling ideas that linger long after the credits roll. He seems to have a thing for exploring how technology, institutions, and even our own curiosity can backfire spectacularly. There’s always this edge, this bite to his stories, like he’s warning us with a wink—hey, maybe don’t scroll too far down that rabbit hole. Chapman’s work? It sticks with you, gnawing at the back of your mind, daring you to imagine just how close to reality it all might be.

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Personal details

  • Professions: Producer, Production Manager

Did you know

    • Nick Names: Andy Chapman

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