“You’re remembered for the rules you break.” So says Ben Affleck in Air, the 2023 sports marketing drama that took its own advice. Written by our guest today, Alex Convery, Air shouldn’t have been the captivating cinematic slam-dunk it turned out to be. At least, not on paper. A drama about the creation of the Nike Air Jordan trainer? That sounds like a film that’s gonna play out largely in grey, air conditioned boardrooms. It sounds like a film that’s gonna have limited suspense, because we all know that Air Jordan became this huge sports brand. It also sounds perhaps like it could be a nakedly capitalistic celebration of a product – Hollywood scraping the barrel in a time of endless IP and emphasis on “brand recognition."But Air turned out to be a film about Nike. At least, not entirely. It’s a drama about our connection to “things” and the intelligent people that foster those connections – who recognise how, for better or worse, in a capitalist world, products like an Air Jordan trainer can become these symbols of the lives we want to lead and the people we aspire to be. Directed by Affleck from Alex’s spec script, it starred Matt Damon as Sonny Vaccaro and Viola Davis as Deloris Jordan, mother to Michael Jordan – the greatest basketball player of all time. Alex had the idea for the movie after watching Netflix documentary series The Last Dance and – well, we'll leave the rest for him to explain. It was a total pleasure chatting with Alex about what Air says about 1980s America, and about stories that use an un-obvious perspective to frame their subject – Jordan through the eyes of a marketing exec, like Jesus through the eyes of the devil in Scorsese’s The Last Temptation of Christ. We also get into how Air fits into a new Hollywood trend of movies based on products: Barbie, Blackberry, Tetris and so on. Alex had great insights on it all.Script Apart is hosted by Al Horner and produced by Kamil Dymek.  Follow us on Twitter and 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

Director Eduardo Sánchez discusses the groundbreaking impact of The Blair Witch Project, pioneering found footage genre. He delves into the film's deep mythology, psychological tricks used, and its influence on indie filmmakers. The legacy of the movie continues to resonate, inspiring a new era of digital video storytelling.

Today on Script Apart – another in our "Stage Apart" series about great plays! Our guest this week is a storyteller beloved across stage and screen, whose 2009 play Jerusalem is frequently referred to as the best play of the century so far. His acclaimed theatre productions includes 1995’s Mojo, 2012’s The River and 2019’s The Ferryman – but movie fans might know him better for films like Edge of Tomorrow, Ford v Ferrari, the James Bond movie Spectre and Indiana Jones and the Dial of Destiny.  Yes, Jez Butterworth is here, discussing his triumphant return to London’s West End with The Hills of California, directed by Sam Mendes. The play tells the tale of a group of sisters reuniting in the faded seaside town they grew up in, aspiring towards musical stardom. Decades after the death of that particular dream, they’re left to reckon with what their lives became versus what they once imagined for themselves – with one painful secret no longer able to be confined to the past. It’s an incredibly moving and at times, hilarious meditation on regret, Britishness and the vultures that circle showbiz – inspired in part by Jez’s run-ins with disgraced producer Harvey Weinstein, who the playwright once punched in the face.In the spoiler-free conversation you’re about to hear, he tells us why he continues to gravitate towards  “death of a dream” stories. We also discuss how the experience of tragically losing his beloved sister informed the play, and have a beautifully vulnerable discussion about a period of Jez’s life in which his mental health was suffering – and how that intersected with his experience of working on Edge of Tomorrow. We hope you enjoy. Script Apart is hosted by Al Horner and produced by Kamil Dymek.  Follow us on Twitter and Instagram, or email us on thescriptapartpodcast@gmail.com.Support for this episode comes from ScreenCraft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the show

In this captivating conversation, writer-director Alex Garland, known for hits like Ex Machina and Annihilation, dives deep into his explosive new film, Civil War. He discusses the urgent role of journalism in today's fractured America, portraying journalists as the true heroes of democracy. Garland emphasizes the importance of respectful communication amidst chaotic discourse and shares insights from his rapid writing process during the pandemic. He reflects on the creative journey, revealing how complex characters shape narrative and provoke thought.

This week on Script Apart, we’re broadcasting from the Upside Down. Yes, grab your Eggos and Metallica CDs for a special, spoiler-free conversation all about Stranger Things: The First Shadow – the first theatre production that we’ve covered on the show, as part of a new strand of episodes called "Stage Apart." The First Shadow is a show that, as reviews have underlined, accomplishes things not thought possible in a play till now; as a spectacle, it's breathtaking in the way it conjures all manner of demogorgon-related chaos, live in front of you. But also staggering is what the show achieves as a piece of storytelling. Which is why this week, we’re delighted to be joined by the wonderful Kate Trefry – writer of a great many of the show’s best episodes, and writer of The First Shadow.Working from a story created by Jack Thorne and show creators The Duffer Brothers, Kate penned The First Shadow as a prequel, pulling the curtain back on how and why the Upside Down came to Hawkins in the first place. Set in 1959, it introduces us to younger versions of fan favourite characters like Hopper, Joyce and Bob Newby, as a mystery unfolds in their sleepy hometown; beloved household pets are turning up not just dead but grotesquely disfigured. This spate of killing coincides not just with the production of a play at Hawkins High School that Joyce is directing, but also with the arrival of new kid Henry Creel – a kid that, those up to date with the latest season of Stranger Things will know, has a dark future he’s about to inherit.Stranger Things is one of the biggest TV shows of the last decade by pretty much any metric and in the conversation you’re about to hear, we talk to Kate about why that is. We get into how the tale of Eleven, Hopper and co has become almost a new American myth – and discuss what The First Shadow does to extend and complicate that fable. Without giving anything away, we discuss how The First Shadow ties the horrors of the Upside Down to 1950s racism and America’ involvement in World War II. You’ll also hear about the supposed “real-life” incidents – including a horrifying alleged event called The Philadelphia Experiment – that intersect with what happens in Hawkins in the astounding The First Shadow. Listen out, also, for a tease at what season five has in store, as Stranger Things approaches its final ever episodes. Script Apart is hosted by Al Horner and produced by Kamil Dymek.  Follow us on Twitter and Instagram, or email us on thescriptapartpodcast@gmail.com.Support for this episode comes from ScreenCraft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the show

Welcome to another Script Club episode of Script Apart, in which storytellers we admire pick a film or show they love and talk about why it's special. Today, revered Folio Prize-winning author Carmen Maria Machado (Her Body and Other Parties, In The Dream House) breaks down the dystopian delights of Alfonso Cuarón's Children Of Men, co-written with Timothy J. Sexton, David Arata, Mark Fergus and Hawk Ostby. Based on a 1992 novel by P.D James, this 2006 action thriller forecast a Britain in the mid-2020s on the verge of collapse, governed by a party waging a cruel war on asylum seekers as a distraction from its problems. The UK may not currently be staring down a fertility crisis like the one depicted in Cuarón's film, but Children Of Men was, in other ways, eerily ahead of its time in some of its predictions. In the spoiler conversation you're about to hear, Carmen shares what she finds so impactful about the tale, and the influence it has had on stories of her own, such as 2017's chilling Inventory.  Carmen is one of Al's favourite working writers, and someone whose work has been a north star in his own fiction, so we were delighted to have her on the show, breaking down a drama that only grows more relevant with each passing year.** COME TO OUR FOURTH BIRTHDAY LIVE SHOW! Script Apart presents Alan Partridge: Alpha Papa with Neil and Rob Gibbons at Picturehouse Central, London – March 11th **Script Apart is hosted by Al Horner and produced by Kamil Dymek.  Follow us on Twitter and Instagram, or email us on thescriptapartpodcast@gmail.com.Support for this episode comes from ScreenCraft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the show

“We are what we survive.” That’s the message of Expats, the powerful new limited series from our guest this week, Lulu Wang. Lulu is a writer-director whose stories are unflinchingly intimate portraits of characters captivatingly full of contradictions. In this show, adapted from a novel by Janice Y.K. Lee, those characters are three women, different in age, class, personal circumstance and relationship to motherhood, who become linked by an unthinkable tragedy. These women’s stories combine to tell a tale of grief and privilege in a modern day Hong Kong battered by typhoon weather and simmering political dissent. And they do so movingly. Lulu till now has been best known as the writer-director of 2019’s The Farewell, based on a radio story she wrote in 2016 for This American Life, about her own Chinese-American immigrant family. This follow-up to that breakout hit sounds like from the outset some kind of thriller: Nicole Kidman plays Margaret, an American living in Hong Kong whose youngest son disappears at a night market. Instead of a pulse-pounding pursuit, full of cops, clues and criminals like most abduction dramas, Expats instead unfolds at a meditative, mournful pace, against the backdrop of the 2014 Umbrella Movement protests in Hong Kong. In the spoiler conversation you’re about to hear, celebrating the magnificent finale that dropped today, Lulu discusses about what happened to Margaret's child Gus, why the show refused to give an explanation for his disappearance and instead prioritised what it means to grieve; how grief doesn’t shrink, leaving us instead to grow around it.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Twitter and Instagram, or email us on thescriptapartpodcast@gmail.com.Support for this episode comes from ScreenCraft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the show

Today on Script Apart, we're heading to Malia with Molly Manning Walker, writer-director of How To Have Sex. Since wowing audiences at Cannes last summer, the sun-sea-and-consent drama has proved a box office hit, been hailed as one of the strongest feature debuts by a British filmmaker in recent year and sparked long-overdue, nuanced conversations about the attitudes towards sex that young people inherit. The film  tells the tale of Tara, a sixteen-year-old played by Mia McKenna-Bruce, on a rite-of-passage summer holiday blowout with friends while she awaits school exam results. What begins as a sun-soaked adventure, full of borrowed hair straighteners, karaoke and bright-blue-coloured cocktails, soon becomes something bleaker when the girls meet a group of lads in the holiday rental apartment opposite them. Amid the thumping music and blinding lights of Malia’s club scene, a taboo-shattering expose of everything wrong with the way teenagers are encouraged to view sex unfolds – and it's absolutely heartbreaking.Molly wrote the film while revisiting memories of going on a number of clubbing holidays herself between sixteen and eighteen, and realising what little room there was for discussion about the pressuring sexual elements of those trips and the harrowing experiences they can result in. When she was the victim of a sexual assault at age sixteen, she remembers “wanting to talk about it. But I’d walk into rooms and it would suck the air out of the room. How are people supposed to move on if no one’s allowed to talk about it?” How To Have Sex is a movie that does to talk about it – and does so movingly without ever lurching into lecturing or sentimentality.In the spoiler-filled interview you’re about to hear, Molly break down key scenes from the film, including the heart-wrenching final exchange in the airport between Tara and Skye – what isn’t being said in that moment, and why. We talk about what she’s learned about how global the problems depicted in How To Have Sex are by the response to film beyond Britain – and how working on this film at the same time as Scrapper, Charlotte Regan’s brilliant surrealist comedy set out on a UK council estate – taught her about the necessity of female coming-of-age stories. Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Twitter and Instagram, or email us on thescriptapartpodcast@gmail.com.Support for this episode comes from ScreenCraft, Magic Mind and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the show

Cord Jefferson, acclaimed writer and director of 'American Fiction,' shares insights on adapting Percival Everett's novel into a poignant film. He discusses the delicate balance of critiquing media representation while exploring profound themes of grief and identity. Cord reflects on the pressures of portraying Black narratives authentically, emphasizing the importance of creative integrity. He also delves into the film's evolution, from its humorous title to a deeper commentary on American culture, and the significance of representation in the industry.

Unveil the emotional journey of 'The Holdovers' film, focusing on loneliness and human connection at a boarding school. Learn about the characters' complexities and inspirations behind their creation. Dive into the heartwarming themes of kindness and healing in a unique love story. Explore the impact of family on the screenplay and the protagonist's growth towards emotional intelligence. Discover the influence of Uncle Earl on crafting character Paul and the journey of screenwriting productivity enhancement.