Script Apart with Al Horner

Justin Kuritzkes is the very talented writer behind Challengers, the Luca Guadagnino love triangle topping all sorts of end-of-year lists right now. The film is a tennis drama that declared game-set-and-match with critics and audiences alike on release in April, becoming a pop culture sensation in ways usually reserved for franchise films. Steeped in the messy wants and desires of three complicated characters, it's the sort of film that doesn't often dominate discourse. But that didn't stop Challengers becoming a phenomenon whose influence altered fashion, music, memes and more in 2024.Which for most writers would be enough achievement for one year thank you very much. But Justin’s 2024 didn’t end there. Queer – also directed by Guadagnino – is a William Burroughs adaptation that hit cinemas this month. The film stars Daniel Craig as William Lee – an American expatriate living in 1950s Mexico City who becomes obsessed with a younger man and goes on a quest into the jungle in search of unlocking drug-induced telepathic communication. Both films bear the hallmarks of a storyteller insistent upon bringing deeply nuanced explorations of flawed people searching for connection into multiplexes. In the double-bill episode you’re about to hear, breaking down in spoiler-filled detail both acclaimed films, we discuss the overlaps between Challengers’ carnal chaos and Charli XCX’s Brat Summer, and what both say about this moment in the culture. We get into the tragic real-life death of Burroughs’ partner, killed by the famed author in an supposed accidental shooting, that lends uncomfortable context to the story of Queer (and that Justin threaded into the movie). And you’ll also hear his thoughts on whether both of these films could be a bellwether moment for movies. In a year that saw franchise after franchise struggle for critical applause and box office might, does the success of a movie like Challengers suggest that an appetite might be growing again for original stories? Now there’s an exciting thought to carry into 2025.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.Support for this episode comes from ScreenCraft, Final Draft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the show Hosted on Acast. See acast.com/privacy for more information.

Peter Straughan, a BAFTA-winning screenwriter known for Tinker Tailor Soldier Spy and Wolf Hall, discusses his latest film, Conclave. He reveals how his lapsed Catholic background influenced the narrative and character development surrounding the election of a new Pope. Straughan draws parallels between the film's power struggles among cardinals and current political figures, including unexpected inspirations from Donald Trump and Joe Biden. He also addresses the role of faith and the intersection of morality and representation, highlighting Sister Agnes's significant yet silent impact in a patriarchal setting.

Richard Linklater is a hit man, but not in the assassin sense of the word. No, the hits he trades in are of the movie variety – stylish cult classics that vary in genre and form, but always manage to ignite something powerful in viewers. It’s been that way for three and a half decades now: among his hits, dating back to 1990, are Dazed and Confused, Before Sunrise, Before Sunset, Before Midnight, Boyhood, School of Rock, A Scanner Darkly, Slacker, Waking Life, Everybody Wants Some, Fast Food Nation… the list goes on. No wonder the Texan is one of the most respected names in modern American cinema – a force both prolific and patient, as his multiple movies shot across numerous decades prove. 2014 coming-of-age drama Boyhood was filmed across twelve years, with Merrily We Roll Along – a Paul Mescal-starring Sondheim adaptation, to be shot across twenty years – among his current projects.Earlier this year, he released Hit Man – a romantic comedy of sorts, with a hint of thriller thrown in for good measure, about a bashful college professor with a unique side hustle. Gary, played by the film’s co-writer Glen Powell, has a recurring gig with the New Orleans police force, pretending to be an contract killer. He wears a wire to meet with people seeking to order a hit on their spouses, their work colleagues, their parents and so on. It’s a gig that’s going smoothly for Gary, until he meets Madison, played by Adria Arjona – a woman trying to escape an abusive husband, who Gary begins to fall for. What follows is Linklater in full-blown crowd-pleasing mode.In the conversation you’re about to hear, we discuss what it was about this true-ish story, adapted from a newspaper article by journalist Skip Hollandsworth, that spoke to Richard. We talk about the baseball injury that put him on a path to filmmaking (and how it might have led to the unstoppable pace with which he makes movies). And we break down every detail of Hit Man, one of the movies of 2024, in spoiler-filled detail.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.Support for this episode comes from ScreenCraft, Final Draft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the show Hosted on Acast. See acast.com/privacy for more information.

Denis Villeneuve, a visionary filmmaker known for works like Sicario and Arrival, discusses the cinematic impact of Dune: Part Two, addressing its themes of fascism and faith. He reflects on the emotional challenges of editing and the duality of characters, particularly the relationship between protagonist Paul and his antagonist. Villeneuve also explores the cultural contrasts between the Fremen and the industrial world, and the journey of adapting Frank Herbert's complex narrative, hinting at future creative possibilities.

Motherhood is a doggone nightmare in the new film from Marielle Heller. This week, the writer director of movies like The Diary of a Teenage Girl, Can You Ever Forgive Me? and A Beautiful Day in the Neighborhood returns to cinemas with one of the more surreal-sounding offerings of the year – Nightbitch, a drama in which Amy Adams plays a parent by day and a dog by night. If you weren’t already familiar with the 2021 Rachel Yoder novel on which it’s based, you’d be forgiven for thinking that this film is a frantic comedy, or possibly the mad fever dream of Charlie Kelly from It’s Always Sunny In Philadelphia – a character with his fair share of hound-based ideas for movies. But no, Nightbitch is something else – an affecting, magical realist tale of a woman pushed over a feral brink by the physical and societal demands placed on women, that needs to be seen to be believed.On today’s episode, Marielle joins Al Horner to break down in spoiler-filled detail this remarkable film. We get into why the realities of birth – the body horror of it all – are so under-acknowledged in pop culture. We talk about why, after the gentleness of films like A Beautiful Day In The Neighbourhood, Marielle fled in the opposite direction, towards this anarchic scream of a story. And you’ll also discover the truth behind some of the movie’s more ambiguous, unresolved questions: such as, are the women that Adams character befriends also secretly dogs?Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.Support for this episode comes from ScreenCraft, Final Draft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the show Hosted on Acast. See acast.com/privacy for more information.

Eric Kripke, creator of the hit series The Boys and Supernatural, delves into the darkly comedic world of his superhero saga. He discusses the show's sharp commentary on both superhero culture and contemporary American politics, reflecting the nation’s divided landscape. Kripke reveals the unique challenges of crafting a satisfying conclusion for beloved characters like Billy Butcher and Hughie Campbell, while navigating the expectations of fans. Expect insights on adapting comic narratives, societal themes, and the peculiarities of his outrageous storylines.

The second in our series of ScreenCraft Summit throwback interviews, running on the Script Apart feed in anticipation of December's summit – it's Mike Schur! The lauded creator of The Good Place made his first appearance on Script Apart in 2022 and, a few weeks later, spoke with Al again in front of hundreds of emerging writers to break down his wider writing process on shows like The Office, Brooklyn Nine-Nine, Saturday Night Live and Parks & Recreation. This was a wonderful conversation to be a part of – Mike is as hilarious in person as you'd expect of such a magnificent comic resume, and his insights are remarkable. Strap in for some brilliant observations on the elasticity of time in great sitcoms, the importance of punching up rather than down when writing jokes and what it is that keeps him turning up in front of a blank page time and time again – his relationship with the craft of writing itself. Enjoy, and don't forget to sign up for this December's ScreenCraft Summit by visiting ScreenCraft.org today.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.Support for this episode comes from ScreenCraft, Final Draft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the show Hosted on Acast. See acast.com/privacy for more information.

Sofia Coppola, the acclaimed writer-director behind classics like Lost in Translation and Marie Antoinette, shares her creative journey and insights at the ScreenCraft Summit. She discusses the emotional challenges of storytelling and the vulnerability that comes with it. Sofia reveals her love for using photo books as mood boards, the crucial role of music in shaping her films, and how personal experiences fuel her narratives. Despite her success, she candidly admits to experiencing self-doubt, making her journey relatable to aspiring writers.

In this engaging conversation, Steve McQueen, the acclaimed British artist and filmmaker behind "12 Years a Slave," dismantles the myth of the 'spirit of the Blitz' during WWII. He sheds light on the often-overlooked experiences of marginalized communities, challenging notions of collective resilience. Steve's film "Blitz" explores the gritty realities of wartime London, featuring a diverse cast and focusing on themes of race, love, and identity. The discussion also emphasizes the importance of authentic storytelling in cinema, hoping to inspire new conversations about history.

On today’s episode – a crime thriller? A musical? A coming-out drama? Emilia Pérez, the new film from famed French auteur Jacques Audiard, is all of the above and somehow none of these things at all. It really is hard to understate the disorientating excess and madness of this somewhat opinion-splitting new Netflix awards contender, which is tipped for Oscar glory after picking up the jury prize at Cannes earlier this year. Jacques is, of course, the writer-director of works like A Prophet, Rust and Bone, See How They Fall, The Beat That My Heart Skipped and The Sisters Brothers, a masterful western from 2018. But Emilia Pérez is like none of those films. It’s a film that sees Jacques – who, at seventy-two years young, could be making victory-lap movies at this stage in his career – swinging for the fences. The movie follows Rita, a criminal defence lawyer played by Zoe Saldaña, who is kidnapped and brought before someone terrifying – Manitas Del Monte, one of Mexico’s most feared cartel bosses, played by Karla Sofía Gascón. Manitas has something to ask of Rita. This crime lord – responsible for such brutal bloodshed, in a country blighted by thousands of cartel-related missing persons – wishes to fake their death and transition gender. And to do so, they need Rita’s help. Reborn as Emilia Perez, this character embarks on a new life that she finds, over the course of the movie, had to untangle from what came before.Al caught up with Jacques a few days after the film’s release on Netflix to break down the script, with a little help from his translator, Nicholas Elliott. Get ready to learn about the version of Emilia Pérez in which the character of Rita was a man, and in which a romance blossomed between the lawyer and the eponymous former crime lord. You’ll hear about why Jacques is so drawn to characters attempting to reinvent themselves in his work, and there’s also a breakdown of the story’s dramatic climax – an ending that asks complicated questions of the audience, questions with no easy answers. Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on thescriptapartpodcast@gmail.com.Support for this episode comes from ScreenCraft, Final Draft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the show Hosted on Acast. See acast.com/privacy for more information.