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Doug Miro
Doug Miro
Doug Miro
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Doug Miro (born January 20, 1972) is an American screenwriter based in Los Angeles.[1] Miro studied screenwriting at the USC School of Cinematic Arts and graduated with a degree in English from Stanford University.

Key Information

Life and career

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Miro's screenplays include Prince of Persia: The Sands of Time,[2] and the Sorcerer's Apprentice, both which were written with his longtime collaborator, Carlo Bernard.

Their credits also include The Uninvited[3] for DreamWorks and producers Walter Parkes and Laurie MacDonald, and The Great Raid[4] for Miramax. While he was intended to work on National Treasure 3,[5] it did not come to happen.

Miro and Bernard first made their mark with Motor City, an adaptation of the novel Edsel, (Loren Estleman) a film noir set in 1950s Detroit.[6] The team also adapted Dean King's Skeletons of the Zahara: A True Story of Survival,[7] which chronicles the wreck of a Connecticut merchant ship and the crew's subsequent adventures in the Sahara Desert in 1815. After reading their adaptation, Steven Spielberg and Kathleen Kennedy hired the writing team to work on the script for the 2011 Tintin film.[8]

Miro is a creator and executive producer of the Netflix series Narcos and Narcos: Mexico.[9]

Miro is the co-creator and co-writer (along with Ingrid Escajeda) of the Netflix series Griselda. [10]

Filmography

[edit]

References

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[edit]
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Doug Miro

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Doug Miro (born January 20, 1972) is an American screenwriter and renowned for his collaborations on high-profile action-adventure films and acclaimed crime series, including co-creating the Netflix productions Narcos, , and . Born in suburban , , Miro developed an early creative partnership with fellow writer Carlo Bernard, with whom he has been best friends since second grade. Miro graduated from with a degree in English and later earned a in from the University of Southern California's School of Cinematic Arts in 1997. Early in his career, Miro worked as an assistant to director Michael Mann in Los Angeles, gaining exposure to professional script development while writing at night and early mornings alongside Bernard. Their breakthrough came with the sale of their original screenplay Motor City, a 1950s Detroit-set film noir, to George Clooney's Section 8 Productions, though it remains unproduced. Miro and Bernard went on to co-write several feature films, including the psychological thriller The Uninvited (2009), the fantasy adventure Prince of Persia: The Sands of Time (2010), the family action film The Sorcerer's Apprentice (2010), and the epic The Great Wall (2016). They also contributed an early draft to Steven Spielberg's The Adventures of Tintin (2011), which was ultimately rewritten by other writers. In television, Miro co-created (2015–2017) with and Carlo Bernard, a series chronicling the rise of n drug cartels that Miro described as a "20-hour movie" approached as one long narrative; he wrote scripts for episodes filmed in and to ensure authenticity. The duo extended their collaboration to the spin-off (2018–2021), shifting focus to the Mexican drug trade. More recently, Miro served as co-creator and co-writer (with Ingrid Escajeda, Carlo Bernard, and Eric Newman) for the Netflix limited series Griselda (2024), which dramatizes the life of n drug lord and stars in the title role.

Early Life and Education

Early Life

Doug Miro was born on January 20, 1972, in suburban , , where he grew up as a native of the state. Details about Miro's family background remain limited in , though his father worked as a , which shaped Miro's early perspectives on service-oriented professions. Raised in a Midwestern environment with strong ties to , Miro's upbringing was influenced by his parents' accounts of the city during the , fostering a deep connection to regional history and community narratives that later informed his approach. Miro formed a lifelong with future writing partner Carlo Bernard in second grade in suburban , where they shared imaginative play that foreshadowed their collaborative career. From a young age, Miro displayed a keen interest in , particularly drawn to classic and mythic narratives that explored imaginative worlds. He enjoyed solitary writing as a creative outlet, a practice that hinted at his future career in , often reflecting on his roots in interviews as a foundational influence. This early passion led him to pursue higher education at .

Academic Background

Doug Miro earned a degree in English from , graduating in 1994. He subsequently enrolled in the program in at the University of Southern California's School of Cinematic Arts, completing the degree in 1997. The program's intensive two-year concentrates on writing for and , with a core emphasis on developing film narrative techniques, including , character development, and dramatic tension. His Stanford education in English literature complemented this by deepening his understanding of literary storytelling traditions.

Professional Career

Entry into the Industry

Following his graduation from the with an MFA in screenwriting in 1997, Doug Miro stayed in to dedicate himself fully to a career in the industry. Having already relocated to the city for his graduate studies, Miro leveraged the foundational training from USC as a springboard into professional opportunities. Miro's initial foray involved modest entry-level roles, including work as a on various projects, which provided financial stability while allowing him to immerse himself in the Hollywood ecosystem. During this time, he and his childhood friend Carlo Bernard, whom he had known since in suburban , began collaborating on writing endeavors after Bernard also moved to post-college. Their early joint efforts focused on speculative scripts, with one notable example being Motor City, a 1950s -set that they sold to George Clooney's Section 8 Productions; although it remained unproduced, the sale marked a pivotal breakthrough in validating their partnership. Further solidifying their entry, Miro and Bernard secured positions as personal assistants to acclaimed director, screenwriter, and producer , a native whose mentorship offered invaluable insights. In these roles, they read high-caliber scripts, observed Mann's filmmaking process on major productions, and built connections within his influential network, which helped navigate the challenges of breaking into a competitive field dominated by established talent.

Key Screenwriting Projects

Doug Miro's screenwriting career began in the late after he transitioned from assistant roles in Hollywood, including a stint working for director , to crafting original material. His breakthrough came with the Motor City, a 1950s-set inspired by his roots, which sold to George Clooney's Section 8 Productions and served as a pivotal calling card despite remaining unproduced. This success paved the way for studio assignments, where Miro honed his craft on rewrites and adaptations, gradually building a reputation for delivering polished, commercially viable scripts under high-stakes deadlines. A key aspect of Miro's trajectory involved collaborations with prominent producers, notably , for whom he tackled large-scale action projects that demanded intricate plotting and visual spectacle. He also worked with , navigating the producer's hands-on approach to development. These partnerships, often alongside longtime collaborator Carlo Bernard, enabled Miro to scale up from independent spec work to blockbuster assignments, emphasizing collaborative revisions to align with studio visions. Recurring themes in Miro's writing include historical epics that blend factual backdrops with dramatic tension, as well as action-adventure adaptations that prioritize character-driven quests amid high-concept settings. These elements reflect his interest in exploring ambition, cultural clashes, and moral ambiguity through expansive narratives. Miro has discussed the inherent challenges of Hollywood screenwriting, particularly in adapting source material like video games or remakes, where the pressure to innovate while honoring originals often leads to extensive iterations. In interviews, he highlighted the skepticism surrounding video game adaptations due to prior failures, stressing the need to capture the source's essence—such as fluid movement and epic scope—rather than literal replication, all while managing producer input and budget constraints. He described the process as a "victorious compromise," balancing creative instincts with commercial demands to elevate the genre beyond clichés.

Notable Works and Collaborations

Film Contributions

Doug Miro's contributions to feature films primarily revolve around for action, , and thriller genres, often involving adaptations that blend historical or fantastical elements with high-stakes narratives. His early work established a focus on historical accuracy in dramas, evolving into large-scale fantasy adaptations that prioritize cinematic spectacle. Miro co-wrote the screenplay for The Great Raid (2005) alongside Carlo Bernard, adapting William B. Breuer's The Great Raid on Cabanatuan: Rescuing the Doomed Ghosts of and and Hampton Sides' Ghost Soldiers: The Epic Account of World War II's Greatest Rescue Mission. The script meticulously reconstructs the 1945 Raid, a real U.S. Army operation in the that freed over 500 Allied POWs from Japanese captivity, emphasizing themes of heroism, sacrifice, and the collaboration between American Rangers and Filipino guerrillas to maintain factual integrity amid dramatic tension. In 2009, Miro contributed to the horror-thriller remake The Uninvited, co-writing the screenplay with Craig Rosenberg and Carlo Bernard, based on the 2003 South Korean film A Tale of Two Sisters. The adaptation centers on psychological horror, following a teenage girl who, after psychiatric treatment following her mother's death in a fire, suspects her father's new fiancée of sinister motives, incorporating eerie visions, family secrets, and suspenseful confrontations to heighten thriller elements like unreliable narration and ghostly apparitions. The film grossed $28.6 million domestically and $41.6 million worldwide on a $30 million budget, achieving moderate commercial success as a PG-13 entry in the Asian horror remake wave. Miro's 2010 projects showcased his skill in adapting source material for blockbuster action. For , he co-wrote the screenplay with and Carlo Bernard, drawing from Jordan Mechner's series, where Miro enhanced the opening act to transform the parkour-based adventure into a expansive tale of a rogue prince allying with a princess to prevent a world-ending artifact's misuse, balancing game lore like time manipulation with amplified cinematic action sequences and romantic intrigue. Similarly, in , Miro collaborated with Matt Lopez and Carlo Bernard on the screenplay (from a story by Lopez, , and Mark Rosenthal), reimagining Disney's 1940 animated segment from Fantasia—itself based on Goethe's poem—into a modern where a young physics student trains under a wizard to battle an ancient sorceress, integrating magical effects with high-energy chases and character-driven stakes to suit summer tentpole expectations. Miro's later film work includes The Great Wall (2016), where he co-wrote the screenplay with Carlo Bernard and , based on a story by , , and . The script fuses set during the construction of 's iconic fortification with fantasy, depicting European mercenaries joining Chinese forces to combat invading monstrous hordes, blending epic battles and mythical creatures in a that explores alliances. This project exemplified international collaboration, produced by as a U.S.- co-production directed by , with a multinational cast including and , aimed at global market appeal through shared creative input and distribution via outside .

Television Series

Miro transitioned to television by co-creating the series (2015–2017) alongside and Carlo Bernard, chronicling the rise and fall of Colombian drug lord . The series drew on extensive research into Escobar's operations and the U.S. (DEA)'s efforts to dismantle his empire, portraying the Cartel's global trade through a mix of historical accounts and dramatic narrative. Miro emphasized Escobar's complex persona as both a to the impoverished and a ruthless figure targeted by law enforcement, such as in episodes depicting DEA collaborations with Colombian officials to expose his corruption. The franchise expanded with (2018–2021), shifting focus to the origins of the in the and the DEA's initial forays into Mexican drug enforcement. Miro, continuing as co-creator with Brancato and , oversaw production across multiple locations including , , , and to authentically capture the era's border dynamics and cartel expansion. This installment explored the cartel's transformation under leaders like Félix Gallardo, highlighting the escalating violence and international intrigue that set the stage for modern narco conflicts. In 2024, Miro co-created and executive produced the limited series Griselda for , centered on the true story of , the "Godmother of Cocaine" who built a violent Miami-based empire in the and . Collaborating with Eric Newman, Carlo Bernard, and showrunner Ingrid Escajeda, Miro focused on Blanco's immigrant roots, family motivations, and brutal tactics, drawing from declassified records and survivor testimonies to depict her dominance in the drug trade. As executive producer, he guided the production's emphasis on her psychological depth amid escalating rivalries. Miro's television work consistently employs a approach in limited series formats, blending verified historical facts with fictionalized dialogue and composite characters to heighten emotional stakes while maintaining narrative fidelity. This method, refined across Narcos and Griselda, allows for concise storytelling over six to ten episodes, prioritizing thematic exploration of power, morality, and institutional failures over exhaustive timelines.

Recognition and Legacy

Awards and Nominations

Doug Miro's screenwriting and producing work has been recognized through nominations for prestigious awards, particularly for his contributions to acclaimed television series. The series , co-created by Miro, , and Carlo Bernard, earned a for the Golden Globe Award for Best Television Series – Drama at the in 2016. also received nominations in the Episodic Drama category for episodes such as "Explosivos" in 2016, underscoring the series' achievements in adapted dramatic writing based on real events. In 2024, the limited series , co-created and co-written by Miro with Ingrid Escajeda, received Primetime Emmy Award nominations for Outstanding Lead Actress in a Limited or or Movie (), Outstanding Period Costumes for a Limited or or Movie, and Outstanding Cinematography for a Limited or or Movie. The episode "," co-written by Miro, Ingrid Escajeda, and Giovanna Sarquis, was highlighted among notable scripts from Emmy-nominated series. For his earlier film work, Miro co-wrote the screenplay for The Great Raid (2005) with Carlo Bernard.

Writing Partnerships

Doug Miro's most prominent writing partnership is with Carlo Bernard, a collaboration that began in the early and has produced joint credits on more than five films, including The Uninvited (2009), Prince of Persia: The Sands of Time (2010), (2010), and The Great Wall (2016), as well as multiple seasons of the series and its spin-off . Born on the same day in 1972 and best friends since childhood, Miro and Bernard have maintained a close professional dynamic, often co-writing scripts and sharing responsibilities such as penning episodes and taking turns on location shoots for television projects like , where they filmed in and . Beyond their partnership with , Miro collaborated with as co-creator on , contributing to the series' first three seasons and the initial season of , blending historical research with dramatic storytelling. Miro has also worked briefly with prominent directors, including on Prince of Persia: The Sands of Time and , where their scripts adapted and fantasy elements into action-oriented narratives. These partnerships have enabled Miro to explore genre versatility, transitioning from high-stakes thrillers like Narcos to epic adventures such as Prince of Persia and historical fantasies in The Great Wall, allowing for a broader range of narrative styles and production scales.

References

  1. https://www.rottentomatoes.com/celebrity/doug_miro
  2. https://www.latimes.com/archives/blogs/the-big-picture/story/2010-05-24/screenwriter-duo-hits-it-big-with-this-summers-two-bruckheimer-films
  3. https://cinema.usc.edu/alumni/notable.cfm
  4. https://www.imdb.com/name/nm1215164/
  5. https://pulp.aadl.org/node/358844
  6. https://www.netflix.com/tudum/articles/griselda-cast-guide
  7. https://www.imdb.com/title/tt15837600/
  8. https://stanfordmag.org/contents/new-kids-on-the-blockbuster
  9. https://catalogue.usc.edu/preview_program.php?catoid=8&poid=7348
  10. https://stamps.umich.edu/events/doug-miro
  11. https://screenwritingfromiowa.wordpress.com/2010/06/03/motor-city-writers-in-the-fast-lane/
  12. https://kotaku.com/this-video-game-movie-wouldnt-be-like-those-other-ones-5551717
  13. https://collider.com/screenwriters-doug-miro-carlo-bernard-interview-prince-of-persia-the-sands-of-time/
  14. https://variety.com/2005/film/markets-festivals/the-great-raid-1200524078/
  15. https://www.fangoria.com/review-the-uninvited-2009/
  16. https://deadline.com/2016/12/the-great-wall-movie-china-matt-damon-legendary-hollywood-model-1201864398/
  17. https://www.netflix.com/title/80025172
  18. https://www.vice.com/en/article/narcos-asks-us-to-consider-all-facets-of-a-bad-man/
  19. https://www.hollywoodreporter.com/tv/tv-news/narcos-season-4-first-look-at-mexico-reset-1127997/
  20. https://www.netflix.com/tudum/articles/true-story-griselda-blanco
  21. https://www.hollywoodreporter.com/tv/tv-features/griselda-sofia-vergara-cocaine-godmother-netflix-1235807352/
  22. https://goldenglobes.com/tv-show/narcos
  23. https://www.wescreenplay.com/blog/25-2024-emmy-nominated-scripts-you-should-read
  24. https://www.televisionacademy.com/awards/nominees-winners/2024/outstanding-lead-actress-in-a-miniseries-or-a-movie
  25. https://deadline.com/2011/11/scribes-doug-miro-carlo-bernard-shift-into-producing-with-a-space-for-paramount-194207/
  26. https://www.nytimes.com/2015/08/30/arts/television/netflix-looks-to-narcos-for-a-new-audience.html
  27. https://www.hollywoodreporter.com/tv/tv-news/narcos-mexico-season-2-scoot-mcnairy-dea-agents-ending-1279218/
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