by Daniel Dercksen·Comments Off on Caught Stealing – A Genre-Bending Thriller
In adapting his cult novel Caught Stealing for Darren Aronofsky’s feverish crime thriller, Charlie Huston delivers more than a gritty narrative—he infuses it with the bruised poetry of survival, crafting a wild, genre-blending plunge into the seedy underbelly of 1990s New York.
Darren Aronofsky’s filmography is a study in psychological intensity, surreal storytelling, and emotional excavation—each film a stepping stone toward the chaotic pulse of Caught Stealing. He burst onto the scene with Pi (1998), a black-and-white fever dream about obsession and mathematical mysticism, followed by Requiem for a Dream (2000), which cemented his reputation for unflinching portrayals of addiction and despair. The Fountain (2006) expanded his scope into metaphysical romance, while The Wrestler (2008) and Black Swan (2010) grounded his style in raw character studies, earning acclaim for their emotional realism and haunting performances. Noah (2014) and Mother! (2017) pushed boundaries with biblical allegory and environmental horror, and The Whale (2022) returned to intimate storytelling, exploring grief and redemption through a single, confined space.
With Caught Stealing, Aronofsky pivots—still embracing psychological depth, but now infusing it with dark comedy, genre chaos, and a kinetic sense of fun. It’s a culmination of his visual bravado and thematic obsessions, refracted through the lens of pulp noir and urban absurdity.
Huston’s gritty prose and Aronofsky’s kinetic direction collide to deliver a genre-blending thriller soaked in dread, absurdity, and bruised humanity.
Set in the chaotic underbelly of 1990s New York, Caught Stealing follows Hank Thompson (Austin Butler), a former high-school baseball prodigy turned bartender whose life spirals into violence after he agrees to cat-sit for his punk neighbour Russ (Matt Smith). Unbeknownst to Hank, the cat’s cage hides a key that draws the attention of a dangerous cast of criminals—including Russian mobsters, a sadistic cop, and a pair of leather-clad psycho brothers. As Hank scrambles to survive, he’s pulled into a bloody treasure hunt that forces him to confront his past and navigate a city teeming with danger.
Charlie Huston’s novel clearly draws fuel from his personal fascinations and genre experimentation
Written while Huston was living in Manhattan, the city’s abrasive charm and volatile rhythm seep into every corner of the narrative, turning New York into more than just a backdrop—it’s an emotional terrain.
His protagonist, Hank Thompson, a disgraced baseball player thrust into a brutal underworld by sheer bad luck, embodies Huston’s love of flawed heroes—men teetering on the edge with bruised dignity and reluctant grit.
Huston’s background in comics and pulp fiction shaped the novel’s genre fluidity: noir meets thriller meets absurdist comedy, all stitched together with staccato dialogue and psychological tension.
And at its heart lies a fascination with mistaken identity and moral ambiguity—Hank’s descent is accidental, yet entirely believable, inviting readers to consider how quickly the mundane can tip into mayhem. It’s not just a crime story—it’s a study in chaos, voice, and survival, all channeled through Huston’s cracked lens of urban storytelling.
Austin Butler in Caught Stealing.
Darren Aronofsky’s collaboration with Charlie Huston on Caught Stealing
It reshapes Aronofsky’s usual rhythm by injecting his signature psychological depth with a jolt of genre chaos and streetwise absurdity. Huston’s pulpy, fractured storytelling gives Aronofsky a new tempo—less operatic tragedy, more kinetic noir.
Traditionally, Aronofsky builds tension through emotional claustrophobia and existential weight (Requiem for a Dream, Black Swan, The Whale). But Huston’s screenplay offers a different beat: fast, jagged, and laced with dark humor. Aronofsky responds by loosening his grip—embracing unpredictability, oddball characters, and a narrative that spirals rather than descends.
This shift is intentional. Aronofsky said, “I wanted to get back to the core ingredients that make movies great — entertainment and fun. I wanted to make something filled with joy and adventure”. That joy doesn’t dilute his intensity—it reframes it. Instead of emotional collapse, we get emotional chaos. Instead of dread, we get propulsion.
In essence, Huston’s voice acts like a jazz riff in Aronofsky’s symphony—disrupting, challenging, and ultimately expanding his cinematic rhythm.
With Caught Stealing, he leans into Huston’s streetwise chaos, trading operatic tragedy for a gritty noir romp soaked in absurdity and adrenaline. It’s not a rejection of his previous style, but an evolution: Aronofsky still thrives on descent and transformation, but here it’s laced with irony, dark humor, and genre play.
Huston’s pulpy narration and fractured worldview give Aronofsky a new playground—a place where dread and levity collide, and the city itself becomes a pulsing character. The collaboration isn’t a tonal detour—it’s a rechanneling, where the bruised poetry of Huston’s prose finds visual expression in Aronofsky’s kinetic melancholy.
Austin Butler in Caught Stealing.
Charlie Huston and Darren Aronofsky’s creative partnership on Caught Stealing is a collision of literary grit and cinematic intensity—two artists with distinct voices finding a shared rhythm in chaos.
Huston, known for his fractured prose and morally ambiguous anti-heroes, brings a bruised, streetwise sensibility to the screenplay. Aronofsky, whose filmography is steeped in psychological descent and visual bravado, amplifies that tone with kinetic energy and emotional depth.
Their collaboration is rooted in mutual respect for character-driven storytelling. Huston’s novel is a masterclass in voice—raw, immediate, and darkly funny—and Aronofsky doesn’t dilute that. Instead, he leans into it, using his signature techniques (tight framing, surreal tension, immersive sound design) to translate Huston’s internal monologue into visual language. The result is a film that feels both literary and visceral, absurd and grounded.
Behind the scenes, the partnership is also practical: Huston adapted his own novel, ensuring the screenplay retained its original pulse, while Aronofsky produced the film through Protozoa Pictures, his long-time creative hub. Their shared commitment to New York City as both setting and character adds another layer of cohesion—the city’s grit, unpredictability, and emotional texture are central to both their artistic identities.
In essence, Caught Stealing isn’t just a director adapting a writer’s work—it’s two storytellers riffing off each other’s strengths, crafting a narrative that’s as emotionally raw as it is stylistically bold.
Charlie Huston’s narrative tone
Charlie Huston’s narrative tone is raw, rhythmic, and emotionally volatile—a kind of noir filtered through the static of urban dread and streaks of dark humour.
His signature style thrives on urgency and immediacy, often delivered in the breathless cadence of first-person present tense, which pulls readers directly into the protagonist’s skin as events unravel in real time.
Huston’s dialogue is clipped and staccato, stripped of quotation marks, ricocheting like verbal gunfire between characters who interrupt, stammer, and snap with hyper-realistic tension.
Violence in his work is never ornamental—it carries consequence and psychological weight, often wrapped in surreal setups that turn the mundane into the menacing.
During moments of inner collapse, Huston unleashes dizzying bursts of stream-of-consciousness, echoing the fractured thoughts of protagonists caught in moral spirals.
His character sketches are sparse but potent, revealing depth through behaviour and voice rather than exposition, with flawed anti-heroes like Hank Thompson and Joe Pitt drifting between resignation and reluctant action.
Ritualistic vices—smoking, self-talk, minor compulsions—become emotional anchors, marking time and trauma with quiet persistence. Ultimately, Huston’s style feels like a jazz riff played on broken strings: bruised, unpredictable, and fiercely alive.
Darren Aronofsky is an American filmmaker known for his psychologically intense, visually daring, and often surreal storytelling. He grew up in a culturally Jewish household and developed an early interest in the arts through graffiti and Broadway performances. He studied social anthropology and filmmaking at Harvard University, where his senior thesis film Supermarket Sweep became a finalist for the Student Academy Awards. He later earned an MFA in directing from the American Film Institute Conservatory. Aronofsky made his feature debut with Pi (1998), a low-budget thriller that won him Best Director at Sundance and introduced his signature style—hip-hop montages, psychological descent, and thematic boldness.
He followed with Requiem for a Dream (2000), The Fountain (2006), The Wrestler (2008), and Black Swan (2010), the latter earning him an Oscar nomination for Best Director. His later works include Noah (2014), Mother! (2017), and The Whale (2022), each pushing boundaries in narrative and form. Aronofsky’s films often explore obsession, transformation, and the fragility of identity, and he’s known for collaborating with actors who deliver career-defining performances. Through his production company Protozoa Pictures, he’s also ventured into documentaries and immersive experiences, including Welcome to Earth and Postcard from Earth.
Charlie Huston is an American novelist, screenwriter, and comic book writer whose work spans crime fiction, horror, pulp, and speculative genres. Born in Oakland, California, in 1968, Huston began his career with the breakout novel Caught Stealing (2004), the first in the Henry Thompson trilogy, which established his reputation for gritty, voice-driven storytelling. His prose is known for its fractured rhythm, emotional immediacy, and noir sensibility—often delivered in first-person present tense with staccato dialogue and minimal punctuation.
Over the years, Huston has published twelve novels, including Six Bad Things, A Dangerous Man, Sleepless, Skinner, and the vampire noir series Joe Pitt Casebooks. He’s also made a mark in comics, rebooting Marvel’s Moon Knight and contributing to titles like Wolverine: The Best There Is and Bullseye: Perfect Game. His television work includes writing pilots for HBO, FX, FOX, and Sony, and serving as a consulting producer on Gotham. Huston’s storytelling often centers on damaged characters navigating moral ambiguity, with genre-blending narratives that explore violence, identity, and survival.
In 2025, Huston adapted Caught Stealing for the screen, teaming up with Darren Aronofsky to bring his feverish urban noir to life.
by Daniel Dercksen·Comments Off on “All’s fair when love is war”: Reimagining Emotional Warfare in The Roses
“I wanted to explore how love curdles into competition—not with shouting, but with silence, sabotage, and the kind of wit that cuts deeper than rage,” said screenwriter Tony McNamara of The Roses, transforming the emotional chaos of the original War of the Roses into a sleek, satirical dissection of modern relationships.
The Roses, directed by Jay Roach from a screenplay by Tony McNamara, is a satirical black comedy that reimagines the 1989 cult classic The War of the Roses, itself based on Warren Adler’s novel.
The story originates from Adler’s novel, which explores the disintegration of a seemingly perfect marriage into bitter rivalry and chaos. The 1989 adaptation became iconic for its darkly comedic portrayal of divorce and emotional warfare.
The Roses delves into how ambition, resentment, and shifting power dynamics can erode intimacy. It reflects the pressures couples face in balancing love with personal success. The title evokes both beauty and brutality—roses often symbolise love, but here they also represent the thorns of resentment and rivalry that grow within a relationship gone sour.
McNamara infuses the script with biting humour and emotional nuance. His adaptation trades physical spectacle for psychological precision, crafting a narrative where intimacy erodes not through grand gestures, but through the slow drip of envy, ambition, and emotional one-upmanship. The result is a darkly funny, visually lush portrait of a marriage unravelling, where every line of dialogue is a scalpel, and every glance carries the weight of a decade’s worth of resentment.
He’s known for his razor-sharp wit and emotionally layered storytelling, with previous credits including The Favourite, Poor Things, and the series The Great. His style blends satire with sincerity, making him a perfect match for this reimagining of The War of the Roses.
Life seems idyllic for Ivy (Olivia Colman) and Theo (Benedict Cumberbatch)—a couple with thriving careers, a loving marriage, and a picture-perfect family. But beneath the polished surface simmers a storm of ambition, envy, and emotional sabotage. As Theo’s professional dreams unravel and Ivy’s culinary empire rises, their relationship becomes a battleground of passive-aggressive warfare and psychological brinkmanship. What begins as subtle tension escalates into a darkly comedic war of wills, where every gesture is loaded and every word a weapon.
Tony McNamara’s voice reshapes The Roses
He infuses the emotional architecture of the original with a satirical elegance and psychological precision that’s distinctly modern.
The 1989 film leaned into operatic chaos—emotions were explosive, physical, and often grotesque. Emotions are weaponised through dialogue in McNamara’s version. Ivy and Theo’s unravelling is less about shouting matches and more about strategic emotional sabotage, delivered with biting wit and simmering tension.
McNamara’s hallmark is dialogue that dances between cruelty and vulnerability. In The Roses, lines like “You are a bottomless pit of need” aren’t just insults—they’re emotional diagnostics, revealing the characters’ deepest insecurities. This creates a rhythm where humor and heartbreak coexist, making the emotional stakes feel both absurd and painfully real.
Ivy’s rise as a successful chef and Theo’s professional collapse invert traditional power dynamics. McNamara uses this shift to explore resentment born from admiration, and intimacy eroded by envy. The characters aren’t caricatures—they’re emotionally complex, with motivations that feel grounded in contemporary anxieties about identity, success, and partnership.
The rose, once a symbol of romantic decay, now becomes a metaphor for emotional duality—beauty laced with thorns. McNamara leans into this by crafting scenes that are visually lush but emotionally jagged.
Tony McNamara is a celebrated Australian playwright, screenwriter, and television producer known for his razor-sharp wit and emotionally layered storytelling. He initially pursued careers in catering and finance before a transformative visit to Rome inspired him to become a writer. He studied writing at the Royal Melbourne Institute of Technology and screenwriting at the Australian Film, Television and Radio School.
McNamara began his career in theatre, gaining recognition for plays like The Café Latte Kid and The John Wayne Principle, which showcased his flair for satirical dialogue and psychological nuance. He transitioned to television with acclaimed Australian series such as The Secret Life of Us, Love My Way, and Puberty Blues, before making his film debut with The Rage in Placid Lake (2003), which he also directed.
His international breakthrough came with The Favourite (2018), co-written with Deborah Davis, earning him an Academy Award nomination and establishing his signature blend of historical settings and modern irreverence. He followed this with The Great (2020–2023), a Hulu series starring Elle Fanning and Nicholas Hoult, based on his earlier stage play about Catherine the Great.
McNamara’s recent works include Poor Things (2023), which earned him another Oscar nomination, and The Roses (2025), a satirical reimagining of The War of the Roses. He’s also scripting upcoming projects like Avengelyne and a Star Wars film with Taika Waititi.
Jay Roach is an acclaimed American filmmaker whose career spans sharp-witted comedies and politically charged dramas. He studied economics at Stanford University before earning an MFA in film production from USC. His breakout came with the Austin Powers trilogy (1997–2002), which showcased his knack for stylised absurdity and pop-culture satire. He followed with box office hits like Meet the Parents (2000) and Meet the Fockers (2004), cementing his reputation in comedy.
Roach later pivoted to more serious fare, directing Recount (2008), Game Change (2012), and All the Way (2016)—political dramas that earned him multiple Primetime Emmy Awards and a Golden Globe. His film Trumbo (2015), starring Bryan Cranston, and Bombshell (2019), starring Charlize Theron and Margot Robbie, further demonstrated his ability to blend entertainment with social critique.
by Daniel Dercksen·Comments Off on Echoes and Evolutions: The Rise of the Legacy Sequel
In an era defined by reboots and cinematic nostalgia, the legacy sequel has emerged as a cultural mirror in film and novels, not merely revisiting beloved stories but reframing them through the lens of time, memory, and shifting values.
Whether it’s Maverick soaring through the skies decades after Top Gun, or Atwood’s The Testaments confronting the ghosts of Gilead, these sequels don’t just continue a narrative — they interrogate it. They ask what remains, what’s forgotten, and what must be reimagined. As audiences seek comfort in the familiar, creators are challenged to craft stories that honor the past while daring to evolve.
Legacy sequels are defined as narratives — in film or literature — that continue a story many years, often decades, after the original was released
They typically revive familiar characters, themes, or settings while introducing new elements that reflect contemporary sensibilities. The purpose of a legacy sequel is not merely to pick up where the original left off, but to reinterpret its emotional and thematic foundation for a new generation. These stories often rely on returning casts, thematic callbacks, and symbolic “passing the torch” moments, while occasionally engaging in selective retconning to realign canon with fresh intentions.
In cinema, legacy sequels like Top Gun: Maverick, Doctor Sleep, and Creed exemplify this dynamic, emerging 25 to 40 years after their predecessors and exploring key themes such as aging, trauma, mentorship, and generational identity. These films deploy emotional callbacks — like Maverick’s lingering guilt — alongside visual echoes such as Blade Runner 2049’s neon-soaked dystopia. They also experiment with genre evolution, shifting from familiar frameworks into more reflective or socially resonant territories, as seen in Halloween’s reinvention as a trauma study.
Literature presents its own legacy sequel terrain, often with greater challenges around voice and expectation. Works like Margaret Atwood’s The Testaments, Stephen King’s Doctor Sleep, and Harper Lee’s Go Set a Watchman revisit earlier narratives after long gaps — 30 to 50 years — delving into themes like resistance, addiction, and cultural disillusionment. These novels confront the difficulty of maintaining stylistic continuity while acknowledging modern realities and reader reinterpretation. Where The Testaments deepens the narrative architecture of The Handmaid’s Tale, Go Set a Watchman risks undermining its predecessor through character shifts that startled longtime readers.
The cultural and emotional resonance of legacy sequels is especially pronounced during moments of societal flux — when audiences yearn for familiarity amid uncertainty.
These sequels act as mirrors, reflecting how characters and narratives evolve alongside us
They use memory as both motif and mechanism, threading the past into the present to explore what’s preserved, what’s transformed, and what demands reimagining. Though some deepen the emotional impact of their source material, others struggle to match its original power, making the legacy sequel a high-stakes endeavor that balances reverence, risk, and reinvention.
Since 2015, legacy sequels have offered cinema audiences a blend of nostalgia and reinvention
Legacy sequels have thrived in recent years, blending nostalgic familiarity with contemporary reinvention. Creed (2015) reframed the Rocky saga through generational trauma and self-discovery, introducing Adonis Creed while honouring his father’s legacy. Blade Runner 2049 (2017) expanded its predecessor’s philosophical terrain, using memory and identity to explore humanity in a dystopian future. Halloween (2018) revived its slasher origins with a focus on intergenerational trauma, selectively retconning previous sequels to deepen emotional stakes. Doctor Sleep (2019) bridged Stephen King’s novel with Kubrick’s cinematic vision of The Shining, meditating on addiction, psychic inheritance, and redemption. In 2021, Ghostbusters: Afterlife, The Matrix Resurrections, and Candyman each attempted to recontextualise iconic narratives for a new generation, varying in tone and success. Top Gun: Maverick (2022) reignited the 1986 original’s spirit, exploring themes of ageing, mentorship, and emotional closure through breathtaking aerial choreography.
In 2025, the trend continues with I Know What You Did Last Summer, a slasher sequel that revives the Fisherman mythos with returning cast members and a new generation haunted by past secrets; The Naked Gun, a comedic reboot blends absurdity with homage to the original’s slapstick legacy; and Freakier Friday, a multigenerational twist on the body-swap formula.
In literature, legacy sequels have similarly revisited beloved worlds with mixed results.
Stephen King’s Doctor Sleep (2013) — though slightly predating the legacy sequel surge — gained renewed attention with its 2019 film adaptation, continuing the story of Danny Torrance as he confronts his haunted past and psychic inheritance. Harper Lee’s Go Set a Watchman(2015), released 55 years after To Kill a Mockingbird, stirred controversy by reimagining Atticus Finch in a more morally complex light, challenging readers’ perceptions of heroism and racial identity. Margaret Atwood’s The Testaments (2019) returned to Gilead decades after The Handmaid’s Tale, offering new perspectives on resistance and power through three female narrators. That same year, André Aciman’s Find Me (2019) extended the emotional arc of Call Me by Your Name, exploring themes of longing, time, and the enduring imprint of love. These literary sequels often grapple with evolving authorial voice, shifting cultural contexts, and the delicate balance between honouring and reinterpreting the original.
Legacy sequels have surged in popularity recently for a mix of emotional, cultural, and economic reasons, and the timing couldn’t be more telling
At their heart lies a yearning for nostalgia during moments of uncertainty; audiences seek comfort in the familiar when real-world change feels overwhelming. These sequels often act as emotional refuge, bridging generational divides with “torch-passing” narratives that resonate across age groups.
Crafting a legacy sequel is a tightrope walk between fan service and innovation. The most successful entries honour their predecessors while evolving the narrative with intentionality, avoiding the trap of nostalgia for nostalgia’s sake. Their multigenerational appeal lies in this delicate balance — speaking to longtime fans while offering fresh emotional resonance to new audiences.
Writing a legacy sequel is a delicate dance between reverence and reinvention — and there are plenty of ways to trip over your own narrative shoelaces. One common misstep is overreliance on nostalgia, where callbacks, cameos, or iconic lines dominate the storytelling, reducing emotional depth to fan service. Instead, nostalgia should be used as seasoning that enhances rather than overshadows the narrative. Another pitfall is rehashing the original plot: audiences seek the emotional heartbeat of the past, not a carbon copy of its structure.
Stagnant character development can also flatten the sequel’s emotional impact; characters must reflect how time has shaped them — spiritually, emotionally, and psychologically. Inconsistent worldbuilding, especially when it retcons established lore, disrupts immersion and betrays audience trust. Maintaining a “series bible” can safeguard narrative continuity.
Another risk is ignoring the emotional core of the original; without it, a sequel becomes spectacle without soul. Identify that pulse — longing, justice, memory — and build your story around it. Similarly, raising stakes without emotional weight leads to hollow tension: conflict should impact characters personally, not just escalate dramatically.
Lastly, introducing too many new characters with minimal narrative purpose can dilute focus and alienate audiences. Instead, newcomers should challenge, mirror, or complicate the legacy meaningfully.
Avoiding these traps isn’t just about good technique — it’s about preserving the emotional architecture that made the original story resonate.
Legacy sequels often stumble when their execution prioritizes surface recognition over narrative integrity, and several high-profile examples in both film and literature illustrate these pitfalls vividly
In cinema, Jurassic World leans heavily on nostalgia, recycling Jurassic Park’s framework without deepening its emotional stakes, while The Rise of Skywalker struggles under the weight of retconning, dismantling The Last Jedi’s narrative progression to favour hasty fan appeasement. Similarly, Ghostbusters: Afterlife trades emotional continuity for name-dropping and vibes, offering familiar faces with minimal character development. Independence Day: Resurgence reveals the dangers of stagnant growth — resurrecting characters who feel frozen in time — and The Matrix Resurrections risks alienation by shifting genre focus, favoring meta-commentary over emotional connection.
In literature, Go Set a Watchman delivers a jarring character betrayal, reimagining Atticus Finch in ways that unsettled devoted readers, while The Lost Symbol falls into formulaic plotting that lacks the suspense and thematic complexity of its predecessor. Scarlett attempts to expand Gone with the Wind but falters in its emotional and historical depth, whereas Closing Time diverges tonally from Catch-22, losing its satirical sharpness. Son of Rosemary exemplifies the peril of unnecessary continuation, adding convoluted layers that unravel the chilling elegance of Rosemary’s Baby.
These misfires matter because they create emotional dissonance, where sequels contradict the soul of the original, leading to narrative fatigue and a cultural disconnect that feels tone-deaf to contemporary audiences.
A legacy sequel must resonate, not just replicate, and the finest examples reveal that honouring the emotional truth of a story is more essential than revisiting its familiar tropes.
Creating a fresh legacy sequel is like composing a duet across time — one voice rooted in the past, the other reaching forward
To honor the original while crafting something new, a writer must carefully blend emotional continuity with narrative innovation.
First, it’s vital to preserve the emotional DNA of the original work. Identify its core — be it longing, justice, identity, or rebellion — and echo that pulse in the sequel while allowing it to evolve. Creed, for instance, channels Rocky’s underdog spirit but deepens it through generational trauma and personal discovery.
Letting time shape the story is equally essential; the passage of years should influence how characters have changed, what they regret, and what they’ve forgotten. Blade Runner 2049 uses this beautifully, turning memory and legacy into haunted motifs.
Respecting character arcs ensures authenticity: don’t undo growth but build upon it, allowing returning figures to mentor, challenge, or reflect on what they’ve become.
Reframing genre or tone can breathe new life into a familiar narrative — a coming-of-age drama may evolve into a psychological thriller, as Doctor Sleep does in its reimagining of The Shining.
Introducing fresh voices should serve a narrative purpose, not just expand the cast; new characters must carry emotional and thematic weight that complements the legacy.
Structuring the sequel around memory — through flashbacks, symbolic artefacts, or temporal echoes — adds depth and resonance, anchoring the present in the emotional truth of the past.
Above all, take risks with intention. Innovate through stakes, setting, and theme, but stay faithful to the original’s soul.
Don’t mimic — instead, interrogate. Ask not what the story was, but what it means now, in this moment of cultural and emotional reckoning.
by Daniel Dercksen·Comments Off on Hunting Jessica Brok: South Africa’s Fierce New Thriller Turns Grief into Ammunition
“We weren’t interested in a clean hero,” says writer-director Alastair Orr of Hunting Jessica Brok. “Jessica is rage, instinct, and trauma—she’s what happens when healing is interrupted by violence.”
In Hunting Jessica Brok, director Alastair Orr delivers a visceral survival thriller that pulses with emotional intensity and regional grit. With a screenplay co-written by Orr, David D. Jones, and Garth McCarthy, the film blends brutal action with psychological depth, offering a distinctly African take on vengeance and maternal resilience.
Set against the unforgiving South African wilderness, the film follows a retired special forces operative whose quiet life is shattered when her daughter is kidnapped by a vengeful group of psychopaths.
The film stars Danica De La Rey Jones as Jessica Brok, a retired special forces operative who’s traded combat for quiet—until her past comes roaring back.
Jessica, once a ghost in combat boots, now lives off-grid with her daughter and runs a vulture rescue centre. But when her ex-lover Daniel shows up wounded and hunted, she’s forced to confront a brutal truth: the war she thought she left behind never ended. A group of vengeful psychopaths is coming—and they’ve taken her daughter. What follows is a visceral descent into survival, vengeance, and emotional reckoning.
Creative Synergy Behind the Screen: Crafting Jessica Brok’s Reckoning
The screenplay is the result of an explosive collaboration between David D. Jones, Garth McCarthy, and Alastair Orr, who also directs the film with a visceral edge.
The film was inspired by a fusion of South African survivalist mythos, post-war trauma, and the emotional complexity of motherhood under siege.
The screenplay began as a character-driven survival thriller rooted in South African landscapes and trauma-informed storytelling. Orr, who also directed, worked closely with the writing team to shape Jessica Brok as a figure of maternal vengeance and psychological depth.
Orr and co-writers Jones and McCarthy envisioned Jessica not just as a warrior, but as a woman haunted by her past and forced to weaponise her grief. The idea stemmed from real-world accounts of female operatives who disappeared into civilian life, only to be pulled back into violence when their families were threatened.
In early interviews, Orr described the film as a “chemical reaction of guilt, training, and maternal instinct,” aiming to explore what happens when someone who’s tried to heal is forced to become a weapon again. The African wilderness plays a symbolic role too—both as a physical battleground and a metaphor for emotional isolation and primal survival.
The team also drew inspiration from genre classics like The Brave One and The Night Comes for Us, but grounded the story in distinctly African textures, rhythms, and moral stakes. The result is a film that’s as much about identity and emotional reckoning as it is about combat and revenge.
Their collaboration brings together gritty action, psychological tension, and a distinctly South African pulse, crafting a story that’s as emotionally charged as it is adrenaline-fueled.
Jones brings a calculated intensity to the character work, McCarthy layers psychological tension with brisk dialogue, and Orr injects the action with raw physicality and cinematic grit.
“We weren’t just writing a revenge story,” Orr says, “we were building a character who weaponises pain into purpose.”
Their process reportedly began with a shared desire to anchor high-octane violence in emotional realism—drawing inspiration from South African landscapes and survivalist mythos. The trio’s dynamic reimagines Jessica not just as a warrior, but as a mother haunted by her past and driven by instinctive fury.
The journey from script to screen was a tightly coordinated, all-African production that emphasised emotional grit and technical precision.
Once greenlit, the production was handled by Known Associates Entertainment and A-Game Productions, with post-production completed entirely in South Africa by The Refinery.
How Hunting Jessica Brok’s South African identity shapes the film’s tone, texture, and thematic depth
Set against the stark beauty and hostility of the South African wilderness, the film uses terrain not just as backdrop, but as character. The mountains, arid plains, and vulture sanctuaries become metaphors for emotional isolation, survivalism, and fractured identity. This deeply rooted sense of place separates Hunting Jessica Brok from typical Hollywood thrillers—it carries the pulse of the continent in every scene.
South Africa’s complex history with violence, trauma, and resilience subtly informs Jessica’s psyche. She’s not just a warrior, she’s a woman shaped by inherited scars—what it means to protect, to persevere, to reckon with buried grief. This fusion of local textures and universal emotion makes the film feel both intimate and epic.
Director Alastair Orr leans into the gritty realism that’s increasingly defined South African genre cinema. It’s raw, physical, and unpolished—favoring handheld shots, brutal choreography, and emotional close-ups. This approach amplifies the urgency and authenticity, placing character ahead of spectacle.
Alastair Orr is a South African filmmaker and entrepreneur celebrated for his visceral directing style and genre-defying storytelling. He’s directed cult horror and thriller films such as Indigenous (2014), House on Willow Street (2016), and Triggered (2020). Orr is also the founder of The First Order Group and heads The Refinery, a leading post-production company in Cape Town and Johannesburg. His background in visual effects and editing informs his kinetic, emotionally raw filmmaking. With Hunting Jessica Brok, Orr merges psychological depth with brutal action, continuing his mission to elevate African genre cinema on the global stage.
David D. Jones is a South African screenwriter and producer originally from South Bend, Indiana. He studied Computer Animation at Purdue University before pivoting toward storytelling and screenwriting, where he found his true passion. Jones has written and created multiple television series and feature films, often blending genres to explore psychological tension and moral ambiguity. His credits include Triggered and Hunting Jessica Brok, where his character-driven approach adds emotional weight to high-stakes narratives. Known for his versatility and genre fusion, Jones continues to develop projects that challenge conventional storytelling.
Garth McCarthy is a South African writer, director, and producer whose work spans independent cinema and international co-productions. He’s known for films like Blink, A Tragic Tale (2015), The Groom (2018), and Hunting Jessica Brok. McCarthy founded Rorschach Pictures, a production company aimed at creating globally viable films shot in South Africa. His screenplays often explore psychological trauma, survival, and moral reckoning, and he’s recognised for his ability to craft emotionally charged thrillers with regional authenticity and international appeal.
by Daniel Dercksen·Comments Off on The Myth of Maracuda: A Sacred Journey Through Tradition, Empathy, and Transformation
“Maracuda’s journey is about challenging inherited beliefs. The sacred bird Tink isn’t just magical—it’s a mirror to the soul,” says screenwriter Aleksandr Arkhipov of The Myth Of Maracuda, a vibrant Russian animated adventure that blends Slavic mythology with a universal coming-of-age arc.
The Myth of Maracuda draws inspiration from Slavic mythology, coming-of-age folklore, and the emotional tension between tradition and individuality. Writer Aleksandr Arkhipov and director Viktor Glukhushin envisioned a story where a young boy’s failure to meet tribal expectations becomes the catalyst for a deeper journey into self-discovery and compassion.
The mystical forest Maracuda enters is more than a setting—it’s a symbolic space where inherited beliefs are tested. The sacred bird Tink, who grants Maracuda the ability to understand animals, represents a bridge between worlds: instinct and empathy, ritual and rebellion. The idea of sacrificing the sacred for prosperity echoes ancient myths but is reimagined here as a moral dilemma that challenges the protagonist’s growth.
“We wanted to tell a story where bravery isn’t about conquest—it’s about understanding,” says Glukhushin.
Glukhushin has also cited a desire to create a film that balances humour, emotional depth, and visual wonder, drawing from animated classics like Brother Bear and The Lion King, while infusing it with a distinctly Eastern European sensibility.
Maracuda, the son of Chief Marakud, is expected to become a great warrior, but he cannot hunt and feels like a disappointment to his tribe. Determined to prove himself, he ventures into a mystical forest where he meets Tink, a sacred bird who grants him the ability to understand the language of animals and birds. With this gift, Maracuda returns home a hero. But his triumph is shadowed by a devastating tradition: the sacred bird must be sacrificed for the tribe’s prosperity. As Maracuda grapples with this truth, he must choose between honouring custom and protecting the creature that changed his life.
Russian animation has a rich and eclectic history
Russian animation boasts a rich and eclectic legacy, weaving together strands of folklore, surrealism, and philosophical introspection.
Its journey began in the early 1900s with innovators like Alexander Shiryaev and Vladislav Starevich, who pioneered stop-motion and puppet techniques.
The Soviet era saw the rise of Soyuzmultfilm, a powerhouse studio that defined generations with emotionally resonant classics such as The Snow Queen (1957) and Hedgehog in the Fog (1975), which remain benchmarks of poetic storytelling.
Post-1990s, following the dissolution of the Soviet Union, animation entered a renaissance, expanding in style and genre through studios like CTB Film Company and Voronezh Animation Studio—producing contemporary family favorites such as The Big Trip and My Sweet Monster.
Across decades, standout films like The Mystery of the Third Planet and There Once Was a Dog showcase Russian animation’s thematic depth and inventive style, from hand-drawn surrealism and traditional folk adaptations to cutting-edge formats like paint-on-glass in The Old Man and the Sea.
Visually, Russian animation often leans into muted palettes and symbolic imagery, echoing its cultural roots in Slavic myth and existential inquiry. Experimental techniques serve not just aesthetic ends, but philosophical ones, making Russian animated storytelling a genre where visual poetry and emotional nuance converge.
Aleksandr Arkhipov is a Russian screenwriter, director, and producer. His creative career spans animation, fantasy, and family genres, with a particular focus on mythic storytelling and emotional transformation. Arkhipov’s writing credits include My Sweet Monster (2021), Sadko (2017), and Sinbad: Pirates of the Seven Storms (2017), each reflecting his interest in blending Slavic folklore with contemporary narrative structures. He also directed the documentary Govorit Sverdlovsk (2008), showcasing his versatility across formats. His work often explores the tension between tradition and individuality, a theme central to The Myth of Maracuda, where his script challenges inherited beliefs through the lens of a coming-of-age tale.
Viktor Glukhushin is a Russian director and visual effects artist known for his emotionally resonant animated films and contributions to Hollywood productions. Before stepping into directing, he worked on visual effects for films like Apollo 18 (2011), Wanted (2008), and Abraham Lincoln: Vampire Hunter (2012), honing a cinematic style that blends atmosphere with precision. His directorial credits include My Sweet Monster (2021), The Nutcracker and the Magic Flute (2022), and The Myth of Maracuda (2025), where he brings a vibrant, myth-infused aesthetic to life. Glukhushin’s background in animation and VFX informs his storytelling approach, emphasising emotional depth, visual wonder, and cultural nuance.
“I was fascinated by the idea of someone indispensable but invisible, a person whose entire existence is built around not being seen, not being known—and what happens when that armour starts to crack,” says screenwriter Justin Piasecki of Relay, a chilling meditation on anonymity, trust, and the cost of staying hidden in a world where digital footprints betray even the most cautious.
Relay is directed by David Mackenzie (Hell or High Water), written by Justin Piasecki.
The film draws inspiration from classic paranoid thrillers of the 1970s, like Three Days of the Condor, The Parallax View, and Michael Clayton—films steeped in corporate intrigue, shadowy surveillance, and morally ambiguous protagonists.
Mackenzie was particularly drawn to the idea of a character who operates in near-total isolation, using outdated communication methods like relay services and mail forwarding to avoid digital tracking.
“I’m always interested in outsider characters. I like swimming in the dramatic version of political waters. Not trying to hammer home a political point, like in film ‘Hell or High Water,’ you’re saying something, but you’re looking for a dramatic truth as opposed to a kind of factual truth,” says Mackenzie.
The screenplay by Justin Piasecki, originally titled The Broker, was featured on the 2019 Black List, and Mackenzie saw in it a chance to explore themes of anonymity, paranoia, and moral compromise in a modern setting. He also interviewed former spies and whistleblowers to shape the protagonist’s tactics and psychology—one even emphasised the power of being underestimated, which became a key motif in the film.
Mackenzie collaborated with Justin Piasecki on the screenplay. While Piasecki is credited as the primary screenwriter, Mackenzie worked closely with him during development to shape the story’s tone and structure. Their partnership helped refine the film’s blend of emotional detachment and suspense, with Mackenzie bringing his signature style from films like Hell or High Water and Starred Up to elevate Piasecki’s morally complex script.
It stars Riz Ahmed as Tom, a world-class “fixer” who brokers secret payoffs between corrupt corporations and the people threatening to expose them. His life runs on precision and anonymity—until Sarah, played by Lily James, reaches out for protection, forcing him to break his own rules.
The metaphor embedded in Relay’s title is deceptively simple yet thematically rich
The film’s title itself nods to the relay system used by people with speech or hearing disabilities to communicate via intermediaries—often through typed messages relayed by an operator—becomes a symbolic mirror for the protagonist’s role in the narrative.
Tom (aka Ash), played by Riz Ahmed, functions as a human conduit: he doesn’t initiate conflict, nor does he resolve it. Instead, he transmits—messages, money, threats—between parties who never meet. Like a relay operator, he’s trained to remain emotionally neutral, invisible, and precise. His job is not to feel, but to facilitate. This detachment is both his strength and his curse.
The metaphor deepens when Sarah (Lily James) enters the picture. Her request for protection forces Ash to confront the cost of his emotional isolation. Just as a relay system can feel impersonal and mechanical, Ash’s life has become transactional and devoid of intimacy. The film subtly asks: What happens when the intermediary begins to care? When the conduit becomes a participant?
Director David Mackenzie uses this metaphor not just in dialogue, but visually—through sterile environments, muted color palettes, and scenes where Ash is framed between others, never quite belonging. It’s a powerful commentary on emotional labor, moral ambiguity, and the toll of living in service of secrets.
David Mackenzie is a Scottish film director, screenwriter, and producer. A graduate of Duncan of Jordanstone College of Art and Design, Mackenzie co-founded Sigma Films, a Glasgow-based production company known for championing bold, genre-defying cinema. His career began with award-winning short films before transitioning to features like Young Adam (2003), Hallam Foe (2007), and Perfect Sense (2011), each marked by emotional intensity and visual experimentation. He gained international acclaim with Starred Up (2013), a raw prison drama, and Hell or High Water (2016), a modern western that earned four Academy Award nominations, including Best Picture. Mackenzie’s work often explores themes of isolation, moral ambiguity, and emotional repression, and he’s known for collaborating with actors like Ewan McGregor and Chris Pine. His directorial style blends gritty realism with lyrical flourishes, making him one of the UK’s most versatile and respected filmmakers. With Relay (2025), he continues to push narrative boundaries, crafting thrillers that resonate with psychological depth and cultural relevance.
Justin Piasecki is an American screenwriter known for crafting morally complex thrillers that explore themes of anonymity, emotional detachment, and transactional truth. He gained industry attention when his screenplay The Broker—later retitled Relay—was featured on the 2019 Black List, a prestigious catalog of Hollywood’s most-liked unproduced scripts. Piasecki’s writing is marked by taut structure and psychological nuance, often drawing comparisons to 1970s conspiracy dramas. In addition to Relay, he contributed to The Expendables 4 and has worked across short films and television. His collaboration with director David Mackenzie on Relay helped shape the film’s emotionally restrained protagonist and its atmospheric tension. Piasecki is represented by Range Media Partners and continues to develop projects that challenge conventional storytelling through layered character studies and thematic depth
by Daniel Dercksen·Comments Off on Afterburn – A post-apocalyptic sci-fi action film
“It’s a post-apocalyptic treasure hunt with heart,” says director J.J. Perry of Afterburn. “It’s not just about explosions and mutants. It’s about what we choose to save when everything else is gone.” It reimagines heroism through the eyes of a reluctant treasure hunter in a scorched world where technology has turned to ash and mutated chaos reigns.
Afterburn is a post-apocalyptic sci-fi action film directed by J.J. Perry and based on the Red 5 Comics series by Scott Chitwood and Paul Ens, from a screenplay by Matt Johnson and Nimród Antal.
The Red 5 Comics series is best known for its cinematic storytelling and genre-blending adventures, with Afterburn standing out as a flagship title.
Afterburn carries significance on multiple levels—culturally, thematically, and within the post-apocalyptic genre itself. It brings the Red 5 Comics series to a broader audience, tapping into the growing trend of indie graphic novels being adapted for the screen. By imagining a world stripped of technology, it explores how humanity redefines value, shifting from digital dominance to relics of art and history like the Mona Lisa. The solar flare catastrophe affects the Eastern Hemisphere, inviting reflection on global interdependence and survival beyond borders.
A decade after a catastrophic solar flare obliterates the Eastern Hemisphere and renders technology useless, ex-soldier Jake (Dave Bautista) becomes a hardened treasure hunter. Tasked with recovering the Mona Lisa from a mutated wasteland, he joins forces with freedom fighter Drea (Olga Kurylenko) to outpace rival hunters, pirates, and a ruthless warlord. As they navigate irradiated ruins and moral ambiguity, Jake discovers that the world needs more than relics—it needs redemption.
The Red 5 Comics series
Founded in 2007, Red 5 Comics was created by Chitwood (co-founder of TheForce.net) and Ens (former Director of Lucas Online at Lucasfilm)
Their titles often merge sci-fi, action, and fantasy, designed to appeal to fans of both comics and film. Notable works include Atomic Robo, Neozoic, We Kill Monsters, and of course, Afterburn.
Set in a world ravaged by a solar flare, the series follows a treasure hunter retrieving cultural relics from the “Burn Zone”—a mutated wasteland across the Eastern Hemisphere. Themes include profit vs preservation, identity through artefacts, and survival in chaos.
The original run includes four issues (2008), followed by Afterburn: Crossfire and Afterburn: Bad Blood, expanding the universe with new threats and emotional stakes.
Chitwood and Ens’s backgrounds in film and digital media shape the comics’ cinematic pacing, visual metaphor, and genre-savvy tone. Their storytelling often explores legacy, mutation, and moral ambiguity, making their work ripe for adaptation.
The Screenplay
The screenplay for Afterburn was written by Matt Johnson and Nimród Antal. Johnson is known for high-octane action scripts like Torque and Into the Blue, while Antal has directed and written films such as Predators and Vacancy. Their collaboration brings a mix of kinetic energy and atmospheric tension to the adaptation of the Red 5 Comics series.
Johnson and Antal brought distinct sensibilities to Afterburn, shaping its tone into a kinetic blend of pulp adventure, post-apocalyptic grit, and dark humor.
Johnson infused the narrative with adrenaline-driven sequences and bold, genre-savvy dialogue, embracing the comic book roots through episodic structure and escalating stakes. His approach lends the film a pulpy irreverence, turning mutant brawls and pirate skirmishes into a gleefully chaotic spectacle.
Antal, by contrast, brings a more brooding intensity—his flair for claustrophobic tension and stylized grit grounds the action in emotional ambiguity and tactile realism.
Through this fusion, Afterburn finds its unique rhythm: unapologetically wild yet emotionally tethered, like Mad Max meets National Treasure with a radioactive pulse.
Afterburn carves out its own niche in the post-apocalyptic genre
Afterburn stakes out fresh territory in the post-apocalyptic genre by marrying treasure-hunting adventure with scorched-earth surrealism, setting itself apart from its more solemn predecessors.
Where Mad Max: Fury Road revels in relentless mythic spectacle, Afterburn opts for pulpy irreverence, embracing comic-book absurdity through Jake’s reluctant heroism and mutated showdowns.
Compared to Waterworld‘s aquatic dystopia and earnest tone, Afterburn is leaner, darker in humour, and wittier in its dialogue, centering its quest not on mythical lands but iconic relics like the Mona Lisa.
It sidesteps the bleak intimacy of The Road, trading father-son fragility for camaraderie amid irradiated chaos while probing what’s worth salvaging when civilization collapses.
What truly distinguishes Afterburn is its comic book DNA—episodic structure, genre-blending momentum, and the symbolic heft of cultural artefacts. In this world, relics are more than MacGuffins; they’re emotional anchors. The result is a genre-savvy spectacle that fuses sci-fi, action, and heist energy with moral complexity and mutant mayhem.
J.J. Perry is a seasoned stunt performer, martial artist, and director whose career spans decades of high-octane filmmaking. After serving in the U.S. Army’s 82nd Airborne, Perry transitioned into Hollywood stunt work, contributing to films like John Wick, Iron Man, and Django Unchained. He holds a fifth-degree black belt in Taekwondo and a second-degree in Hapkido, and has trained stars such as Hugh Jackman and Gina Carano. Perry made his directorial debut with Day Shift (2022) and brings his kinetic vision and fight choreography expertise to Afterburn, blending visceral action with emotional grit.
Matt Johnson is a screenwriter and producer known for his work on high-energy action films like Torque and Into the Blue. His writing style leans into genre tropes with bold dialogue, fast-paced sequences, and a comic book sensibility that favors spectacle and momentum. Johnson’s screenplays often embrace pulpy fun and episodic structure, making him a natural fit for adaptations like Afterburn, where mutant mayhem and treasure-hunting collide in a post-apocalyptic setting. His background in crafting kinetic narratives gives the film its adrenaline-fueled rhythm and genre-savvy tone.
Nimród Antal is a Hungarian-American director and screenwriter born in Los Angeles in 1973. After studying at the Hungarian Film Academy, he gained international acclaim for his debut feature Kontroll (2003), a surreal thriller set in the Budapest subway system. Antal’s Hollywood career includes directing Vacancy, Armored, and Predators, showcasing his flair for atmospheric tension and stylised grit. He also helmed Metallica: Through the Never, blending concert footage with narrative storytelling. Antal’s contributions to Afterburn bring emotional depth and visual intensity, grounding its chaos in moral ambiguity and tactile realism.
In the rubble of brooding antiheroes and apocalyptic scale, writer-director James Gunn’s Superman isn’t just a reboot; it’s a major reset for the DC Universe, reshaping the legacy into something more vulnerable, more human. “Superman must reconcile his alien Kryptonian heritage with his upbringing as reporter Clark Kent. As the embodiment of truth, justice, and the human way, he finds himself in a world that views these as old-fashioned.”Read more / Stronger Than Fiction: The Evolution of Superman on Screen / REVIEW
“It’s a strange and weird and wonderful retelling that should and will stand on its own,” says director Chris Miller of The Smurfs, a bold reimagining of a beloved franchise, bursting onto the screen as a kaleidoscopic musical adventure that dares to ask, “What is a Smurf?” From its interdimensional storyline to its pop-powered soundtrack, this isn’t your childhood Smurf village—it’s a full-blown identity quest in cobalt blue. Read more
REVIEWS
“Gunn’s Superman is a bold, joyful, and thoroughly contemporary vision of the Man of Steel. With plenty of action, a dash of romance, and characters both new and classic given room to shine, it’s a Superman for a new generation—one unafraid to laugh, to love, and to dream out loud. Longtime fans may find themselves divided, but for those willing to embrace a lighter, more hopeful hero, this film is a reminder that, in the right hands, we can still believe a man can fly—just in ways we might never have imagined.” Dirk Lombard Fourie / Read review
I Know What You Did Last Summer was inspired by a desire to revisit the original 1997 slasher classic through a lens of legacy sequel—honouring the past while updating the story for a new generation. The story follows a new group of friends haunted by a dark secret, while the infamous Fisherman killer returns with an upgraded arsenal of terrifying weapons. Read more
Four Letters of Love draws its inspiration directly from Niall Williams’ acclaimed debut novel of the same name. The film explores the tension between faith and doubt, the beauty of missed chances, and the quiet miracles that shape our lives. What makes this adaptation particularly intimate is that Williams himself penned the screenplay, bringing his prose to life on screen. “It’s a strange and beautiful thing to return to a story you wrote so long ago and find it still breathing.” Read more
25 July
The poignant South African drama Don’t Let’s Go to the Dogs Tonight was written and directed by Embeth Davidtz in her feature debut, adapted from Alexandra Fuller’s acclaimed memoir. Set in the waning days of the Rhodesian Bush War, the film follows 8-year-old Bobo (played by Lexi Venter) as she navigates a childhood shaped by political upheaval, familial instability, and a deep, complicated bond with the African land her family refuses to let go of. Read more / South African Filmmaking
Set against the vibrant backdrop of a 1960s-inspired, retro-futuristic world, Marvel Studios’ Fantastic Four: First Steps introduces Marvel’s First Family—Reed Richards (Pedro Pascal), Sue Storm (Vanessa Kirby), Johnny Storm (Joseph Quinn), and Ben Grimm (Ebon Moss-Bachrach)—as they face their most daunting challenge yet. Read more
Eddington is a 2025 contemporary Western written and directed by Ari Aster. Set in Eddington, New Mexico, during the early days of the COVID-19 pandemic, the film follows a tense standoff between a small-town sheriff (Joaquin Phoenix) and mayor (Pedro Pascal) that spirals into chaos. As neighbor turns against neighbor, the town becomes a microcosm of political paranoia, social fracture, and existential absurdity. Read more
AUGUST 2025
1 August
When two step-siblings are placed in the care of a mysterious foster mother, they find themselves drawn into a world where grief and memory blur the line between reality and the unknown. Set in a remote home steeped in silence and secrets, Bring Her Back is a haunting exploration of love, loss, and the lengths we go to hold on — even when letting go might be the only way forward. Read more
The Bad Guys 2 is bringing the mischief back in style! This animated sequel from DreamWorks Animation picks up with our favourite reformed animal outlaws—Mr. Wolf, Mr. Snake, Mr. Shark, Mr. Piranha, and Ms. Tarantula—who are trying to live the straight-and-narrow life. But of course, trouble finds them. They’re pulled out of retirement for one last job by a new crew: an all-female squad of criminals known as The Bad Girls. The film features music by returning composer Daniel Pemberton, and it’s co-directed by Pierre Perifel and JP Sans, with animation support from Sony Pictures Imageworks. It’s shaping up to be a globe-trotting, high-stakes heist with heart, humour, and a whole lot of swagger. Read more
The Naked Gun isn’t just a reboot; it’s a genre revival wearing a bulletproof vest of nostalgia and a clown nose of modern spoof. With a plot that skewers contemporary crime procedurals and a cast stacked with comedy wild cards, this legacy sequel fires off visual gags, verbal deadpan, and action parody at point-blank range. Read more
8 August
Tin Soldieris an action thriller directed by Brad Furman, featuring a powerhouse cast and a premise that blends psychological tension with explosive spectacle. The story centres on Nash Cavanaugh (Scott Eastwood), a haunted ex-special forces operative who once followed a charismatic leader known as The Bokushi (Jamie Foxx). The Bokushi runs a cult-like program for disillusioned U.S. veterans, offering them purpose, but at a steep cost. As the government grows wary of this militarised movement, Nash teams up with Emmanuel Ashburn (Robert De Niro), a military operative, to infiltrate the group and confront the trauma and leader that still haunts him. Written by Brad Furman, Jess Fuerst, and Pablo Fenjves. Read more
Freakier Friday is the long-awaited sequel to the 2003 Disney hit Freaky Friday. Lindsay Lohan returns as Anna, now a mom to a teenage daughter and soon-to-be stepdaughter. Jamie Lee Curtis reprises her role as Tess, Anna’s mother. The story picks up 22 years later, as the two women navigate the chaos of a blended family—until a mysterious palm reading causes another body swap. But this time, it’s not just Tess and Anna… their daughters get caught in the switch too. Directed by Nisha Ganatra (Late Night), with a script by Jordan Weiss (Dollface), the film blends heartfelt comedy with a multigenerational twist. Read more
Weapons promises to be one of 2025’s most chilling cinematic events. Directed by Zach Cregger (Barbarian), this psychological horror mystery draws comparisons to The Ring, Magnolia, and even Sleepy Hollow. In the quiet town of Maybrook, 17 children from the same classroom vanish at exactly 2:17 a.m.—except for one. The community spirals into paranoia, grief, and suspicion as the mystery deepens. But according to Cregger, that’s just the beginning: “By the midpoint, we’ve moved on to way crazier stuff than that” Read more
Sketch is a fantastical family adventure. Directed by Seth Worley in his feature debut, it’s been described as “Jurassic Park meets Inside Out”—and it lives up to that wild promise. When young Amber Wyattaccidentally drops her grief-filled sketchbook into a mysterious pond, her drawings spring to life—chaotic, colourful, and dangerously real. As her small town descends into crayon-fueled mayhem, Amber, her brother Jack, and their widowed father must confront the monsters they never meant to unleash. It blends heart, humour, and a touch of darkness—perfect for fans of Coraline, Bridge to Terabithia, or The BFG. Read more
15 August
Nobody 2 brings back the gritty, bone-crunching charm that made Nobody a cult favourite. Four years after Hutch Mansell (Bob Odenkirk) took on the Russian mob, he’s still paying off a $30 million debt—one hit at a time. But when he takes his family on a “normal” vacation to Wild Bill’s Majestic Midway and Waterpark, things spiral fast. A run-in with local bullies pulls Hutch into the crosshairs of a corrupt theme park operator, a shady sheriff, and a bloodthirsty crime boss unlike any he’s faced before. Read more
Together is a surreal body-horror drama that follows Tim (Dave Franco) and Millie (Alison Brie), a couple whose strained relationship takes a grotesque turn after they move to a remote countryside town. Following a mysterious encounter with an underground pool, they wake up physically fused by a sticky, organic substance, forcing them to confront the emotional and psychological entanglements of their bond. Read more
Grand Prix of Europe is a high-speed animated adventure that celebrates the 50th anniversary of Germany’s Europa-Park by bringing its beloved mascots—Ed Euromaus and Edda Euromausi—to the big screen for the first time. Edda, a spirited young mouse and daughter of fairground operator Erwin, dreams of becoming a race car driver. When the prestigious Grand Prix rolls into town, she seizes the chance to compete, disguised as her racing idol, Ed. With determination and a dash of mischief, Edda must outwit sabotage, save her father’s struggling business, and prove that even the smallest racer can make the biggest impact. Read more
20 – 23 August
“The Silwerskermfees brings thinkers, doers, creators and dreamers together across generations and from all provinces in the name of film,” says Waldimar Pelser, director of M-Net’s Premium Channels. This year, the festival takes place from Wednesday to Saturday, 20 to 23 August, at the Bay Hotel and Theatre on the Bay in Camps Bay. For more than a decade, this popular festival has been regarded as one of the most respected development platforms in the local film industry. KykNET has been building on this foundation since its inception. For the full Silwerskerm Festival programme, visit the festival’s website: www.silwerskermfees.co.za
22 August
Afterburn is a post-apocalyptic sci-fi action film. Ten years after a massive solar flare wipes out all technology, the world is a scorched wasteland where treasure hunters scavenge relics from the old world. Enter Jake (Dave Bautista), an ex-soldier turned mercenary-for-hire, tasked with recovering the Mona Lisa before a ruthless warlord gets to it first. But what starts as a high-stakes heist turns into a mission that could reshape what’s left of civilisation. Think Mad Max meets Indiana Jones with a splash of Guardians of the Galaxy swagger. The film blends mutants, pirates, and irradiated landscapes with a pulpy, comic-book aesthetic. Directed by J.J. Perry (Day Shift, The Killer’s Game). Written by Matt Johnson and Nimród Antal, Based on the Red 5 Comics graphic novel by Scott Chitwood and Paul Ens. Read more
Relay is a sleek, high-stakes thriller from director David Mackenzie (Hell or High Water). It’s a taut, modern espionage tale with a pulse-pounding edge and a noir soul. Ash (Riz Ahmed) is a reclusive “fixer” who brokers hush-money deals between corrupt corporations and the whistleblowers threatening to expose them. He operates through a phone-to-text relay service, keeping his identity hidden and his rules strict. But when Sarah Grant (Lily James), a biotech researcher with explosive evidence, reaches out for protection, Ash breaks protocol—and finds himself hunted by a ruthless team of corporate mercenaries. Written by Justin Piasecki, based on his Black List script The Broker. Read more
Hunting Jessica Brok is South African action-thriller following Jessica Brok, a retired special forces agent who must battle a group of vengeful psychopaths and survive the African wilderness to rescue her kidnapped daughter. Directed by Alastair Orr, it stars Danica De La Rey Jones as Jessica Brok and Clyde Berning as Daniel Conner.Read more
The Myth of Maracuda is a Russian animated adventure that blends folklore, family dynamics, and magical realism into a vibrant coming-of-age tale. Maracuda, the son of Chief Marakud, is expected to become a great warrior—but he’s hopeless at hunting and a disappointment to his tribe. In a bid to prove himself, he ventures into the mystical forest and encounters Tink, a sacred bird who grants him the ability to understand animals. It’s a heartfelt story with a folkloric pulse—ideal for audiences who enjoy animated tales with emotional stakes and moral dilemmas. Read more
29 August
The Roses is a sharp, satirical black comedy directed by Jay Roach (Bombshell, Meet the Parents) and written by Tony McNamara (The Favourite, Poor Things). It’s a modern reimagining of the 1989 cult classic The War of the Roses, itself based on the novel by Warren Adler. Theo and Ivy Rose (played by Benedict Cumberbatch and Olivia Colman) seem to have it all—successful careers, a beautiful home, and a picture-perfect marriage. But when Theo’s architectural dreams collapse just as Ivy’s ambitions take flight, their relationship spirals into a darkly hilarious war of egos, resentment, and emotional sabotage. If Marriage Story and The Favourite had a wickedly funny lovechild, The Roses might be it. Read more
Caught Stealing is a gritty, darkly comic crime thriller directed by Darren Aronofsky (Black Swan, The Whale). Based on the cult novel by Charlie Huston from a screenplay he adapted, it’s a wild plunge into the criminal underworld of 1990s New York—equal parts noir, chaos, and black comedy. Hank Thompson (played by Austin Butler) is a washed-up former baseball prodigy turned bartender. When his punk neighbour asks him to cat-sit, Hank unknowingly inherits a key hidden in the cat’s cage—one that unlocks a violent treasure hunt involving Russian mobsters, a sadistic cop, a Samoan hitman, and leather-clad psycho brothers. As Hank stumbles through rooftops, subway tunnels, and blood-soaked alleys, he’s forced to confront his past and survive a city that’s chewing him up. Read more
Steven Spielberg’s legendary 1975 thriller Jaws is making a massive splash with a 50th anniversary re-release that’s more immersive than ever, remastered in 4K, with select screenings in IMAX, RealD 3D, 4DX, and D-BOX formats. The film pioneered the summer blockbuster model and was the first to gross over $100 million. John Williams’ iconic score and Spielberg’s suspenseful direction remain unmatched. Whether you’re revisiting Amity Island or diving in for the first time, this re-release is a rare chance to experience Jaws as it was meant to be seen: in a dark theatre, with a pounding heart, and nowhere to run.
The Toxic Avenger is a gloriously grotesque reboot of the cult classic, directed by Macon Blair (I Don’t Feel at Home in This World Anymore). Meet Winston Gooze (Peter Dinklage), a meek janitor and single dad working for a corrupt chemical company. After a freak accident involving toxic waste, he transforms into Toxie—a deformed but determined vigilante who dishes out justice with a glowing green mop. His mission? Take down corporate overlords, protect his son, and clean up Tromaville one splatter at a time. Blair wrote the screenplay, is based on the original 1984 cult classic created by Lloyd Kaufman and Michael Herz of Troma Entertainment. Blair’s version reimagines the story with a modern twist while preserving the gonzo spirit and satirical edge of the original.
My F*k, Marelize! is a heartfelt coming-of-age dramedy inspired by the viral 2019 video of Marelize Horn crashing her bicycle into a rugby goalpost—an incident that became a cultural meme across South Africa and Namibia. But the film digs much deeper than the meme. Set in Windhoek, Namibia, the film follows Marelize (Je-ani Swiegelaar), an accident-prone young woman who must learn to ride a bike—again—to become an au pair in the Netherlands. Meanwhile, her mother, Heidi, a strong-willed woman, is secretly battling cancer. What unfolds is a story about family, resilience, and the quiet courage it takes to move forward, even when life keeps knocking you down. Directed by Zandré Coetzer (in her feature debut) from a screenplay by Brett Michael Innes (Sink, Fiela se Kind).
Streaming
“We should really just embrace ourselves for who we are,” says Holden Sheppard about the bold and emotionally charged Australian drama Invisible Boys, based on his award-winning novel. He helped preserve the novel’s emotional core while expanding its scope, reshaping it for the screen as co-writer, and ensured that the adaptation retained its emotional authenticity and thematic integrity. Read more
by Daniel Dercksen·Comments Off on Grand Prix of Europe – A vibrant animated sports comedy
“We wanted to craft a story where family pride and self-belief accelerate side by side,” says producer Michael Mack, who envisioned Grand Prix of Europe as both a cinematic milestone and a gateway to a vibrant entertainment universe.
Grand Prix of Europe is a vibrant animated sports comedy celebrating the 50th anniversary of Germany’s Europa-Park, starring its beloved mascots Ed Euromaus and Edda Euromausi in their first cinematic adventure.
Mack was inspired by the 50th anniversary of Europa-Park, Germany’s largest theme park, and its iconic mascots Ed Euromaus and Edda Euromausi. The film marks their cinematic debut, transforming beloved park characters into animated heroes in a high-speed adventure designed to celebrate family, courage, and imagination.
The park has welcomed millions of visitors since 1975, and the film serves as a tribute to its cultural impact and storytelling tradition. Originally created as mascots for live entertainment and branding, Ed and Edda were reimagined as dynamic protagonists to appeal to a global audience.
Mack envisioned the film as the launchpad for a broader entertainment universe—including games, books, and theme park attractions. The creators aimed to build a world that could be experienced across film, publishing, and interactive media, blending animation with real-world park experiences.
Michael Mack.
The creators aimed to build a world that could be experienced across film, publishing, and interactive media, blending animation with real-world park experiences.
Edda, a spirited young mouse, dreams of becoming a race car driver like her idol Ed. In Grand Prix of Europe, the beloved Europa-Park mascot Edda Euromausi trades fairground sparkle for racetrack grit in a high-octane animated debut that celebrates courage, identity, and the park’s 50-year legacy. Disguised as her racing idol Ed Euromaus, Edda enters the Grand Prix to save her father’s struggling fairground—dodging sabotage, chasing dreams, and rewriting what it means to be a hero.
Adapting Mascots into a Film Narrative
The screenplay for Grand Prix of Europe was written by Kirstie Falkous, Jeffrey Hylton, and John T. Reynolds. Their task was to transform Europa-Park’s beloved mascots into fully realised cinematic characters, marking their first appearance on the big screen.
The writers began by crafting a classic underdog story, giving Edda a compelling arc as a young mouse who dreams of racing glory.
They infused the script with family-friendly humour, emotional stakes, and high-speed action, ensuring it would resonate with both children and adults.
To honour Europa-Park’s legacy, they embedded nods to the park’s attractions and ethos, making the film feel like an extension of the park experience.
The collaboration between Falkous, Hylton, and Reynolds was a fusion of complementary strengths and international flair.
Falkous laid the emotional foundation of Edda’s journey, ensuring that family dynamics and personal growth remained at the heart of the story.
Hylton, with his expertise in adapting content for global audiences, shaped the dialogue into something snappy and universal—perfect for cross-market appeal.
Reynolds brought momentum and irreverence to the scenes, dialing up the pacing and injecting classic sports-comedy tension into Edda’s race sequences.
Together, they crafted a screenplay that balanced heartfelt storytelling, high-speed adventure, and playful humour, making Ed and Edda’s big-screen debut both nostalgic and fresh.
The screenplay was designed to support transmedia storytelling, laying the groundwork for tie-ins like a video game (Ed & Edda: Grand Prix – Racing Champions) and a theme park attraction (Grand Prix EDventure).
Director Waldemar Fast then brought the script to life with vibrant CGI animation, dynamic race sequences, and a voice cast led by Gemma Arterton, Thomas Brodie-Sangster, and Hayley Atwell.
The collaborative script for Grand Prix of Europe doesn’t just tell a story—it launches a universe. With Falkous anchoring the emotional depth, Hylton fine-tuning its global voice, and Reynolds injecting cinematic zest, the film becomes more than a mascot vehicle—it’s the blueprint for a cross-platform franchise. From racetracks to roller coasters, the narrative drives straight into Europa-Park’s transmedia future, offering kids and families a hero they can cheer for in cinemas, gaming consoles, and real-life attractions. It’s the kind of storytelling that turns theme park legacy into pop culture momentum.
Kirstie Falkous is a British screenwriter and producer best known for her work across family-friendly television and animation. She’s contributed to series like Doc Martin, Free Rein, and Zero Chill, often blending heartfelt character development with genre appeal. Her writing style leans into emotional arcs and accessible storytelling, which made her a natural fit for Grand Prix of Europe, where she helped shape Edda’s journey with warmth and humour.
Jeffrey Hylton is an American writer and dialogue specialist with a background in adapting international animated content for English-speaking audiences. His credits span series like MeteoHeroes, Heroes of Goo Jit Zu, and Super Wings. Hylton brings a keen sense of comedic timing and linguistic clarity to his scripts, playing a vital role in Grand Prix of Europe’s lively voice work and transnational appeal.
John T. Reynolds is a seasoned animation writer whose resume includes Courage the Cowardly Dog, Taffy, and The Mr. Peabody & Sherman Show. Known for his irreverent humour and underdog narratives, Reynolds helped sculpt Grand Prix of Europe into a fast-paced yet emotionally grounded film. His experience across studios like Cartoon Network and Netflix gave the project a buoyant, cinematic tone, ideal for launching Europa-Park’s mascots into movie stardom.
Waldemar Fast is a German character animator and director with over a decade of experience in feature films, television, and commercials. He graduated from the International Filmschool Cologne in 2008 with a diploma in Animation and VFX, and also studied at the Institute for Animation, Visual Effects, and Digital Postproduction in Ludwigsburg. Fast’s expertise spans 3D and 2D character animation, modeling, storyboarding, and previs, with credits on acclaimed projects such as Gruffalo, Room on the Broom, Sapphire Blue, and Happy Family. He’s contributed to both Oscar-nominated shorts and major international productions, including Avatar: The Last Airbender (2024). Known for his expressive animation style and technical precision, Fast also teaches at the Cologne Game Lab, where he shares his passion for storytelling through movement and design.
by Daniel Dercksen·Comments Off on Together – A twisted blend of body horror, psychological drama, and dark comedy
When filmmaker Michael Shanks set out to create Together, he didn’t just want to craft a body-horror spectacle—he wanted to excavate the discomfort buried in intimacy. “There comes a point in long-term love where you’re not sure where you end and the other person begins,” Shanks says. The film, which sees a couple grotesquely fused by a mysterious organism, uses this literal entrapment to explore emotional dependency, fear of separation, and the quiet terror of commitment.
Together has been turning heads since its Sundance premiere. Think Hereditary meets The Substance, with a dash of Cronenbergian body horror.
Directed by Michael Shanks in his feature debut, the film stars real-life couple Dave Franco and Alison Brie as Tim and Millie—a pair whose relationship is tested in the most grotesque and surreal ways.
“I was always fascinated by filmmaking, both the process of making them and the movies themselves. I was a teenager in the sort of early years of YouTube and I suddenly discovered that you could find resources online to teach you how to do things. So, I would spend my evenings watching tutorials on editing and VFX software, learning how to record music, edit sound effects, etc. I was already writing and directing in my school’s theater program, and so I wrote a stupid little comedy sketch and made it with my friends using a camera I had saved up for — a Sony mini-DV kind of thing,” says Shanks.
Together is a surreal body-horror drama that follows Tim (Dave Franco) and Millie (Alison Brie), a couple whose strained relationship takes a grotesque turn after they move to a remote countryside town. Following a mysterious encounter with an underground pool, they wake up physically fused together by a sticky, organic substance, forcing them to confront the emotional and psychological entanglements of their bond. The cast also includes Damon Herriman as Jamie, a local teacher with cryptic intentions, and Mia Morrissey in a supporting role.
Turning personal vulnerability into cinematic dread
By digging into his own 15-year relationship and history of DIY filmmaking, Shanks turns personal vulnerability into cinematic dread—one prosthetic goo-pool at a time.
He crafted the screenplay back in 2019, drawing inspiration from his own long-term relationship and personal reflections on codependency and transformation. Shanks is known for his background in guerrilla filmmaking, often handling writing, directing, editing, and visual effects himself—a creative multitasker with a flair for surreal and emotionally charged storytelling.
He poured a surprising amount of personal history into Together, shaping its emotional and thematic core with raw intimacy and surreal metaphor.
“My partner and I have been together for 15 years — almost half of my life. I can barely remember who I am without her, and the notion of fully sharing your life with someone is something I was interested in exploring — a film about how falling in love is a transformative thing,” says Shanks.
This sense of identity entanglement directly inspired the film’s central horror: a couple physically fused together, unable to separate without pain.
He wanted to explore how falling in love can be a transformative—and sometimes terrifying—experience, especially when boundaries blur.
“I hope anyone who’s been in a committed monogamous relationship can find something to relate to in the film. I also want the film to reach any genre/horror fans as I’m extremely proud of the places we’ve taken the many set pieces in the film,” says Shanks.
His background in guerrilla filmmaking—writing, directing, editing, even building props himself—taught him to obsess over every detail. That obsessive energy translated into Together’s intense production, where he even handled most of the visual effects himself to stretch the budget.
He said seeing prosthetics and sets built from his ideas felt like “someone had plucked a real physical thing from a dream I’d had”
“The challenge was always that the film was extremely ambitious for the budget and schedule we had. I hope that it feels like a bigger film than it was. We shot it over the course of about 20 days, and every day, there was at least one scene that was incredibly technically challenging. Even throughout [post-production], I’ve always done my own visual effects, and I ended up needing to do the bulk of the VFX shots across the film, so I’ve had basically no free time this whole year. This freed up our VFX budget so we could put it toward the higher-end VFX concerns, across post, by real VFX artists.”
Shanks drew from personal trauma, including grief over a lost parent and struggles with creative identity as a musician. These elements shaped Tim’s character, whose emotional unraveling mirrors Shanks’s own fears about vulnerability and dependence.
Michael Shanks was initially drawn to ice hockey and pivoted to acting after witnessing Richard Dean Anderson film a scene for MacGyver. He studied Fine Arts at the University of British Columbia, graduating in 1994, and honed his craft through a two-year apprenticeship at the Stratford Festival in Ontario.
Shanks rose to prominence as Dr. Daniel Jackson in Stargate SG-1, a role he played for ten seasons, earning critical acclaim and a devoted fan base. His performance was marked by emotional depth and intellectual nuance, helping define the series’ tone3. He later starred as Dr. Charles Harris in the medical drama Saving Hope, showcasing his range beyond science fiction.
Beyond acting, Shanks has directed and written for television, including episodes of Stargate SG-1. He’s also appeared in Smallville, Burn Notice, Altered Carbon, and Mr. Hockey: The Gordie Howe Story, reflecting his versatility across genres4.
by Daniel Dercksen·Comments Off on Vacation, Violence, and the Fractured Self: Inside Nobody 2
By blending the kinetic choreography of John Wick with the tonal whiplash of a dark comedy vacation flick, the powerhouse screenwriting team of Derek Kolstad, Aaron Rabin, Bob Odenkirk, and Umair Aleem crafted Nobody 2, a genre-splintering sequel that asks whether peace is possible when violence becomes the language of survival.
Directed by Timo Tjahjanto (known for The Night Comes for Us), Nobody 2 is the sequel to the 2021 sleeper hit Nobody.
Timo Tjahjanto’s inspiration for Nobody 2 is rooted in emotional duality, genre chaos, and a deep respect for Bob Odenkirk’s creative vision.
Tjahjanto was drawn to Hutch Mansell’s internal tug-of-war — the tension between being a devoted father and a lethal operative. He described Hutch as a “Jekyll and Hyde” figure, whose identity fractures when family and violence collide. That duality became the emotional engine of the film, with Tjahjanto saying, “Without his family, he kind of loses his identity.”
He compared Nobody 2 to a “summer rage outburst,” in contrast to the first film’s “moody winter meditation”. The sequel’s chaotic tone — blending vacation comedy, brutal action, and psychological tension — reflects Tjahjanto’s belief that storytelling should feel like a jigsaw puzzle falling into place. He embraced the absurdity of Hutch’s waterpark vacation turning into a blood-soaked reckoning.
Bob Odenkirk with Timo Tjahjanto
For Tjahjanto, Nobody 2 isn’t just about action — it’s about emotional resonance.
Tjahjanto and Odenkirk bonded over the creative struggle of balancing personal life and work, and that tension is woven into Hutch’s arc. The director said, “There’s a heart and soul to it that connects to real issues. That means a lot to me.”
Bob Odenkirk returns as Hutch Mansell, the seemingly ordinary suburban dad with a lethal past. This time, the story dives deeper into Hutch’s family dynamics and unresolved debts to the Russian mob. Four years after tangling with the Russian mob, Hutch is still working off a $30 million debt through covert hits. He and Becca, feeling the strain, take their kids on a nostalgic vacation to Wild Bill’s Majestic Midway and Waterpark. But things spiral when Hutch’s daughter is bullied, triggering a brutal chain of events involving corrupt local authorities and a deranged crime syndicate.
The inspiration behind Nobody 2 is a layered blend of character evolution, genre homage, and personal storytelling
The screenplay for Nobody 2 was written Derek Kolstad, Aaron Rabin, Bob Odenkirk, and Umair Aleem.
Kolstad, the creator of the John Wick franchise, returns to expand Hutch Mansell’s gritty universe, while Rabin brings his experience from Tom Clancy’s Jack Ryan. Odenkirk’s involvement adds a personal layer to Hutch’s evolution, and Aleem (known for Kate) contributes his flair for stylised action and emotional stake
Bob Odenkirk initiated the original Nobody project after recognising parallels between Hutch Mansell and his Better Call Saul character, Saul Goodman. He saw Hutch as someone with “earnest desires” and a willingness to sacrifice himself — traits that could translate powerfully into an action narrative. That emotional core continues in the sequel, where Hutch’s struggle to balance violence and family deepens.
Derek Kolstad, creator of John Wick, infused Nobody with the same kinetic energy and stylised violence.
For Nobody 2, Kolstad and co-writers Aaron Rabin, Umair Aleem, and Odenkirk leaned into the idea of a “vacation gone wrong,” drawing from classic action tropes like Die Hard and True Lies, but with a darker, more introspective twist.
Once Timo Tjahjanto joined as director in 2024, the script underwent revisions to match his visceral style. The final script incorporated flashbacks, surreal fight choreography, and metaphor-rich sequences, like Hutch battling mercenaries in a hall of mirrors.
The writing team behind Nobody 2 used genre fusion and metaphor not just as stylistic flourishes, but as emotional amplifiers — turning every punch, setting, and character beat into a reflection of Hutch’s fractured psyche and strained family ties.
The film blends black comedy, action thriller, and family drama, creating tonal dissonance that mirrors Hutch’s internal conflict. Scenes shift from absurd violence to tender family moments, emphasising the tension between his assassin instincts and domestic aspirations.
The “vacation gone wrong” trope borrows from True Lies and National Lampoon, but twists it into a metaphor for emotional burnout — Hutch’s inability to disconnect from violence becomes a symbol of modern workaholism.
The hall of mirrors fight sequence isn’t just a visual homage to John Wick — it’s a metaphor for Hutch’s fractured identity. Each reflection represents a version of himself: father, killer, protector, failure.
The carnival setting turns childhood nostalgia into a battleground, suggesting that Hutch’s past — once innocent — is now weaponised.
Hutch’s improvised weapons (arcade props, duck masks, anchor) evoke Jackie Chan-style ingenuity, but also symbolise his desperation to reclaim control using whatever fragments of joy remain.
Timo Tjahjanto is an Indonesian filmmaker celebrated for his visceral blend of horror and action. Raised in Indonesia, he studied at the School of Visual Arts in Australia before launching his career as a storyboard artist. He gained prominence as one half of The Mo Brothers with Kimo Stamboel, directing cult hits like Macabre and Headshot. His solo work, including The Night Comes for Us and May the Devil Take You, showcases his signature style: brutal choreography, emotional grit, and psychological tension. Tjahjanto’s direction of Nobody 2 marks a shift toward genre fusion, balancing carnage with character introspection.
Derek Kolstad began writing screenplays as a teenager and later studied business administration at Taylor University before moving to California to pursue a career in film. His breakout came with Scorn, a spec script that evolved into John Wick after Keanu Reeves signed on and suggested naming the film after Kolstad’s grandfather. The franchise’s success cemented Kolstad’s reputation for crafting emotionally grounded, mythic action narratives.
Beyond John Wick, Kolstad wrote Nobody (2021) and co-wrote Nobody 2, blending brutal choreography with introspective character arcs. He’s also contributed to The Falcon and the Winter Soldier, Die Hart, and adaptations of Splinter Cell, Just Cause, and Hellsing. His writing style is known for precision, rhythm, and emotional subtext — often described as “action with a soul.”
His work continues to explore haunted protagonists, stylised violence, and the emotional cost of survival.
Aaron Rabin is a screenwriter and producer known for his work on Tom Clancy’s Jack Ryan, Secret Invasion, and the upcoming Nobody 2. His storytelling blends espionage tropes with grounded emotional stakes, often exploring characters caught between duty and identity. Rabin’s writing on Jack Ryan showcased his ability to balance geopolitical intrigue with personal drama, while Nobody 2 allowed him to dive into genre fusion — mixing dark comedy, action, and family tension.
He’s also been tapped to write Universal’s live-action adaptation of the Just Cause video game franchise, marking his first foray into video game storytelling. Rabin’s approach is marked by sharp pacing, psychological depth, and a collaborative spirit — working alongside Derek Kolstad, Bob Odenkirk, and Umair Aleem to shape Nobody 2’s emotional architecture.
Bob Odenkirk began his career as a comedy writer, earning Emmy Awards for his work on Saturday Night Live and The Ben Stiller Show. He co-created the cult sketch series Mr. Show with Bob and David, which became a touchstone for surreal, cerebral humour.
Odenkirk’s dramatic breakthrough came with Breaking Bad, where his portrayal of Saul Goodman — a morally flexible lawyer — led to the critically acclaimed prequel Better Call Saul. His performance earned multiple Emmy nominations and showcased his ability to navigate complex emotional terrain.
In 2021, he surprised audiences with Nobody, an action thriller that revealed his physical intensity and emotional depth. He trained extensively for the role, drawing from personal experiences and a desire to explore vulnerability through violence. He co-wrote Nobody 2, deepening Hutch Mansell’s arc with themes of identity, family strain, and emotional burnout.
Beyond acting, Odenkirk is a producer, director, and author. His memoir Comedy Comedy Comedy Drama reflects on his creative evolution and personal challenges, including surviving a near-fatal heart attack in 2021.
Umair Aleem is a Los Angeles-based writer best known for Kate (2021), a Netflix thriller about a dying assassin seeking vengeance. His storytelling is marked by kinetic energy, metaphor-rich sequences, and a tone that often reflects existential dread. Aleem grew up on John Carpenter films and took an unconventional route into screenwriting — preferring long walks and intuitive plotting over rigid outlines. He reverse-engineers his scripts, starting with the ending and letting the emotional pulse guide the structure.
His breakout script Kate was voted onto the Black List and became the most-watched film on streaming for 12 consecutive days. Aleem also contributed to Extraction and is developing projects like The Beast, Danger Girl, and The Paladin, a franchise-starter described as Doctor Strange meets Unforgiven. For Nobody 2, Aleem joined Derek Kolstad, Aaron Rabin, and Bob Odenkirk to deepen Hutch Mansell’s emotional arc, bringing his signature blend of genre mayhem and introspective storytelling.
Aleem’s writing process is deeply metaphorical — he’s said that when an idea strikes, it feels like “a lightning bolt,” and that action should convey emotion without over-writing. His characters often navigate chaos with quiet desperation, turning violence into a language of survival.
by Daniel Dercksen·Comments Off on The Naked Gun Reloads for a New Era
The Naked Gun (2025) isn’t just a reboot; it’s a genre revival wearing a bulletproof vest of nostalgia and a clown nose of modern spoof. With a plot that skewers contemporary crime procedurals and a cast stacked with comedy wild cards, this legacy sequel fires off visual gags, verbal deadpan, and action parody at point-blank range.
The reboot of The Naked Gun was sparked by a mix of nostalgia, genre evolution, and a desire to revive spoof comedy with fresh relevance. The spoof genre had faded after a wave of poorly received parodies in the 2000s. This reboot aims to restore the clever, layered humour of the original Naked Gun trilogy, with visual gags, absurd setups, and deadpan delivery
Producer Seth MacFarlane, a longtime fan of the franchise, had been trying to crack the right tone for years. Early drafts felt like “cover band versions” of the original, until director Akiva Schaffer (The Lonely Island) pitched a new take that honoured the spirit without copying it.
The reboot draws from classic detective films like Double Indemnity and The Big Sleep, blending old-school homage with contemporary parody
Schaffer wanted to spoof modern crime procedurals and action thrillers like John Wick, Mission: Impossible, and Law & Order, rather than the noir and cop dramas of the ’80s.
Seth MacFarlane
He studied the original trilogy’s tone to preserve its deadpan absurdity while updating genre references for today’s audience, and co-wrote the screenplay alongside Dan Gregor and Doug Mand.
In The Naked Gun (2025), Liam Neeson stars as Lt. Frank Drebin Jr., a deadpan detective with a knack for turning every investigation into a slapstick disaster. When femme fatale Pamela Anderson hires him to solve her brother’s murder, Drebin teams up with his loyal partner Capt. Ed Hocken Jr. (Paul Walter Hauser) to unravel a conspiracy that threatens the future of the Police Squad.
It’s not just a remake — it’s a genre update with reverence for the absurd
Seth MacFarlane and Akiva Schaffer brought distinct comedic sensibilities to The Naked Gun (2025), shaping it into a reboot that’s both reverent and refreshingly absurd.
Known for Family Guy and Ted, MacFarlane excels at layered satire, pop culture riffs, and deadpan delivery. His influence ensured the reboot retained character-based comedy, especially through Liam Neeson’s straight-faced portrayal of Frank Drebin Jr.
MacFarlane initially struggled with tone, fearing early drafts felt like “cover band versions” of the original. His decision to hand creative control to Schaffer was pivotal.
As part of The Lonely Island, Schaffer’s style leans into genre parody, absurd setups, and fast-paced visual humour. He Schaffer infused the original trilogy’s rhythm with updated references, ensuring the humour felt fresh but familiar.
Rather than parodying noir and cop dramas like Dragnet or Dirty Harry, Schaffer turned his lens on crime procedurals (Law & Order, NCIS) and action franchises (John Wick, Mission: Impossible, James Bond). By blending the classic slapstick DNA with genre-savvy parody, Schaffer created a reboot that feels both familiar and fresh.
MacFarlane’s reverence for the original met Schaffer’s instinct for reinvention, balancing meta-humour, physical comedy, and genre-savvy absurdity. This tonal cocktail echoes Leslie Nielsen’s legacy while inviting new audiences in.
Legacy sequels
A legacy sequel is a film that continues the story of a previous movie—often decades later—while introducing new characters and themes. It typically features original cast members in ageing roles, passes the torch to a younger generation, and blends nostalgia with modern storytelling. These sequels often ignore or retcon previous instalments to reconnect with the spirit of the original.
Recent Legacy Sequels worth noting are : Star Wars: The Force Awakens (2015) revived the saga with legacy and new heroes; Mad Max: Fury Road (2015) reimagined the franchise with new leads; Creed (2015) continued the Rocky saga through Apollo’s son; Blade Runner 2049 (2017) picked up 30+ years after Blade Runner; Halloween (2018) was a direct sequel to the 1978 original, ignoring others; Ghostbusters: Afterlife (2021) reconnected with original Ghostbusters lore; The Matrix Ressurrections (2021) revisits Neo and Trinity in a rebooted world; Scream (2022) Introduced new characters while honoring legacy; Top Gun: Maverick (2022) picked up decades after the original 1986 film, bringing back Tom Cruise as Pete “Maverick” Mitchell while introducing a new generation of elite pilots; and I Know What You Did Last Summer (2025) is a sharp-edged revival that blends slasher nostalgia with modern psychological horror and reboots the 1979 film.
Legacy sequels work best when they strike a delicate balance between emotional continuity and narrative reinvention. Bringing back beloved characters allows audiences to reconnect with emotional arcs they’ve invested in.
These films often explore how time changes people—loss, regret, resilience, and redemption. They tap into universal emotions like nostalgia, closure, and generational tension.
These films often explore how time changes people—loss, regret, resilience, and redemption. They tap into universal emotions like nostalgia, closure, and generational tension.
Akiva Schaffer is an American filmmaker, comedian, and musician. A graduate of UC Santa Cruz with a degree in film, he co-founded the comedy trio The Lonely Island with Andy Samberg and Jorma Taccone, revolutionising digital shorts on Saturday Night Live with viral hits like “Lazy Sunday” and “Dick in a Box.” Schaffer transitioned into feature films with directing credits including Hot Rod, Popstar: Never Stop Never Stopping, and Chip ‘n Dale: Rescue Rangers. He’s also produced acclaimed projects like Palm Springs and PEN15, and directed the 2025 reboot of The Naked Gun, blending slapstick legacy with modern genre parody.
Dan Gregor, is a writer, director, and producer known for his sharp comedic voice and genre-blending storytelling. A founding member of NYU’s sketch group Hammerkatz, he honed his craft at the Upright Citizens Brigade before landing writing roles on How I Met Your Mother and Crazy Ex-Girlfriend. His directorial debut, Most Likely to Murder, premiered at SXSW in 2018. Gregor co-wrote Chip ‘n Dale: Rescue Rangers and The Naked Gun (2025), often collaborating with his wife, actress and writer Rachel Bloom. His work is marked by irreverent humour, emotional nuance, and a knack for satirical twists.
Doug Mand, is a writer, producer, and actor whose career has intertwined with Gregor’s since their NYU days. Together, they formed the production company Chubby Skinny Kids and wrote for How I Met Your Mother, Crazy Ex-Girlfriend, and The Comedians. Mand co-wrote and co-produced Chip ‘n Dale: Rescue Rangers and The Naked Gun reboot, and has contributed to films like Dolittle and Magic Camp. Known for his comedic timing and collaborative spirit, Mand also hosts the podcast Doody Calls, blending personal anecdotes with humour. His onscreen appearances include roles in Crazy Ex-Girlfriend and Most Likely to Murder, often playing offbeat characters with deadpan charm.
by Daniel Dercksen·Comments Off on Freakier Friday reinvents the Body-Swap Genre for a New Generation
“Even though it’s not based on my own experience, I got to infuse a lot of my feelings about mothers and daughters in a way that felt like such a love letter to my mom,” says screenwriter Jordan Weiss of Freakier Friday, the sequel to Disney’s beloved 2003 body-swap comedy, dialing up the chaos with a multigenerational twist.
Freakier Friday carries significance on multiple levels—cultural, emotional, and cinematic, especially as a sequel to a film that’s become a generational touchstone.
It’s the seventh instalment in the Freaky Friday franchise, continuing a legacy that began with Mary Rodgers’ 1972 novel and evolved through various adaptations. By revisiting the 2003 version’s characters, it taps into millennial nostalgia, while introducing Gen Z perspectives through Anna’s daughter and stepdaughter.
The film reflects modern family dynamics, including blended families and intergenerational relationships, making it more relevant to today’s audiences. The body-swap premise becomes a metaphor for empathy and understanding, especially across generational divides.
Directed by Nisha Ganatra, known for The High Note and Late Night, the film blends heartfelt family drama with fantasy comedy., the film blends fantasy and grounded realism, elevating the genre beyond slapstick. It’s one of Disney’s few sequels that continues a story rather than rebooting it, showing a shift toward character continuity and emotional evolution.
Set 22 years after the original identity crisis, Anna (Lindsay Lohan) is now a mom with a teenage daughter, Harper, and a soon-to-be stepdaughter, Lily. When a mysterious fortune teller enters the picture, lightning strikes again—literally—and the body-swapping madness resumes. This time, it’s not just Tess (Jamie Lee Curtis) and Anna switching places, but also the younger generation, adding layers of emotional and comedic tension
Emotional Core: Mother-Daughter Dynamics
The screenplay for Freakier Friday was written by Jordan Weiss, with the story credited to both Elyse Hollander and Weiss. Weiss is known for her work on the Hulu series Dollface and the film Sweethearts, and she’s brought a fresh, emotionally grounded lens to this sequel—especially in exploring mother-daughter dynamics.
Weiss brings a signature blend of emotional authenticity and comedic sharpness to Freakier Friday, and it deeply shapes the film’s tone and structure.
Weiss described the film as a mother-daughter love story, drawing from her own close relationship with her mom—especially during her teen years when her mother battled breast cancer. This personal lens infuses the story with vulnerability and warmth, grounding the fantastical body-swap premise in real emotional stakes.
Her previous work, like Dollface and Sweethearts, often explores platonic and familial relationships with a rom-com structure that’s both witty and introspective2. In Freakier Friday, she leans into this by surrounding the leads with a “murderer’s row” of comedians, ensuring the humor stays fresh and character-driven.
Weiss has a knack for making big, surreal moments feel emotionally believable. Whether it’s a sex tape filmed in a Danny Zuko costume or four people swapping bodies, she asks: “Does it feel real to the character?” That question helps keep the comedy broad but grounded.
With multiple body swaps across generations, Weiss’s writing balances chaos with clarity. Her experience crafting layered character arcs in ensemble casts allows her to juggle emotional nuance while keeping the story cohesive.
Jordan Weiss is an American screenwriter, director, and producer known for her emotionally grounded storytelling and sharp comedic voice. She studied Writing for Screen and Television at USC’s School of Cinematic Arts, where her breakout series Dollface began as a college writing sample. Weiss’s work often explores themes of identity, vulnerability, and female relationships, blending absurdist setups with emotional realism. Her credits include Dollface (Hulu), an episode of Harley Quinn, and the feature Sweethearts, which she co-wrote and directed. In 2025, Weiss penned Freakier Friday, the multigenerational sequel to Disney’s Freaky Friday, infusing the body-swap comedy with personal resonance drawn from her own experiences, including her close relationship with her mother during a period of illness. Weiss is currently working on the film adaptation of Curtis Sittenfeld’s Romantic Comedy, bringing her signature balance of intimacy and wit to new cinematic spaces.
Nisha Ganatra is a Canadian-American director, screenwriter, producer, and actress known for her emotionally rich and culturally resonant storytelling. She studied at NYU’s Tisch School of the Arts, where she began crafting films that spotlight underrepresented voices. Her breakout feature Chutney Popcorn (1999) explored LGBTQ+ themes within a South Asian context and earned acclaim across international festivals. Ganatra has since directed a wide range of television series—including Transparent, Brooklyn Nine-Nine, and Dear White People—and helmed studio films like Late Night (2019) and The High Note (2020), both praised for their blend of humor and heart. In 2025, she directs Freakier Friday, a sequel that deepens the emotional core of the beloved body-swap comedy. A Golden Globe winner and Emmy nominee, Ganatra continues to champion inclusive narratives, using her platform to amplify stories that reflect diverse identities and experiences.
by Daniel Dercksen·Comments Off on Sketch: When Grief Draws Monsters and Family Finds Its Way Back
“This story was never just about creatures, it was about what happens when the things you bury start to dig themselves out,” says writer-director Seth Worley of Sketch, conjuring a vivid storm of imagination, emotion, and monsters born from memory.
Inspired by his sister’s grief-drenched drawing praised as therapeutic by a counsellor, Worley crafts a fantastical narrative where art becomes dangerously alive. His feature debut doesn’t shy away from the messy emotional terrain families traverse in the wake of loss. With Sketch, he invites audiences to witness healing not through silence, but through illustrated chaos.
The film is described as Jurassic Park meets Inside Out—a mix of creature-feature thrills and emotional introspection, expanding on Worley’s short film Darker Colors, which explored similar themes of grief and imagination.
Worley’s background in visual effects shines through in the film’s imaginative creature design and surreal atmosphere. He spent nearly seven years developing Sketch, drawing inspiration from personal experiences and childhood memories.
A young girl named Amber, grappling with the loss of her mother, pours her emotions into a sketchbook. When the sketchbook accidentally falls into a mysterious pond, her drawings come to life—wild, unpredictable, and dangerously real. As the town descends into surreal mayhem, Amber, her brother Jack, and their father Taylor (played by Tony Hale) must confront the monsters born from grief and reunite as a family to stop the chaos.
Worley drew inspiration for Sketch from a deeply personal moment
His sister once created an emotionally raw drawing that a counsellor praised as a healthy outlet for grief. That experience planted the seed for a story about how art can externalize emotion—and what happens when those emotions take on a life of their own.
He spent nearly seven years developing the film, expanding on themes from his short Darker Colors. Worley wanted to explore how children process loss through imagination, and how families navigate the monsters born from unresolved grief. The idea of a sketchbook becoming a portal for emotional chaos allowed him to blend fantasy, horror, and heartfelt drama in a way that’s both cathartic and visually inventive.
Worley’s writing process is a blend of structured creativity and playful experimentation
His writing process is perfect for stories like Sketch, where emotional depth meets fantastical chaos.
He uses a tool called the Storyclock, inspired by J.J. Abrams, to map out story beats in a circular format. This gives him a bird’s-eye view of pacing and emotional rhythm. He emphasises theme-first writing, often starting with the emotional core before building characters and plot around it. He’s a fan of micro and macro clocking—zooming in on scene-level details while keeping the big-picture arc in view.
Worley developed the Storyclock Notebook, a resource that helps writers visualise their story structure and identify gaps. He teaches screenwriting fundamentals through courses like Writing 101, where he breaks down archetypes, structure, and formatting with humor and clarity.
In his own words: “If you like writing, you’re not a writer.” He believes writing is often painful and messy, but worth it when the story demands to be told.
He embraces limitations as creative fuel, using constraints to sharpen focus and deepen emotional stakes.
Sketch stands out as a deeply humanist fantasy
The film uses surreal chaos to explore the emotional architecture of grief, healing, and family reconnection.
Amber’s sketchbook isn’t just a plot device—it’s a metaphor for how creativity externalizes trauma. Her drawings become literal monsters, forcing the family to confront what they’ve buried emotionally.
The creatures born from Amber’s grief are messy, unpredictable, and oddly beautiful. They reflect the emotional complexity of loss, especially through a child’s lens. The creatures—crafted with childlike imperfection—are not just VFX marvels. They’re emotional projections, each one representing a facet of Amber’s inner world.
Sketch carves its own space by blending whimsical horror with heartfelt introspection. It’s a throwback to 80s and 90s family films that weren’t afraid to get dark.
Seth Worley is an American filmmaker and storyteller renowned for blending emotional resonance with visual ingenuity. Born in Tennessee in 1984, he carved out a niche through viral shorts like Plot Device and creative collaborations with Bad Robot and Red Giant Software. His passion for structure and theme led him to co-found Plot Devices, where he designed tools like the Storyclock Notebook to support fellow writers. Worley’s feature debut, Sketch, premiered at TIFF in 2024 and was lauded for its heartfelt exploration of grief and childhood imagination. Rooted in personal experience, the film exemplifies his belief that storytelling should confront emotion with honesty and spectacle.
by Daniel Dercksen·Comments Off on How Invisible Boys Is Reshaping Queer Australian Television
“We should really just embrace ourselves for who we are,” says Holden Sheppard about the bold and emotionally charged Australian drama Invisible Boys, based on his award-winning novel. He helped preserve the novel’s emotional core while expanding its scope, reshaping it for the screen as co-writer, and ensured that the adaptation retained its emotional authenticity and thematic integrity.
Adapted from Holden Sheppard’s award-winning novel, the series dives deep into the lives of queer teens in Geraldton, Western Australia, during the 2017 same-sex marriage plebiscite. Set in the remote coastal town of Geraldton, the series uses the harsh landscape — windblown trees, desert edges — as a metaphor for the emotional isolation and resilience of its characters.
Exploring identity, trauma, friendship, and visibility, especially for queer youth in conservative environments, the series explores identity, trauma, friendship, and visibility, especially for queer youth in conservative environments.
Created and directed by Nicholas Verso, with a writing team including Sheppard himself, Enoch Mailangi, Allan Clarke, and Declan Greene, Verso described the adaptation as a way to externalize the novel’s introspective emotions, blending personal truths with cinematic storytelling.
Invisible Boys isn’t just a TV show — it’s a cultural reckoning
Viewers and critics have praised the show for sparking conversations around identity, mental health, and acceptance — not just among queer audiences, but also their families and communities. Cast members like Joseph Zada and Zach Blampied have spoken about how the roles helped them access vulnerability and reflect on their own experiences, adding layers of emotional truth to the performances.
What Sets Invisible Boys Apart
Invisible Boys stands out in the landscape of Australian queer television by pushing boundaries that other shows often tread more cautiously. While series like Heartbreak High, Please Like Me, and Head On have each carved out space for LGBTQIA+ narratives, Invisible Boys dives deeper into the raw, regional, and often uncomfortable realities of queer adolescence.
Groundbreaking for its time, Head On (1998) featured a Gay Greek-Australian protagonist and explored cultural repression and sexuality. Heartbreak High (2022–2024), covered a broad LGBTQIA+ spectrum, including neurodivergent and nonbinary characters.
Critics have called it a “gloriously messy marvel” and praised its refusal to dilute queer experiences for mainstream comfort. It’s less about neat resolutions and more about emotional truth — which makes it feel like a spiritual successor to Head On, but with the ensemble depth of Heartstopperand the emotional intimacy of Please Like Me.
The adaptation of Invisible Boys was sparked by a deeply personal and cultural resonance felt by creator Nicholas Verso
He discovered Holden Sheppard’s novel through word of mouth and a glowing review from a friend, and immediately felt it was “completely up [his] alley” — the characters, themes, and setting spoke to him with clarity and urgency. Verso was moved by the novel’s raw portrayal of queer youth in regional Australia, especially during the 2017 same-sex marriage plebiscite — a time he remembers with anger and heartbreak. He wanted to capture the emotional fallout of that moment, when queer lives were debated publicly, often cruelly, under the guise of politics.
Verso had previously filmed in Western Australia and was seeking another project that could be shot there. Invisible Boys fit perfectly — both logistically and artistically. He saw the novel as a chance to create a contemporary queer series that could stand alongside iconic Australian films like Head On, but speak directly to today’s youth.
He recognized a gap in Australian television: a lack of raw, authentic queer stories. Stan’s interest in queer programming made it a natural home for the series. Verso also wanted to challenge sanitized portrayals of intimacy in mainstream media, opting instead for sex-positive, realistic depictions that embrace awkwardness and vulnerability.
“I always knew we would start with Charlie (Joseph Zada, pictured). He was the best way in,” director Nick Verso told Drama Quarterly. “Then I just thought it would be really great to let the point of view start to blur and meld and come together as the show went on, as the boys get to know each other better and they really intertwine.” (Supplied: Stan)
The Writer’s Room
The writers’ room — including Sheppard himself — focused on expanding the novel’s introspective tone. Verso emphasised the importance of multiple entry points for viewers, crafting four distinct lead characters to reflect varied experiences of masculinity, identity, and trauma.
The adaptation of Invisible Boys diverges from Holden Sheppard’s novel in several key ways — not to dilute its emotional truth, but to amplify it for the screen. Nicholas Verso and the writing team reshaped the introspective tone of the book into a visceral, cinematic experience that externalizes the characters’ inner turmoil.
The novel focuses primarily on three boys — Charlie, Zeke, and Hammer — while the series introduces Matt Jones as a fourth lead, adding complexity and unpredictability to the ensemble. Each episode centers on a different character’s perspective, creating intimate portraits that weren’t as segmented in the book.
The novel leans heavily on internal monologue and emotional introspection. The series translates this into visual metaphors — broken TVs, buzzing bees, windblown landscapes — and raw dialogue that externalises pain and desire. The show introduces moments of dark comedy to offset tension, a tonal shift from the novel’s more solemn voice.
The novel was an “exorcism” for Sheppard — raw, personal, and cathartic. The series, while faithful to that emotional core, becomes a collective reckoning: a story not just of survival, but of visibility, resistance, and chosen family.
Joining Sheppard is Enoch Mailangi, a sharp, queer voice celebrated for their satirical edge and intersectional lens. As the creator of All My Friends Are Racist, Mailangi infused Invisible Boys with Gen Z emotional texture, blending irreverence with lived truth.
Allan Clarke, a First Nations writer and director known for The Bowraville Murders and Incarceration Nation, brought investigative grit and cultural urgency to the team. His influence is most felt in Hammer’s arc, adding layers of Indigenous identity and systemic pressure.
Rounding out the group is Declan Greene, a queer dramaturg whose theatrical work like Moth and Eight Gigabytes of Hardcore Pornography is known for surrealism and emotional daring. Greene helped translate the novel’s internal monologue into visual metaphor and sonic storytelling, threading bees, wind, and broken televisions into scenes that pulse with unease and longing.
Together, this team didn’t just adapt Invisible Boys—they refracted it, creating a series that feels emotionally expansive, politically resonant, and cinematically fearless.
Geraldton is a hyper-masculine environment, the domain of fishers, surfers and footy players. (Pictured: Zach Blampied (left) as Hammer and James Bingham as Blakey) (Supplied: Stan)
Invisible Boys has made a striking impact on queer representation in Australia
Unlike shows that lean into glossy portrayals of queer life, Invisible Boys embraces the raw, messy, and often painful realities of growing up queer in conservative towns like Geraldton, refusing to sanitize or simplify the lived experiences of LGBTQIA+ youth — especially those in regional communities.
By centering four distinct protagonists — Charlie, Zeke, Hammer, and Matt — the series dismantles the idea of a singular queer experience. Each character navigates different intersections of identity, including race, class, religion, and masculinity. The show doesn’t shy away from depicting queer intimacy. It uses intimacy coordinators to portray sex and desire with realism and vulnerability, challenging the “respectability politics” often imposed on LGBTQIA+ media.
Set in Western Australia during the 2017 same-sex marriage plebiscite, the series highlights how queer youth in rural areas often feel invisible — and how visibility can be both liberating and dangerous – it critiques the notion that queer people must conform to heteronormative standards to be accepted, pushing back against sanitized narratives and offering a more nuanced view of queer adolescence.
Nicholas Verso is a Logie Award–winning Australian screenwriter, director, and producer whose work pulses with emotional intensity, surreal flair, and a deep commitment to youth and queer storytelling. He made his feature debut with Boys in the Trees (2016), a Halloween fantasy drama that premiered at the Venice International Film Festival and went on to screen at Toronto, Busan, and Sitges, winning Best Narrative Feature at the Austin Film Festival. Verso’s short film The Last Time I Saw Richard won an AACTA Award and was honored by the Académie des César in Paris, showcasing his early talent for blending horror with psychological depth. In 2023, he created Crazy Fun Park, a horror-comedy inspired by the death of young friends, which earned him a Logie and stirred controversy by beating Bluey for Most Outstanding Children’s Program. His latest triumph is Invisible Boys (2025), a critically acclaimed adaptation of Holden Sheppard’s novel, which explores the lives of queer teens in regional Western Australia during the 2017 same-sex marriage plebiscite. Verso’s television credits span genres and include Nowhere Boys, The Unlisted, Itch, In Our Blood, and Swift Street. He’s trained internationally with Song of the Goat Theatre in Poland, attended the Berlinale Talent Campus, and was awarded a Churchill Fellowship to study showrunning in the US and UK. Known for his cinematic storytelling and emotionally fearless direction, Verso continues to redefine Australian television with work that is haunting, heartfelt, and unapologetically queer
Holden Sheppard is an award-winning Australian author whose writing blends visceral honesty with poetic grit. Born in the coastal town of Geraldton, Western Australia in 1988, Sheppard grew up navigating a conservative environment that shaped his fearless approach to storytelling. He studied English literature at Edith Cowan University and later became an Adjunct Creative Fellow there, grounding his craft in both academic insight and lived experience. His debut novel Invisible Boys (2019) won numerous accolades, including the T.A.G. Hungerford Award and the WA Premier’s Book Award, for its emotionally raw portrayal of queer youth in regional Australia. The book’s impact deepened when it was adapted into a critically acclaimed television series in 2025, with Sheppard co-writing two of the episodes. His follow-up novels — The Brink and King of Dirt — cemented his reputation as a literary voice unafraid to confront masculinity, trauma, and identity. Openly gay and married to fellow writer Raphael Farmer, Sheppard lives in Perth’s far north, balancing advocacy for mental health and LGBTQIA+ rights with his rugged charm — bourbon ads and V8 utes included. Described as the “lovechild of Rambo and Rimbaud,” his work speaks to outsiders who refuse to be silenced, turning emotional vulnerability into a kind of rebellion. Let me know if you’d like a closer look at King of Dirt or how his style compares to Christos Tsiolkas.
by Daniel Dercksen·Comments Off on Weapons: Zach Cregger’s Horror Epic Turns Grief into Psychological Warfare
Barbarian was me looking at the world around me. Weapons is me looking within,” says writer-director Zach Cregger of Weapons, transforming personal loss into communal dread, crafting a horror epic, a chilling, multi-layered narrative set in the eerie town of Maybrook.
Weapons was born from a deeply personal place for Zach Cregger. While the film itself is fictional, its emotional core is rooted in real-life grief and unsettling truths.
Cregger began writing Weapons after experiencing the sudden death of someone very close to him. “I had a tragedy in my life that was really, really tough. Someone very, very, very close to me died suddenly, and, honestly, I was so grief-stricken that I just started writing Weapons, not out of any ambition, but just as a way to reckon with my own emotions. “It’s an incredibly personal story. Certain chapters of this are legitimately autobiographical, that I feel like I lived.”
The central mystery—17 children vanishing overnight—was inspired by real-world cases of child disappearances, including high-profile ones like Madeleine McCann and the Sodder children. These stories added a layer of societal dread to the film’s psychological tension.
Cregger also drew creative inspiration from Paul Thomas Anderson’s Magnolia. He admired its unapologetic scale and emotional ambition, which gave him “permission to shoot for the stars” and craft a horror epic that’s both sprawling and intimate.
While Magnolia and “Weapons” may appear worlds apart in terms of genre and tone, Cregger credits PTA’s bold storytelling approach as a catalyst for his own ambitions.
“There’s something about that kind of unapologetic epic. I love that movie. I love that kind of bold scale. It allowed me, while writing this, to aim for the stars and make it an epic. I wanted a horror epic, and so I tried to do that.”
Cregger’s Weapons is a take on the missing child story, following the events of a small American town where an entire class of elementary school students inexplicably got up and walked off into the darkness. It then turns to the parents of the missing children (played by Josh Brolin) as he points the finger at the kids’ teacher (Julia Garner) as a prime suspect.
Zach Cregger wrote Weapons in a way that mirrors the film’s emotional and structural complexity—raw, intuitive, and deeply personal.
Cregger approached the screenplay without a formal outline. He let the story evolve organically, following emotional threads rather than a rigid structure. He described it as “working on himself” through the writing process, using the narrative to explore grief, guilt, and psychological unravelling.
Some chapters are autobiographical, drawn from his own experience with sudden loss. He didn’t set out to write a horror film—it emerged as a byproduct of processing trauma. This emotional authenticity gives the screenplay its haunting resonance.
He built the story around multiple perspectives, each with distinct emotional arcs. The screenplay shifts Rashomon-style between characters like Justine (a teacher whose class vanishes), Archer (a grieving father), and Paul (a conflicted police officer), allowing the mystery to unfold through fragmented truths.
The significance of Weapons lies in its fusion of personal grief, societal dread, and genre-defying ambition. Cregger didn’t just write a horror film—he crafted a cinematic reckoning.
At its heart, Weapons is a response to tragedy. This emotional authenticity gives the film its haunting resonance.
The title Weapons isn’t about literal arms—it’s metaphorical. It suggests the emotional and psychological tools people use to cope with trauma, suspicion, and loss. In the film, grief becomes weaponized: against others, against memory, and even against truth.
Cregger’s shift from Barbarian to Weapons marks a move from external horror to internal devastation. It’s a horror epic that doesn’t just scare—it mourns, accuses, and reflects.
Emotional truth is the heartbeat of genre storytelling
When a writer taps into emotional truth, they’re not just inserting “feelings” into plot points. They’re distilling lived experience, personal conflict, and internal landscapes into narrative form.
In Weapons, for example, Zach Cregger didn’t just write about missing children—he wrote about grief, guilt, and the psychological fallout of sudden loss. That emotional core turned a horror premise into a cathartic, layered exploration of human fragility.
Zach Cregger, is a multifaceted American artist whose career spans comedy, acting, writing, directing, and producing. He first gained recognition as a founding member of The Whitest Kids U’ Know, a sketch comedy troupe celebrated for its absurdist wit and cultural satire.
Cregger transitioned from comedic roles in television (Friends with Benefits, Guys with Kids, Wrecked) and co-directing early features like Miss March, into the darker, more emotionally resonant territory of horror filmmaking. His breakout hit Barbarian (2022) marked a tonal shift toward psychological tension and atmospheric dread, which he deepens in his self-penned horror epic Weapons (2025). Inspired by personal grief and structured around fragmented emotional perspectives, Weapons showcases Cregger’s evolution into a filmmaker unafraid to excavate inner trauma for cinematic truth.
Married to actress Sara Paxton since 2019, he continues to explore the interplay between emotional architecture and genre storytelling, with a Resident Evil reboot slated for 2026 that suggests his growing influence on modern horror.
by Daniel Dercksen·Comments Off on Tin Soldier: A Gritty Allegory of Trauma, Brotherhood, and the Fragile Machinery of War
“I’m interested in stories about hope, human resilience, and fighting for truth,” says screenwriter Jess Fuerst of Tin Soldier, a haunting meditation on the emotional wreckage left in the wake of combat. The film challenges audiences to confront the thin line between salvation and manipulation, asking whether broken men can truly rebuild themselves, or if they’re destined to remain hollow echoes of the systems that forged them.
Tin Soldier is gritty psychological thriller directed by Brad Furman, who also co-wrote the screenplay alongside Jess Fuerst and Pablo Fenjves.
The inspiration behind Tin Soldier stems from a fusion of real-world veteran struggles and psychological cult dynamics.
The title Tin Soldier evokes Hans Christian Andersen’s tale of the steadfast toy soldier, symbolising emotional rigidity, sacrifice, and tragic fate.
The story centers on combat veterans seeking purpose after returning from war, echoing real-life accounts of PTSD, institutional neglect, and the search for identity beyond service.
The Bokushi’s creation of The Program mirrors historical cult leaders who prey on vulnerable individuals—possibly drawing from figures like Jim Jones or David Koresh.
Tin Soldier follows Nash Cavanaugh (Scott Eastwood), a former special forces operative, as he infiltrates a mysterious compound led by Leon K. Prudhomme (Jamie Foxx) —known as The Bokushi. A charismatic veteran turned cult leader, The Bokushi has created The Program, a sanctuary for disillusioned soldiers seeking purpose. As Nash delves deeper, he uncovers a web of trauma, manipulation, and militarised loyalty, forcing him to confront his own past and the blurred line between salvation and control. The film explores themes of brotherhood, emotional rigidity, and the haunting legacy of war. It also features Robert De Niro as a military operative working to dismantle The Bokushi’s stronghold, and John Leguizamo as a figure tied to Nash’s past and the inner workings of The Program.
From Page to Screen
The journey of Tin Soldier from page to screen is less a traditional adaptation and more a case of original screenplay development shaped by thematic ambition and production turbulence.
Unlike adaptations based on novels, Tin Soldier was not derived from a published book. Instead, it was co-written by Brad Furman, Jess Fuerst, and Pablo Fenjves as an original screenplay.
Furman’s interest in morally complex characters and systemic critique, seen in his earlier films like The Lincoln Lawyer.
Fuerst’s and Fenjves’s contributions added emotional depth and psychological nuance, especially around trauma and cult dynamics.
Brad Furman, director, writer, and producer of Tin Soldier, hails from Lafayette Hill, Pennsylvania. A graduate of NYU’s Tisch School of the Arts, Furman once played Division III basketball—a detail that underscores his penchant for discipline and character-driven storytelling. His filmmaking career gained prominence with The Lincoln Lawyer, and he continued to explore morally complex terrain in works like Runner Runner, The Infiltrator, and City of Lies. Furman’s cinematic voice is marked by a deep skepticism of institutional power and a fascination with emotionally fractured protagonists, traits that thread through Tin Soldier‘s exploration of systemic betrayal and veteran trauma.
Jess Fuerst, who co-wrote and produced Tin Soldier, brings a unique blend of neuroscience, journalism, and filmmaking to the screen. A magna cum laude graduate from the University of Pennsylvania, she later earned her MFA in filmmaking and MBA in finance from NYU. Fuerst’s work is shaped by her early discipline as a gymnast and her investigative eye as a journalist, which she channels into emotionally resonant narratives about resilience, truth, and transformation. Her collaborations on City of Lies and The Infiltrator, along with her direction of music videos for artists like Justin Bieber and Zendaya, reveal a storytelling style that merges visceral emotion with visual dynamism.
Pablo Fenjves, the third voice behind Tin Soldier, offers the perspective of a seasoned screenwriter and ghostwriter. Born in Caracas, Venezuela to Hungarian Holocaust survivors, Fenjves began his career as a journalist before pivoting to screenwriting, a craft he likens to carpentry—structured, meticulous, and deliberate. His credits include Man on a Ledge, The Affair, and the infamous ghostwritten memoir If I Did It for O.J. Simpson. Fenjves’s narrative sensibility focuses on psychological tension and emotional pacing, often anchoring suspense with deeply human stakes. His contribution to Tin Soldier lends the film its fragmented emotional architecture and layered suspense.
by Daniel Dercksen·Comments Off on Unravelling Desire, Memory, and Cultural Silence in I Dream in Another Language
In a remote Mexican village wrapped in myth and memory, language becomes more than a tool. I Dream in Another Language poignantly traces the frayed bond between two men silenced by repression and time. Through the fictional idiom of Zikril—a tongue heard only by birds and the dying jungle—director Ernesto Contreras and screenwriter Carlos Contreras weave a story where forbidden love and fading culture become one.
I Dream in Another Language was directed by Ernesto Contreras and written by Carlos Contreras, his brother. Their collaboration brings a deeply personal and poetic touch to the film, blending linguistic anthropology with emotional storytelling.
Ernesto, known for his lyrical visual style, also served as President of the Mexican Academy of Cinematographic Arts and Sciences. Carlos crafted the screenplay with a sensitivity to cultural nuance and emotional resonance, drawing inspiration from stories of language loss and forbidden love. Carlos’s writing often carries a quiet intensity—his characters speak through silence, gesture, and metaphor.
Their shared vision helped the film win the Audience Award for World Cinema Dramatic at Sundance—a testament to its universal themes and haunting beauty.
Streaming & Rental Platforms
Prime Video – Available to rent or buy.
YouTube Movies – You can rent or buy the film directly through YouTube’s platform.
Plex – Offers free streaming with ads. No subscription required.
Yidio – Aggregates rental options from various platforms like iTunes and Google Play.
Their Creative Dynamic
Carlos typically takes the lead as screenwriter, crafting emotionally resonant narratives that explore identity, injustice, and cultural nuance. Ernesto then interprets these scripts through his directorial lens, infusing them with lyrical visuals, atmospheric tension, and a deep sensitivity to character and place.
Their process is rooted in shared values: a commitment to telling stories that challenge stereotypes, elevate marginalised voices, and explore the emotional architecture of human experience. For example, in Crossing Borders, Carlos wrote the script based on a true story of a Guatemalan immigrant wrongfully accused of murder, while Ernesto directed with a focus on cultural empathy and visual storytelling.
They trust each other’s instincts—Carlos builds the emotional scaffolding, and Ernesto brings it to life with cinematic texture. Their collaboration is often described as a “dream team” by producers, thanks to their ability to balance intimacy and scale, as well as political urgency and poetic nuance.
Core Inspirations for I Dream in Another Language
Director Ernesto Contreras was deeply influenced by his grandmother, who spoke Zapoteco, an indigenous language of Mexico. Her stories and linguistic heritage sparked his interest in the emotional and cultural weight of endangered languages.
A 2011 article claimed that the last two speakers of the dying Mexican language Ayapa Zoque refused to speak to each other due to a personal feud. Though later debunked, this story captured the imagination of the filmmakers and became a metaphor for how personal conflict can mirror cultural loss.
The film also draws from the broader history of Spanish colonisation, which led to the erasure of indigenous languages and traditions. Contreras saw the film as a way to explore not just language extinction, but the loss of identity, knowledge, and ancestral connection.
Contreras described the film as a chance to speak about “language, but also about a loss of identity… culture, knowledge, roots, traditions.” He chose to invent the fictional language Zikril out of respect for real communities still fighting to preserve their tongues.
Structural Overview
I Dream in Another Language unfolds with a layered, emotionally resonant narrative structure that blends realism, magical elements, and temporal shifts to deepen its themes of memory, identity, and reconciliation.
The film follows a three-act structure, but it’s enriched by nonlinear storytelling and symbolic framing.
Linguist Martín arrives in a remote village to document Zikril, a dying language. He discovers the last two speakers—Isauro and Evaristo—haven’t spoken in 50 years due to a mysterious feud. The jungle and its mystical aura are introduced as a living presence, setting the tone for magical realism. Martín attempts to reconcile the men, uncovering layers of history through flashbacks and village lore.
Fernando Álvarez Rebeil as Martín
The supposed love triangle involving Evaristo’s late wife is revealed to be a cover for a forbidden queer love between the two men.
Flashbacks are used to reveal the true nature of the men’s relationship and the emotional rupture. Through Magical Realism, birds respond to speech, the jungle whispers, and the afterlife is tangible, blurring reality and myth. Symbolically, the cave, the lullaby in Zikril, and the absence of subtitles during key scenes emphasise emotional distance and outsider perspective.
The film’s structure mirrors an emotional arc, where language is both the barrier and the bridge, with Zikril acting as a vessel for unspoken truths.
Hoze Meléndez as Young Isauro, Nicolasa Ortíz Monasterio as María, and Juan Pablo de Santiago as Young Evaristo
I Dream in Another Language shares thematic DNA with many of Mexico’s most celebrated films
I Dream in Another Language stands apart in Mexican cinema for its lyrical fusion of linguistic anthropology, queer love, and magical realism.
Contreras’ film is more rural, mystical, and emotionally intimate than the nonlinear Amores Perros (2000) which is filled with gritty realism dealing with themes of urban chaos, fractured love, and class divide.
Exploring the fading worlds and emotional silence, the poetic realism of the autobiographical Roma (2018) is grounded in historical realism.
The magical realism and sensuality of Like Water for Chocolate (1992) shares I Dream’s emotional metaphor and cultural critique, but focuses on gender roles, dealing with repressed desire, food as emotion, and tradition.
As with the dark fantasy and magical realism of Pan’s Labyrinth (2006), both films use myth to explore repression, but Pan’s is more allegorical and violent.
Contreras’ film is more symbolic and linguistically driven than the tender realism, loneliness, and intergenerational friendship depicted in Cosas Imposibles (2021).
The surreal, ghostly realism of Pedro Páramo (2024) shares I Dream’s blurred lines between life and death, but is more abstract and literary.
José Manuel Poncelis as Isauro and Eligio Meléndez as Evaristo
What Makes I Dream in Another Language Unique
Invented Language as Emotional Architecture: Unlike other Mexican films that use real dialects or Spanish, Zikril is a fictional tongue designed to express what other languages cannot.
Queer Love as Cultural Resistance: The forbidden romance between Isauro and Evaristo is not just personal—it’s a metaphor for silenced identities and erased histories.
Magical Realism with Ecological Spirituality: The jungle responds to speech, birds echo human emotion, and the afterlife is linguistically gated—creating a mystical ecosystem of memory and voice.
Notable gay-themed Mexican films that span decades and styles:
Mexico’s queer cinema is rich, layered, and often daring—blending emotional intimacy with cultural critique. Here’s a curated selection of notable gay-themed Mexican films that span decades and styles:
Many of these films challenge machismo culture and explore how queerness intersects with Mexican identity.
Directors like Hermosillo and Ripstein were pioneers, crafting complex queer characters long before mainstream acceptance.
Recent works like Casa Roshell and I Promise You Anarchy push boundaries with experimental formats and fluid identities, reflecting a shift toward more inclusive storytelling.
Landmark & Contemporary Titles: Arturo Ripstein’s The Place Without Limits (El Lugar Sin Límites, 1978) features queerness, power, and gender fluidity in rural Mexico; Jaime Humberto Hermosillo’s Appearances Are Deceptive (Las apariencias engañan, 1983) deals with Identity, gender, and societal norm; Hermosillo’s Dona Herlinda and Her Son (1985) features family dynamics, closeted love, and societal expectations; Alfonso Cuarón’s Y Tu Mamá También (2001) deals with bisexuality, machismo, and emotional repression; Rigoberto Perezcano’s Carmin Tropical (2014) focuses on Trans identity, a murder mystery and small-town prejudice; Julio Hernández Cordón’s I Promise You Anarchy (Te prometo anarquía, 2015) features queer youth, class divide, and urban decay; Camila José Donoso’s Casa Roshell (2017) includes gender fluidity, drag, and political resistance; and Ernesto Contreras’ Cosas Imposibles (2021) highlights emotional healing, intergenerational friendship, and queer subtext.
Films Directed by Ernesto Contreras
Blue Eyelids (Párpados azules, 2007): A melancholic tale of loneliness and connection, nominated for the Caméra d’Or at Cannes.
The Obscure Spring (Las oscuras primaveras, 2014): A sensual, atmospheric drama about forbidden desire.
Impossible Things (Cosas imposibles, 2021): A tender story of an unlikely friendship between a lonely woman and a troubled teenager.
Where the Tracks End (El Último Vagón, 2023): A Netflix release that explores childhood and education in rural Mexico.
Tales of Mexico (Historias de México, 2016): An anthology film; Ernesto directed the segment “Eroticism”.
Dad or Mom (Papá o Mamá, 2023): A comedy-drama about parenting and personal reinvention.
He’s also directed acclaimed TV series like El Chapo, Falco, Belascoarán, PI, and Tengo que morir todas las noches—the latter won Best Director at SeriesMania in France.
Films Written by Carlos Contreras
Blue Eyelids (2007): Co-written with Ernesto, this film marked their breakout collaboration.
The Obscure Spring (2014): A screenplay that dives into emotional repression and desire.
I Dream in Another Language (2017): His most celebrated work, blending linguistic anthropology with queer love.
El Chapo (2017–2018): Co-creator of the series chronicling the rise and fall of the infamous drug lord.
by Daniel Dercksen·Comments Off on The Write Journey Transforms How You Write Stories
In a world craving authentic voices, The Write Journey offers more than guidance—it offers transformation, taking you from inspiration through fully developing your idea, characters, and plot, to writing your first pages.
Grounded in the principles of Classical design crafted over 4000 years ago, The Write Journey is instinctive, universal, and transformational.
Under the mentorship of seasoned story guide Daniel Dercksen, founder of The Writing Studio, this course offers more than instruction—it offers a creative awakening.
For 25 years, The Writing Studio has shaped the voices of many of South Africa’s leading filmmakers, screenwriters, novelists, playwrights and aspiring writers. SUCCESS STORIES
This powerful, immersive course is designed to help you take ownership of your creativity. Whether you’re beginning your writing adventure or revisiting the spark that first brought you to the page, The Write Journey guides you through the emotional and technical intricacies of storytelling.
Each step deepens your connection to story—unfolding like a narrative itself. It’s not about learning rules. It’s about discovering rhythm, voice, and resonance.
Step One: Being A Writer
In this introspective session, we delve into the heart of storytelling—exploring why we write, how to uncover and shape your authentic voice, and how to transform lived experience into a compelling narrative. We embrace freedom of expression, quiet the inner critic, and cultivate the instinct and intuition that guide your creative journey.
Step Two: Maximise Your Creative Expression
In this session, we explore how fictional realities shape our minds and how storytelling breathes life into history. We examine the profound ways stories define our lives, master the art of visual narrative and “show, don’t tell,” and uncover the heart and soul of your story. We learn to stop manipulating characters and instead let them reveal their truth. We also focus on maximising creative expression, finding authentic motivation, and signing a symbolic contract with yourself—to honour your voice, your process, and your commitment to the craft.
Session Three: Creating Your Story
In this session, we unveil the heart and soul of your story, learning to write from the inside out—with honesty, precision, and emotional resonance. We explore how stories shape our lives in profound ways and how the narrator becomes the emotional compass of your narrative. Together, we examine the inner and outer life of your storyworld, writing without cutting corners and anchoring each word in truth. We master the craft of composition and the art of rewriting and polishing. We tackle predictability head-on, uncover your story’s thematic purpose, and build a foundational understanding of genre—so that your voice can rise with clarity, originality, and power.
Session 4: Writing Your Story
In this session, we explore how to write the perfect story by regulating its heartbeat and mastering the rhythm that drives emotion. We examine the storyteller as a puppet master, guiding the reader through tension, release, and revelation. You’ll discover how to breathe life into your narrative with the right words and why, in today’s creative landscape, AI has become an indispensable companion for writers. Together, we unlock the future of communication, explore why AI is a writer’s best friend, and learn how, in the world of AI-assisted writing, the prompt becomes your compass, pointing you toward clarity, creativity, and resonance.
What You’ll Discover
From identifying your voice and clarifying your vision, to crafting memorable characters, refining structure, and pitching your script, The Write Journey merges introspection with cinematic mastery. It’s writing from the inside out.
Start Writing Like You Mean It
This isn’t a formula—it’s a journey. The Write Journey connects instinct with craft, blending timeless storytelling principles with modern cinematic language. By the end, you won’t just know how to write a screenplay—you’ll know how to listen to your voice, shape your story, and take your place among the storytellers of your time.
📥 Ready to begin? Join The Write Journey and take the first step toward the story only you can tell.
Over the past 25 years, The Writing Studio has played a pivotal role in shaping the successful careers of many of South Africa’s leading filmmakers and storytellers. Today, it continues to nurture the next generation of writers, honing their skills in the art and craft of visual storytelling, as well as creating marketable screenplays, novels, and stage plays. Read more
With over four decades of experience as a Film and Theatre Journalist, coupled with 25 years of conducting screenwriting and writing workshops both in South Africa and internationally, The Write Journey has become the signature course of The Writing Studio. Founded by the esteemed Daniel Dercksen, this Independent Training Initiative continues to ignite inspiration and cultivate creativity, nurturing writers from all walks of life. READ MORE
by Daniel Dercksen·Comments Off on Why AI Is a Writer’s Best Friend
Far from replacing the writer, AI is becoming a trusted co-creator—a mirror, a muse, and a meticulous editor rolled into one. In writers’ rooms, study nooks, and studio apartments across the globe, storytellers are discovering that when wielded with intention, AI doesn’t dilute voice—it amplifies it.
From clarifying emotional arcs to surfacing hidden themes, this technology is reshaping the creative process into something more collaborative, intuitive, and unexpectedly human.
This evolution isn’t theoretical—it’s already underway. Writers are using AI to refine structure, heighten narrative clarity, and surface latent emotional threads in their work. In interviews, screenplays, novels and even poetry, the machine is no longer a passive tool but an active participant, interrogating choices, offering alternatives, and pushing writers to articulate their intent with greater precision.
The Muse That Never Tires
AI tools like Copilot, Sudowrite, and Jasper can generate prompts, brainstorm plot twists, or even simulate dialogue in the voice of Hemingway or Zadie Smith. For writers facing creative fatigue, these tools offer a spark—not to write for them, but to write with them.
Craft Meets Code
For nonfiction writers, AI is a research powerhouse. It can synthesize sources, summarize dense material, and organize outlines in seconds. It’s not about shortcuts—it’s about clearing the clutter so the writer can focus on voice, structure, and soul.
The Interpreter Still Matters
Critics argue that AI lacks originality, that it’s derivative by design. And they’re right. But that’s the point: AI is the echo, not the origin. The writer remains the interpreter, the one who imbues the text with lived experience, emotional nuance, and moral weight.
Historical fiction author G.L. Simon puts it plainly: “In the artistic world… the artist is always the interpreter, not the AI robot”.
A New Kind of Collaboration
AI opens up new pedagogical frontiers. Imagine exercises where students co-write with AI to explore voice, or revise AI-generated drafts to deepen emotional resonance. It’s not about outsourcing creativity—it’s about interrogating it.
In the end, AI is not the death of authorship—it’s the evolution of it. Like the Gutenberg press or the word processor, it’s a tool that expands what’s possible. And for those willing to engage with it critically and creatively, it might just be the best writing partner they never knew they needed.
The Power of the Prompt: Why It Matters More Than You Think
In the world of AI-assisted writing, the prompt is your compass. It doesn’t just guide the output—it defines it. Whether you’re crafting a story, refining a lesson plan, or exploring a philosophical idea, the way you frame your prompt determines how deeply and accurately the AI can respond.
In our course, The Write Journey, we offer a comprehensive Writer’s Guide to Working with AI—an evolving resource designed to help storytellers harness technology as a creative ally.
by Daniel Dercksen·Comments Off on Writer-director Sean Else talks about ‘n Man Soos My Pa
‘n Man Soos my Pa is an honest story about the things in life which form us: our homes, our parents, friendships, school, romance, and the school bullies. The film shows how difficult reconciliation can be, and how acceptance, disappointment and understanding walk hand in hand.
The film raises complex questions, including: “What is a father..?”; “What is a dream..?”; “What makes a good person, and what is a person with faults..?” and “What are the reasons behind people’s actions – or inactions…?”
It explores and portrays what can be deemed ‘typical’ phases of a relationship between father and son – from “My father is my hero” to “My father is an embarrassment”.
Writer-director Sean Else during the filming of ‘n Man Soos My Pa, with actors Lara de Bruijn and Vilje Martitz
Writer and director Sean Else
After obtaining a degree in Drama at the Tshwane University of Technology, Sean started a career as an actor, appearing in numerous award-winning stage productions, films and television series.
In 2005 he started his own record label, Mozi Records, where he produced albums for multi-platinum-selling artists, Bok van Blerk and Lianie May. These artists’ sensational achievements include the South African Music Award (SAMA) for Top Selling Artist in 2009 (Lianie May) with Bok van Blerk scooping the same award in 2010. As a songwriter, Sean partnered on numerous hit songs, including: ‘De La Rey’, ‘Ons Vir Jou Suid-Afrika’, ‘Tyd Om Te Trek’ and ‘Die Kaplyn’. The videos for these songs have also won Sean numerous “Music Video of the Year” awards.
Sean then produced and co-directed the massive hit theatre shows, ‘My Man Se Vrou Se Man’ (based on ‘Run for Your Wife’ by Ray Cooney), ‘My Boetie se Sussie se Ou’ (based on ‘Caught in the Net’ by Ray Cooney) and ‘As Die Kat Weg Is…’. Together with the award-winning playwright, Deon Opperman, Sean co-wrote the epic musicals, ‘Ons Vir Jou’ (most successful Afrikaans musical in history), ‘Shaka Zulu’, ‘Jock of the Bushveld’ and ‘Lied van my Hart’.
Sean later co-produced, directed and edited his first feature film, ‘Platteland’. On its opening weekend it became the highest-grossing Afrikaans film in history, surpassing ‘Happy Feet 2’ in South African opening weekend sales. He also executive produced “Spud 2: The Madness Continues”, starring John Cleese and Troye Sivan.
Sean wrote, directed and co-produced two local films in 2015: ‘’n Man Soos my Pa’ and ‘Modder en Bloed’ (the latter due for release in 2016).
How did the idea for the film originate, and how was the story decided on ultimately?
Johan Kruger approached me during March/April 2014 with the title and idea to produce a film which would explore the sometimes complex relationships between fathers and sons. It was important for us both that the essence of the story is about the mending of a damaged relationship. I went away and thought about how to tell a story like this in the best possible way. There are, of course, endless possibilities and angles with a story like this, but we ultimately decided to find something on which they would have to work on physically, to represent their relationship in the past. The restoration of the 1968 Volvo Amazon became the instrument which I use to explore their relationship, past and present, and the effect their relationship had on the people in their lives.
Does the film reflect your personal experiences during your growing years and/or your relationship with your father?
As a writer, there are, of course, always elements of yourself in any story. But this is not my story, or Johan’s. It is everyone’s story. Anyone who has had a relationship with their father goes through the stages our characters do, in the film. The father who is your hero in your pre-teen years, the ‘strict’ and ‘unreasonable’ father during your early/late teens. The father who do not ‘understand’ you when you are reckless in your twenties, the father who becomes your hero again the day you have a child – or children – of your own, and you’re beginning to admit your own faults. But unfortunately it is not always as simple as that. There are often very complex layers and steps one has to go through personally when it comes to forgiveness. We saw after the screening of the film at Silwerskerm in August 2015, that the film had everyone talking about their own relationships with their fathers and how the dynamic has changed over the years.
The film plays off over a few decades, from the late 70’s to 2015. What were, logistically and creatively, the most difficult challenges during the production?
One of the most difficult elements was the logistics of using the same sets for the different periods (and on an extremely tight schedule). The production designer and her team did a fantastic job to make it work within the confines of our shooting schedule. Another difficult element was working around the availability of our actors. The different time periods was a challenge to cut, and we had use a number of conventional and unconventional methods to get it right.
You have used the cream of South Africa’s talent for the various roles. Was it difficult to decide who to ultimately cast for the lead and key support roles, and what were the principle reasons for the choices made?
The most important aspect for us was to get the best actors to give substance and depth to the characters in the script. We also needed to try to cast according to some physical resemblance. I worked long and hard with our actors during pre-production, to get personalities and characteristics as close as we possibly could. Small things like certain mannerisms got a lot of attention. Needless to say, we knew from the outset that we wouldn’t get actors with clear and distinguishable similarities, but with the brilliant actors we have in the film, we managed to get the ‘soul’ of the characters the same, which was far more important than pure physical similarities. Everyone knows it is a story with characters played by actors, and with the brilliance of their performances, physical similarities became much less of an issue.
‘n Man Soos my Pa is your first film as director since Platteland. What is different between the two projects in terms of content and creative strategy?
The films are completely different genres. What is important for me in any film is that genre and story are approachable and speak to an audience. I honestly do not care if it is a comedy or a tragedy, it is about the elements that make it approachable to an audience, also characters and/or events/situations they can relate to.
Although there has been a couple of exceptions, statistically romantic comedies and musical films have done well at the box office, especially Afrikaans language films. How do you rate the chances of a drama like ‘n Man Soos my Pa at the local box office?
I am not a person who works according to statistics. They have a way of leading you by the nose, and all that happens is that trends are followed and honest stories are not told. I always work from the inside out, irrespective of whether it is film, theatre, or song lyrics. I ask myself: “Does the story speak to me?”; “Will I go see it?” And most important: “Is it universal enough that a wider audience can relate to the content in one way or the other?” We can never predict how a particular film will perform at the box office. All we can do is to apply honesty and expertise in respect of script, production, post-production, and the marketing of the film. The cinema-going public will ultimately determine the commercial success or failure of a film, and if we as filmmakers want a particular film to have a reasonable chance of financial success, we have to respect that what we ultimately produce is for the public, not ourselves or our colleagues.
by Daniel Dercksen·Comments Off on Outlaws with Heart: The Cinematic Evolution of The Bad Guys
“I wrote my books, especially The Bad Guys, directly for my youngest son because I knew what would make him laugh. Happily, they seem to have made a lot of other kids laugh, too,” says author Aaron Blabey of his bestselling Bad Guys children’s book series that has been adapted into the films The Bad Guys and The Bad Guys 2, born from a desire to make something cool, funny, and emotionally resonant for kids—while sneaking in a love letter to grown-up genre films.
The first Bad Guys film (2022) was inspired by a mix of personal, cinematic, and literary influences that gave it its unique charm and swagger. The Bad Guys 2 (2025) carries significant weight as both a cultural sequel and a thematic evolution of its predecessor.
The first film ended with the animal outlaws choosing the path of good. In The Bad Guys 2, that choice is tested. The gang is pulled out of retirement by a new crew—the Bad Girls—forcing them to confront whether their transformation was genuine or just circumstantial. The addition of an all-female criminal crew isn’t just a plot twist—it’s a thematic mirror. The Bad Girls were inspired by the original gang’s exploits, raising questions about Gender dynamics in villainy.
If the first film was about choosing to be good, this one asks: Can you stay good when the world still sees you as bad?
DreamWorks partnered with Sony Pictures Imageworks to push the visual style further, blending tactile textures and stylised action. This mixed-production model marks a shift in how DreamWorks approaches animation going forward.
The film’s themes of reinvention, public perception, and moral ambiguity resonate in a world where second chances are often scrutinised. It also continues to adapt Aaron Blabey’s bestselling books, which have grown from 8 million to over 30 million copies sold since the first film’s release.
Director Pierre Perifel and the creative team drew heavily from stylish crime and action films:
Quentin Tarantino: The film was pitched as “a Tarantino movie for kids,” especially drawing from Reservoir Dogs and Pulp Fiction
Ocean’s Eleven, Snatch, Baby Driver: For the slick heist mechanics and ensemble energy
Anime & Manga: Lupin III, Sherlock Hound, and Cowboy Bebop influenced the animation style and character dynamic.
The animation was inspired by:
Spider-Man: Into the Spider-Verse – pushing DreamWorks toward a more stylized, illustrative look
French and Japanese animation aesthetics, blending cool and silly, sophistication and slapstick
When The Bad Guys burst onto screens in 2022, it flipped the script on animated crime capers with swagger, style, and unexpected soul. Drawing from heist classics and Tarantino cool—repackaged for a younger audience—it reintroduced audiences to a crew of misunderstood “villains” trying to rewrite their reputation.
Now with The Bad Guys 2 hitting cinemas in 2025, the saga deepens: grappling with the fragility of change, the legacy of influence, and the temptations that test even the noblest of turnarounds. Blending snappy visuals with thoughtful arcs, the films aren’t just kid-friendly chaos—they’re redemption stories with bite.
Pierre Perifel is a French filmmaker and animator whose journey from student shorts to DreamWorks blockbusters is a testament to artistic passion and perseverance. He studied at École Émile-Cohl before transferring to the prestigious Gobelins, l’École de l’image, where he co-directed the award-winning student film Le Building—a hybrid of 2D and 3D animation that gained international acclaim. Moved to the U.S. in 2008 to join DreamWorks Animation.Made his feature directorial debut with The Bad Guys (2022), a stylish animated heist film that became a global hit. Perifel is known for blending European visual sensibilities with Hollywood storytelling scale.
The Bad Guys 2 screenplay reflects a collaborative spirit
It’s credited primarily to Kevin Asbury, who took over writing duties for the sequel. Asbury is the son of the late Kelly Asbury, co-director of Shrek 2 and Spirit: Stallion of the Cimarron, and his involvement brings a legacy of animated storytelling to the project.
While Asbury is the sole credited screenwriter, the film’s development involved close collaboration with:
Aaron Blabey, the original book series creator and executive producer
Pierre Perifel, returning as director, and JP Sans as co-director
The DreamWorks story team, including Katherine De Vries (head of story) and a large crew of storyboard artists and visual developers
This kind of collaboration is typical in animation, where the screenplay often evolves through storyboarding, voice actor improvisation, and visual development. So while Asbury shaped the script, the final narrative is the result of many creative voices working in sync.
The Books by Aaron Blabey
Aaron Blabey’s journey with The Bad Guys is a masterclass in how personal passion, cinematic love, and a desire to reach reluctant readers can spark a global phenomenon.
Aaron Blabey began his career not with books, but on screen. He was a successful actor throughout the 1990s and early 2000s, best known for his award-winning role in The Damnation of Harvey McHugh (1994). But in 2005, he stepped away from acting to pursue a more personal calling: storytelling through illustration and children’s literature.
Blabey’s first picture book, Pearl Barley and Charlie Parsley (2007), won the Children’s Book Council of Australia Award and marked the beginning of a prolific new chapter. He followed it with acclaimed titles like Sunday Chutney, The Ghost of Miss Annabel Spoon, and The Brothers Quibble—each blending humor, emotional intelligence, and visual flair.
Blabey created The Bad Guys inspired by his children, especially his youngest son, who was struggling with dull school readers. Blabey wanted to write something cooler, something that would make kids laugh and feel empowered. He blended His son’s love of scary animals and fast cars, his own obsession with heist films and redemption arcs, and a desire to tackle prejudice and perception, using misunderstood animals as metaphors.
Blabey wrote and illustrated all 20 books in the series. The books read like storyboards, with dynamic panelling and punchy dialogue. Each book ends on a cliffhanger, encouraging binge-reading and emotional investment. This approach made the books feel like animated films on paper, which naturally attracted Hollywood interest.
He once described the concept as “Tarantino for kids”—a mashup of Reservoir Dogs suits and Looney Tunes chaos, filtered through a child’s lens.
In 2015, Blabey launched The Bad Guys, a graphic novel series about misunderstood animals trying to do good. It became a #1 New York Times bestseller, with over 35 million books in print worldwide. The series was adapted into a hit DreamWorks animated film in 2022, with Blabey serving as executive producer.
Blabey’s work is known for its cinematic pacing, irreverent humour, and emotional resonance. He often writes with his children in mind, aiming to make books that are “cool enough” to hook reluctant readers. His storytelling blends genre tropes with moral complexity, making his books as appealing to adults as they are to kids.
by Daniel Dercksen·Comments Off on How Bring Her Back Turns Grief Into Resurrection
“When you’re developing and writing something, it’s just whatever’s happening to you at the time, whatever you’re going through at the time is like automatically inherent in the material,” says writer-director Danny Philippou of Bring Her Back, a new tale of horror he created with his brother Michael.
In the heart of Bring Her Back lies a scream too human to be fiction — a scream of loss, of desperation, of love refusing to surrender to silence. For directors Danny and Michael Philippou, this wasn’t just a supernatural thriller; it was a cinematic séance, conjuring memory and mourning into something brutally alive.
The film was deeply inspired by real-life grief experienced by its directors, Danny and Michael Philippou. While developing the script, the brothers were processing the tragic loss of their cousin’s two-year-old child. Danny recounted being in the hospital with family, watching as everyone held onto the child—his hands, feet, head—until, one by one, they let go. His cousin was the last to release him, and the image of her grief—of someone who might never be okay again—became the emotional core of the film.
This raw experience shaped the story’s exploration of grief, resurrection, and the terrifying lengths someone might go to to undo loss. The film follows two foster children caught in an occult ritual to bring their guardian’s daughter back to life, blending supernatural horror with emotional realism.
In Bring Her Back, grief isn’t a backdrop — it’s the engine, the atmosphere, the ghost in every frame. What begins as a tale of resurrection unfolds into something far more intimate: a portrait of love so overwhelming it dares to defy death itself. For Danny and Michael, the film was less an exercise in genre and more a ritual of release. “It did feel like we were grieving somebody at that time,” Danny said. “The film became about saying goodbye to them as well.” This cinematic séance walks the line between horror and heartbreak, asking not whether the dead can return, but whether the living ever truly let go.
When two step-siblings are placed in the care of a mysterious foster mother, they find themselves drawn into a world where grief and memory blur the line between reality and the unknown. Set in a remote home steeped in silence and secrets, Bring Her Back is a haunting exploration of love, loss, and the lengths we go to hold on — even when letting go might be the only way forward.
Division of Creative Labor
Danny and Michael Philippou’s writing process is as kinetic and collaborative as their filmmaking style — a mix of instinct, sibling rivalry, and meticulous emotional layering.
They’ve developed a rhythm over years of working together:
Danny typically handles the initial rough cuts, cinematography, and visual effects.
Michael leans into performance, sound design, and fine-tuning the emotional beats.
When writing, they often draft scenes separately, then compare versions — sometimes even sending different cuts to trusted friends to vote on which one lands better
Their scripts often begin with a core emotional truth. For Talk to Me, it was the fear of losing a parent. For Bring Her Back, it was the raw grief of watching a loved one let go of a child. Danny has said he writes from a place of worst-case-scenario fear, using horror as a way to explore what terrifies him most.
They don’t shy away from disagreement — in fact, they embrace it:
“We’d always export out a scene — his version, my version — and send them to people we trust to ask which one’s better,” Michael explained. “No one could ever tell the difference because it was always only a few frames apart”.
Their process is less about compromise and more about refining tension into clarity — a kind of creative sparring that sharpens the emotional stakes.
Michael Philippou and Danny Philippou
From Backyard Mayhem to Global Screens
Danny and Michael Philippou are twin brothers best known for their visceral blend of horror, comedy, and emotional storytelling. They rose to fame through their YouTube channel RackaRacka, which launched in 2013 and quickly gained a cult following for its chaotic, stunt-heavy videos that fused pop culture parodies with outrageous physicality.
They began filming backyard wrestling videos at age 11, inspired by WWE, often staging elaborate (and dangerous) stunts with friends. Their YouTube channel exploded with viral hits like Harry Potter vs Star Wars, earning millions of views and multiple awards, including the Streamy for Best International Channel. Their film industry breakthrough was launched when they worked behind the scenes on The Babadook (2014), which helped refine their cinematic instincts.
Known for their Greek heritage and DIY ethos, the brothers blend genre spectacle with emotional depth, often using horror as a lens to explore grief, identity, and obsession. Their feature debut, Talk to Me (2023), premiered at Sundance and was lauded for its psychological intensity. Bring Her Back (2025) followed, cementing their reputation as emotionally driven genre filmmakers.
They’ve described their work as a way to “exorcise demons” — not just for their characters, but for themselves.
As for Talk to Me 2, the brothers Philippou have written two different versions of the sequel, one that is directly connected to its predecessor, and another that’s more of a “sidequel.” Both stories are centered on new characters.
“One is continuing the story exactly on, and then another one is focusing on a new set of characters,” Danny Philippou shares. “We’ve written two sets of different characters in two different worlds that focus on two different themes.”
by Daniel Dercksen·Comments Off on Prompting with Precision: A Writer’s Guide to Working with AI
In the world of AI-assisted writing, the prompt is your compass. It doesn’t just guide the output— it defines it. Whether you’re crafting a story, refining a lesson plan, or exploring a philosophical idea, the way you frame your prompt determines how deeply and accurately the AI can respond.
Precision Shapes Possibility
A vague prompt like “Write a story” yields generic results. But “Write a 500-word story about a grieving botanist who discovers a plant that blooms only when someone lies” unlocks narrative specificity and emotional texture. The more detailed your prompt, the more nuanced the response.
You’re Programming with Language
As MIT’s teaching lab puts it, prompting is like “programming with words”. You’re not just asking a question—you’re setting parameters, tone, structure, and intent. That’s why prompt engineering is becoming a creative discipline in its own right.
It’s a Tool for Reflection
For writers and educators, prompts aren’t just instructions—they’re invitations. A well-crafted prompt can:
Reveal hidden assumptions
Spark unexpected insights
Encourage emotional risk-taking
Iteration Is Part of the Process
Even the best prompts evolve. Sometimes it takes a few tries to find the phrasing that unlocks the response you’re after. That’s not failure—it’s dialogue. Think of it as a dance between intention and interpretation.
Prompts Teach Us About Ourselves
The way we ask reveals what we value. Are we seeking clarity, beauty, provocation, or comfort? In that sense, prompting is a mirror. And when paired with AI, it becomes a powerful tool for self-discovery and creative expansion.
In the end, a prompt is more than just an instruction—it’s a signal to the self, a conversation starter, a mirror held up to what we value and envision. Whether working with AI or excavating our own stories, the power lies in how we ask. When we craft our prompts with intention, curiosity, and care, we don’t just guide the machine—we guide ourselves. Because every great story, every bold idea, begins not with an answer, but with the right invitation.
by Daniel Dercksen·Comments Off on Essential Tips for Writers: Sharpen Your Voice, Elevate Your Story
Useful tips for writers
Soulful Meditations “You’ll become a better writer and person when you realize how brief and brutal and glorious life is. I promise you’ll develop a filter, and the filter is art, and the art will burn through the brutality; the art will use it as kindling. Look back for the people walking the same path you got through, and extend a hand.” Tennessee WilliamsRead more
Trusting Your Instinct as a Writer Trusting your instinct isn’t a matter of luck or talent—it’s a deliberate act of courage. And in a world crowded with advice, algorithms, and endless rewrites, tuning into that quiet certainty may be the most radical thing a writer can do. Read more
The Art of Transforming Experience into Narrative To tell a personal story is to walk a tightrope between exposure and intention. Whether framed by the intimacy of prose or the immediacy of the screen, these narratives demand more than recollection—they require a deliberate act of construction. Read more
Freedom of Expression in the Writer’s World For writers, freedom of expression is both a gift and a challenge. Writers wield their words like blades—sharp enough to cut through injustice, but also capable of inflicting unintended wounds. Read more
How Fictional Realities Shape Our Minds The creation of fictional realities is more than mere storytelling—it is a powerful art form where imagination runs wild, and entire worlds take shape. These crafted realms serve as gateways to boundless creativity, deep exploration, and profound meaning, offering both writers and readers a chance to escape, reflect, and challenge perspectives. Read more
Silencing your inner critic. Overcoming the fear of writing your story is a challenge many aspiring writers face, but it’s entirely possible with the right mindset and strategies. Silencing your inner critic is essential for unlocking creativity and confidence in writing. Read more
Our online course for screenwriters takes place on Saturdays from 2 PM to 5 PM on July 5, 12, 19 and 26, 2025. Don’t miss this opportunity to enhance your writing skills! Read more
How Fiction Breathes Life into History History is full of untold stories, overlooked perspectives, and moments that can be reimagined in fresh ways. Blending fiction with history is an art that allows you to breathe life into the past while keeping your narrative compelling and immersive. Read more
Unveiling the Heart and Soul of Your Story The heart and soul of a story often lies in the emotional resonance and the core themes it seeks to convey. It’s about the connections it forges with the reader—the moments that make them laugh, cry, ponder, or even change their perspective. It’s in the characters who feel alive and the world that draws you in. Read more
The Journey Matters: Writing Your Story Without Cutting Corners While no magic wand can replace the depth and richness of well-crafted storytelling, there are ways to make the writing process more efficient without sacrificing quality. Read more
Ink of Authenticity: Writing What You Know “Write what you know” is timeless advice that encourages writers to draw from their own experiences, emotions, and knowledge. By infusing your writing with the authenticity and depth that comes from real-life experiences, your work will resonate more with readers, creating a sense of genuine connection. Read more
Stories shape our lives in profound ways Imagine a world without stories—it would be a vastly different place. Stories are the threads that weave the fabric of our lives. They enrich our minds, nurture our hearts, and connect us to each other. Without stories, the world would be a much less vibrant and meaningful place. Read more
The Narrator is Absolutely Pivotal in a Story The narrator serves as the lens through which readers experience the world of a story, influencing not just what the audience sees, but how they feel about it. Read more
Explore the inner life of your story A story may boast a clever plot, expertly crafted with intricate twists and compelling complexities. Yet, without a meaningful connection between the External Activity—the events and actions—and the Internal Life—the emotions, motivations, and personal stakes—it risks falling flat. Read more
Exploring the Outer Life of a Story: Unveiling the Journey Beyond the Page. The outer life of a story transforms it into more than a standalone narrative—it becomes a living, breathing entity that interacts with the broader world. Read more
Beyond the First Draft: Mastering the Craft of Rewriting and Polishing It’s remarkable how writers often get confused between rewriting and polishing, sometimes overlooking one in favour of the other, with disastrous consequences. Neglecting either process can result in a piece that lacks depth or polish, ultimately falling short of its potential. Balancing both rewriting and polishing is crucial for crafting compelling, well-rounded writing. Read more
The Writer’s Toolkit: Mastering the Craft of Composition Whether crafting a screenplay, novel, or stageplay, understanding the Art of Composition can help you create a more compelling and engaging story. It’s not just about putting words together; it’s about weaving them into something that resonates with readers. Read more
Embrace the New Year with Writing Ambition Here’s some inspiring advice to help writers embrace the new year with vigour and creativity. Read more
AI: The Secret Weapon Every Writer Needs in Their Arsenal AI has become an indispensable companion for writers, offering invaluable assistance in brainstorming ideas for screenplays, fiction, and non-fiction. Whether you’re in search of a surprising plot twist, an engaging character arc, or a fresh perspective on a topic, AI can provide endless suggestions to fuel your creativity. With AI by your side, the possibilities for storytelling are truly limitless. Read more
AI Conversations: Unlocking the Future of Communication Advanced AI companions are designed to create more meaningful, natural, and intelligent interactions, making them more effective and enjoyable to work with. Read more
Why do we write stories? Stories are a timeless way for humans to connect, reflect, and understand the world around us and the inner workings of our minds. We write stories for a multitude of reasons—each as unique as the stories themselves. Stories hold a profound significance in our lives. Read more
14 Structural Points To Shape Your Story Structure is discipline. It’s where the right-brain subconscious and unconscious writing and thinking are whipped into order by the rigid, uncompromising left-brain consciousness and logic. This is where idealism and realism clash head-on. Read more
Criteria For An Oscar-Winning Idea If you want to build your story on a solid idea, this is what you need to take into consideration when coming up with an idea to write your story. Read more
Master The Art Of Visual Narrative When you craft your story you have to offer a visual experience for the reader, making the story and characters vividly burst to life in their minds-eye. As a novelist and screenwriter, your first reader is not the person purchasing your book or watching the movie, but a professional reader, who will give their approval or dismissal to publishers and studio executives. This is an important decision-maker in the publishing and film/television industries. Read more
Show Don’t Tell The phrase “show, don’t tell” reminds writers to immerse the reader in the story rather than simply telling readers what’s happening. To show rather than tell is the first rule of writing, and for good reason. Read more
The Essentials of Genre: Elevating Your Storytelling Understanding the fundamentals of genre is pivotal for any storyteller. Genre isn’t just a label; it’s the blueprint that shapes your narrative’s framework, guiding the tone, style, and expectations. Think of it as the compass that navigates your creative journey, ensuring that your story resonates with its audience. Read more
Regulate the Heartbeat of your StoryIf your story has a healthy heart, it will result in happy readers and audiences. Writing is an organic process that needs lots of blank space to grow. Your writing will be at its best if it’s driven by raw emotion, by inspirational personal experiences that shaped your life, reflecting your true self. Read more
Manipulate Emotions The storyteller is the puppet master of emotions. A writer is the puppet master of emotions, the dictator of reason, and can make anything happen in a fictional reality where everything is possible and extreme gratification is your only goal, and the audience’s ultimate payoff and reward. Read more
Don’t Get Stuck On The First Chapter Trying desperately to write the perfect story, it is easy to fall into the trap of only seeing the first chapter, constantly rewriting and rewording it to be word-perfect, and not seeing the story as a whole, complete with a beginning (set-up), middle (confrontation) and ending (resolution). It is not difficult to overcome this blinding obstacle. The first step to completing the story is to write a story outline. Read more
Bring Your Story To Life With The Right Words Word choice is an important aspect of writing that should never be overlooked. It can significantly impact the effectiveness and clarity of your writing. Through the deliberate selection of precise and evocative language, you have the power to craft enthralling and immersive content that captivates your readers / viewers / listeners and leaves a lasting impression. Strong word choice can unlock images, emotions, and more. Read more
Expose The Heart And Soul Of Your Story A story is lifeless without a heart and soul and as its creator, the writer has to bring it to life. The writer is responsible for the birth of a story, its lifespan, and the everlasting emotional impact it must have on its readers and viewers. It all begins with the written word and ends with an emotionally rewarding and fulfilling story that lives on in the minds of those who experience it. It is important for the writer to make the audience experience the story as a visceral and breathing organism. Every story has a life and it’s not simply you as a writer telling the story, but creating its vitality. Read more
Sharpen Your Instinct and Intuition When it comes to expressing inner values and establishing a personal perspective on a story, writers are often guided only by their instinct or intuition and a little luck. Instinct and intuition are essential for getting to the more meaningful, authentic aspects of a story. The starting point for any artistic creation is always at the level of intuition, because its where new ideas are conceived. New ideas seldom rise to the level of consciousness fully formed. Read more
Stop Manipulating Your Characters Everything will fall into place in your story once you allow the characters to be who they are, and not what you want them to be. As a writer, you’re a passenger on your character’s respective journeys, the creator who has to put all the pieces of the puzzle together naturally, instinctively, without too much interference and unnecessary meddling. Once you set your characters free, and allow them to reclaim their authentic selves, your true nature (and function) as a storyteller will gracefully emerge and you’ll fulfill the task of great writers, craft your story to the best of your artistic abilities, without conceit or misinterpretations. Read more
Write Your Story From The Inside Out Stop obsessing over writing a film, bestseller or play and focus your attention on writing the ultimate story. Don’t place your story into a box and smother it with conventions, rules and pre-conceived perceptions. Your story is a living, breathing organism. Let your story breathe. Writing your story is an organic process that feeds off inspiration and is fueled by passion. Read more
Explore The Thematic Purpose Of Your Story Until you know what you are trying to say, your story isn’t complete. The writing process is a search for meaning, a theme, what the story is really about, what gives it meaning and a purpose for being, besides making millions of dollars for stars and movie studios. The theme is a unifying idea or motif, repeated or developed throughout a work. Once you have something you want to write about (Idea), defined the Premise and Concept, and know what your genre is, you need to know what the intention, objective or controlling idea – theme – of your story is. Read more
Avoiding predictability in writing can make a story feel mundane and unengaging because it removes the element of surprise that keeps readers hooked. When readers/audiences can easily anticipate what will happen next, the narrative loses its suspense and intrigue. Read more
Maximise Your Creative Expression All writing is discipline. Writing is a day-by-day job: you write the story scene by scene, page by page, day by day. It is an experimental and learning process involving the acquisition of skill and coordination. When you are in the writing experience, you are near your loved ones in body, but your mind and concentration are a thousand miles away. You cannot break your concentration to deal with snacks, laundry, meals or shopping. You need space, private time, support, encouragement and understanding. Read more
Find Your Voice As A Writer Your writing voice reflects the tapestry of your life—each thread representing a moment, emotion, or insight that only you have experienced. It’s this unique blend that makes your writing stand out and resonate with readers. So embrace your individuality, and let your voice shine through in your words. Read more
Crafting A Screenplay VS A Novel Both screenplays and novels are creative outlets for storytelling, but they have distinct differences and offer unique challenges and rewards. Read more
Sign A Contract With Yourself If you need some motivation, here’s a handy note to paste next to your bathroom mirror so that when you look at yourself in the mirror each morning, you are reminded of why you write. Say it out loud! Read more
Stories shape our lives in profound ways Imagine a world without stories—it would be a vastly different place. Stories are the threads that weave the fabric of our lives. They enrich our minds, nurture our hearts, and connect us to each other. Without stories, the world would be a much less vibrant and meaningful place. Read more
The Significance Of Prequels Prequels are films that chronologically precede existing films in a series, exploring the events and stories that lead up to the original plot. They’re a fascinating way to delve deeper into a character’s background, explore origins, and expand the universe of a beloved story. Read more
22 Lessons From Stephen King On How To Be A Great Writer “I can’t lie and say there are no bad writers. Sorry, but there are lots of bad writers,” says renowned author Stephen King. “I’m convinced that fear is at the root of most bad writing,” Writers should throw back their shoulders, stick out their chins, and put their writing in charge. Read more
by Daniel Dercksen·Comments Off on Wings of Grace: How a Penguin, a Teacher, and a Nation in Turmoil Found Unlikely Harmony
In the heart of Argentina’s political unrest, a quietly extraordinary story waddled into existence. The Penguin Lessons, brought to vivid life by Jeff Pope’s adaptation of Tom Michell’s memoir, is more than a tale of man meets penguin—it’s a meditation on kindness, conscience, and connection in a world slipping into authoritarian silence. “It’s not just a story about a man and a penguin—it’s about how the smallest act of kindness can ripple through a life, especially when the world around you is falling apart,” says Pope.
Directed by Peter Cattaneo and based on Tom Michell’s memoir, The Penguin Lessons is a profoundly affecting comedy-drama that blends personal transformation with political undercurrents, all sparked by an unlikely companion: a rescued penguin named Juan Salvador.
Cattaneo, best known for The Full Monty, brings his signature blend of warmth and poignancy to the screen, while Pope—who previously penned Philomena—adapts Michell’s real-life story with a balance of humour and quiet introspection. Their collaboration gives the film its gentle rhythm, allowing the emotional undercurrents to surface through character rather than spectacle.
What begins with a simple act of rescue on a Uruguayan beach unfolds into a deeply personal reckoning, as an English teacher and an oil-slicked seabird forge a bond that challenges the boundaries between absurdity and grace, humour and heartbreak.
At its heart, the film follows Tom Michell (played by Steve Coogan), a disillusioned English teacher who takes a post at a boys’ school in Argentina during the turbulent 1970s. His encounter with a lone, oil-slicked penguin on a Uruguayan beach becomes the catalyst for a personal reckoning. The penguin, whom he names Juan Salvador, becomes a symbol of unlikely companionship in a time of isolation, moral clarity in a politically murky environment, and emotional thawing, as Tom rediscovers empathy and purpose.
Steve Coogan and Tom Michell
Set against the backdrop of Argentina’s 1976 military coup, the film subtly weaves in themes of privilege and detachment, as Tom initially remains insulated from the unrest, moral responsibility, as he’s drawn into the lives of those resisting oppression, and cultural dissonance, highlighting the contrast between Tom’s British sensibilities and the volatile Argentine landscape.
Juan Salvador isn’t just comic relief—he’s a living metaphor for innocence caught in chaos, loyalty and resilience, mirroring the human characters’ struggles, and perhaps most poignantly, for the unexpected ways we find meaning in fractured times.
The inspiration behind The Penguin Lessons
“All of a sudden I found I was hoping against hope that the penguin would survive, because, as of that instant, he had a name and his name was Juan Salvador Pinguino and with his name came a surge of hope and the beginning of a bond that would last a lifetime.” — The Penguin Lessons
The inspiration stems directly from Tom Michell’s real-life experience, as chronicled in his 2015 memoir of the same name. While teaching at a boys’ boarding school in Argentina during the politically volatile 1970s, Michell took a trip to Uruguay, where he stumbled upon a beach littered with oil-slicked penguins. Among the lifeless bodies, he found one survivor. Acting on impulse—and perhaps a touch of romantic bravado—he rescued the penguin, cleaned it up in his hotel bathtub, and named it Juan Salvador.
What began as a spontaneous act of compassion evolved into a profound companionship. The penguin refused to leave his side, eventually becoming a beloved figure at the school and a quiet catalyst for Michell’s emotional and moral awakening. This unlikely bond, set against the backdrop of Argentina’s military coup, offered a poignant contrast between innocence and oppression, personal detachment and social responsibility.
Director Peter Cattaneo and screenwriter Jeff Pope were drawn to this story not just for its charm, but for its layered emotional resonance—how a small act of kindness can ripple through a life, and how even the most unexpected creatures can become our greatest teachers
Jeff Pope’s Screenplay: Translating Memory into Narrative
Jeff Pope has a gift for balancing personal reflection with broader human truths (Philomena, Stan & Ollie), and in adapting Tom Michell’s memoir, he distilled:
Anecdotal warmth into a narrative arc: The memoir meanders, full of charming digressions. Pope carves out a more cinematic structure—focusing on Tom’s emotional growth and the symbolic presence of Juan Salvador.
Character nuance over spectacle: He refrains from over-sentimentalizing the penguin or politicizing the backdrop. Instead, he lets quiet gestures—like Tom’s hesitation to get involved—speak volumes.
Lightness as resistance: Pope uses humor not to escape the darker socio-political context, but to subtly comment on it. The laughter comes with an edge, sharpening themes of complicity and conscience.
Peter Cattaneo’s Direction: Heartfelt with a Dash of Rebellion
Cattaneo, known for championing the underdog without losing a sense of fun (The Full Monty), brings:
Restraint in tone: Rather than indulging in emotional manipulation, he leans into understatement. Many key moments play out in lingering silence or with minimal dialogue.
Visual metaphor: The penguin’s presence becomes a visual counterpoint to the school’s rigid formality and Argentina’s political volatility—softness gliding across a surface barely concealing turmoil.
Interpersonal choreography: Cattaneo stages scenes to reflect unspoken shifts—Tom loosening his tie becomes just as revealing as a monologue, suggesting emotional thaw without exposition.
Memoir vs. Film: Key Differences
While Tom Michell’s memoir, The Penguin Lessons, unfolds as a warm, anecdotal reflection on serendipity and travel, the film adaptation by Jeff Pope and Peter Cattaneo reshapes it into a more structured and emotionally charged narrative.
The memoir wanders amiably through personal memories, often highlighting the quirky charm of real-life events, while the film sharpens its focus on Tom’s emotional arc and his growing social awareness against the backdrop of Argentina’s political unrest.
Juan Salvador, the rescued penguin, serves as a delightful companion in the book, but in the film he becomes a poignant symbol—of loyalty, conscience, and unexpected salvation.
Moreover, where Michell’s political commentary is subtle and observational, the film leans more into its setting to underscore the tensions and quiet heroism of those resisting the regime.
The result is a cinematic tale that doesn’t merely chronicle events, but instead finds deeper resonance in what those events reveal about human connection and moral courage.
Jeff Pope began his career in journalism before transitioning into television, where he quickly established himself as a gifted storyteller with a keen eye for emotionally resonant, real-life narratives. Pope gained early recognition for his work on Fool’s Gold: The Story of the Brinks-Mat Robbery (1992) and went on to become Head of Factual Drama at ITV.
He is best known for writing and producing critically acclaimed films such as Philomena (2013), which earned him an Academy Award nomination for Best Adapted Screenplay, and Stan & Ollie (2018), a tender portrait of the legendary comedy duo. His work often explores themes of redemption, resilience, and the quiet dignity of ordinary people caught in extraordinary circumstances.
In 2025, Pope adapted The Penguin Lessons, bringing his signature blend of warmth and emotional depth to the screen. His collaborations with directors like Stephen Frears and Peter Cattaneo have cemented his reputation as one of Britain’s most empathetic and versatile screenwriters.
Peter Joseph Cattaneo was born on 1 July 1964 in Twickenham, London, England. He studied graphic design with a focus on film at Leeds Polytechnic and later graduated from the Royal College of Art in 1989. His early short film Dear Rosie (1990) earned him an Academy Award nomination, setting the stage for a career defined by emotional nuance and comedic timing.
Cattaneo rose to international prominence with The Full Monty (1997), a surprise global hit that earned him an Oscar nomination for Best Director and won four BAFTAs, including Best Film. The film’s success established him as a director with a keen eye for underdog stories and ensemble dynamics.
Over the years, he has directed a range of projects, including Lucky Break (2001), Opal Dream (2006), The Rocker (2008), and Military Wives (2019). He also helmed every episode of the BAFTA-winning BBC series Rev. (2010–2014), showcasing his talent for character-driven comedy.
In 2025, Cattaneo directed The Penguin Lessons, a poignant adaptation of Tom Michell’s memoir, reaffirming his gift for stories that balance whimsy with emotional depth. He was appointed Member of the Order of the British Empire (MBE) in 1998 for his contributions to British cinema
Copyright: Distributors: Lionsgate UK (UK and Ireland), Sony Pictures Classics (US)
by Daniel Dercksen·Comments Off on The Quiet Authority: Trusting Your Instinct as a Writer
For writers navigating the fog between self-doubt and conviction, instinct is often the only light that cuts through. It’s not loud or certain—it flickers quietly beneath the surface, urging you toward the sentence that feels alive, the story that refuses to follow the rules, the choice that scares you most because it just might be true.
There’s a pulse beneath every great story. It’s the heartbeat that tells you when a sentence lands too heavily, when a scene needs air, when a line of dialogue aches for silence. That pulse? It’s instinct. And for a writer, it might just be the most honest compass in the room.
Trusting your instinct isn’t a matter of luck or talent—it’s a deliberate act of courage. And in a world crowded with advice, algorithms, and endless rewrites, tuning into that quiet certainty may be the most radical thing a writer can do.
Why Instinct Matters
Writers are often taught to analyze, outline, revise, and repeat. But instinct—the quiet, inexplicable knowing—thrives where rules falter. It speaks when logic stalls, when a character’s action feels off despite “plot logic,” or when a story demands a new shape.
Instinct defies formulas. It leans into mystery, into what feels true rather than what looks right.
It chooses resonance over reason, trusting what lingers rather than what impresses.It favors the shape of truth over the neatness of structure.It doesn’t ask for evidence—it asks for honesty.It follows the pulse, not the pattern.
It preserves your voice. Every writer has a narrative fingerprint. Instinct reminds you of your own syntax, rhythm, and emotional truth.
It’s the signature beneath every story—the cadence, the pause, the way your voice bends around truth.Instinct doesn’t just point the way; it pulls you back to the rhythm only you can hear.Your narrative fingerprint isn’t what you write, but how you feel your way through the page.
It signals discomfort. If a scene itches, if a metaphor clunks—your gut often knows before your head does.
If something in the prose scratches at you, chances are it’s your instinct asking for a cleaner truth. A clunky metaphor is your gut’s way of whispering, “not quite”—long before logic finds the words. When the sentence sticks instead of sings, it’s rarely a technical issue—it’s a quiet emotional mismatch your instinct can already sense.
Learning to Hear It
Instinct is not loud. It’s often the pause before revision, the knot in your stomach during a read-through. To hear it clearly, you need to make space for it.
Free write without judgment. Stream-of-consciousness drafts often reveal your unfiltered voice.
Your instinct doesn’t need polish—it needs permission. Let the words spill, unedited and unsupervised. In the mess, your truest voice waits.
Step away. Distance lets instinct echo back stronger.
Some truths only sound their names in the silence. Distance isn’t abandonment—it’s echo. It’s where instinct returns not as a whisper, but a bell.
Read aloud. Your ear can catch what your eye has learned to ignore.
Reading aloud turns the page into a mirror—not of grammar, but of feeling. What your eye has glossed over in familiarity, your ear catches in rhythm, dissonance, or sudden silence. It’s instinct given voice.
Track what lingers. What images, lines, or emotions haunt you after writing? That’s your inner barometer talking.
If a phrase lingers like smoke in the room… pay attention. That’s the line reaching back.
When Instinct Feels Like Fear
Let’s be honest—sometimes instinct and fear wear the same face. The challenge is discernment.
Learning to separate the two is part of a writer’s maturing process. Fear protects. Instinct guides.
Owning Your Gut in a World of Feedback
Every writer craves validation, but too much feedback can muffle your inner voice. When others offer edits:
Ask: Does this suggestion align with the heart of what I’m trying to say?
Remember: No one else is holding the entire shape of your story in their mind the way you are.
Take what deepens the work. Discard what sterilizes it.
Our The Write Journey course includes an interactive writing exercise that invites writers to listen for instinct beneath the noise of technique, ideal for The Write Journey‘s introspective tone.
by Daniel Dercksen·Comments Off on A Symphony of Fate and Faith: The Story Behind The Discovery of Heaven
When screenwriter Edwin de Vries took on the monumental task of adapting Harry Mulisch’s 900-page epic The Discovery of Heaven, he wasn’t just translating a novel—he was distilling a cosmos. “You can’t film a book like this literally,” de Vries said. “You have to find its heartbeat and let that guide the story.” That heartbeat, pulsing through divine schemes and human entanglements, became the compass for one of Dutch cinema’s most daring literary adaptations.
The film The Discovery of Heaven (2001), adapted from Harry Mulisch’s acclaimed novel, is a richly layered philosophical fantasy that explores the intersection of divine will, human agency, and the fragility of civilization. Though condensing a 900-page novel into a 2.5-hour film posed challenges, it retains the novel’s existential urgency and mythic resonance.
Its significance lies in both its narrative ambition and its thematic depth: The story begins with celestial beings orchestrating events on Earth to retrieve the stone tablets of the Ten Commandments, symbolizing God’s disillusionment with humanity. This premise sets the stage for a meditation on free will vs. determinism, as the characters unknowingly fulfill a divine mission while navigating their own complex lives.
The film centers on the intertwined lives of Max, Onno, and Ada—three intellectuals whose relationships are manipulated to produce Quinten, the child destined to return the tablets. Their emotional entanglements reflect themes of love, betrayal, and existential purpose, grounding the metaphysical plot in deeply human experiences.
Spanning decades and continents—from post-WWII Netherlands to Rome and Jerusalem—the film weaves historical trauma and cultural memory into its spiritual quest. It subtly critiques the decline of moral authority and the erosion of sacred values in modern society.
Directed by Jeroen Krabbé, the film was one of the most ambitious Dutch productions of its time, praised for its visual storytelling and intellectual gravitas. In essence, The Discovery of Heaven is not just a story about divine intervention—it’s a reflection on what it means to be human in a world where meaning is elusive and destiny may be written in the stars.
Where the Celestial Meets the Intimate: Inside The Discovery of Heaven
Harry Kurt Victor Mulisch was born on July 29, 1927, in Haarlem, Netherlands, and became one of the most influential Dutch writers of the 20th century. Alongside Willem Frederik Hermans and Gerard Reve, he was considered part of the “Great Three” of postwar Dutch literature.
Mulisch’s life was marked by paradox: his Jewish mother’s family perished in the Holocaust, while his Austrian father collaborated with the Nazis, working for a German-controlled bank. This duality profoundly shaped his worldview and literary voice. As Mulisch once said, “I didn’t just write about World War II—I am World War II.”
Harry Mulisch
He wrote more than 80 works, including novels, plays, essays, and poetry. His major themes include war, guilt, mythology, and metaphysics, often blending historical realism with philosophical inquiry.
Harry Mulisch’s 1992 novel is widely regarded as his magnum opus and one of the greatest Dutch literary works of the 20th century. Mulisch, known for blending history, philosophy, and metaphysics, drew on a wide range of inspirations:
Mulisch was fascinated by theological paradoxes, particularly the tension between divine omniscience and human free will. The novel—and by extension the film—was shaped by post-WWII existentialism, reflecting on humanity’s moral failures and the search for meaning in a seemingly indifferent universe.
The novel—and by extension the film—was shaped by post-WWII existentialism, reflecting on humanity’s moral failures and the search for meaning in a seemingly indifferent universe. The backdrop of European history, including the Holocaust and Cold War tensions, adds emotional and philosophical weight to the narrative.
Mulisch received numerous honors, including the Prijs der Nederlandse Letteren (1995) and the International Nonino Prize (2007). He passed away on October 30, 2010, in Amsterdam, leaving behind a legacy that continues to shape Dutch and European literature.
From Page to Providence: Condensing a Monumental Narrative
Director Jeroen Krabbé was drawn to the novel’s epic scope and metaphysical ambition, seeing it as a rare opportunity to bring a Dutch literary classic to the screen with international resonance.
The novel spans generations, continents, and metaphysical realms, blending theology, politics, and personal drama. Compressing this into a coherent film meant streamlining subplots and omitting philosophical digressions, which some viewers felt diluted the novel’s depth.
Translating the novel’s celestial framing device—angels orchestrating events from beyond—into cinematic language was a major hurdle. The film’s ambition to depict both earthly realism and divine intervention required a delicate tonal balance.
Jeroen Krabbé
Krabbé is a celebrated Dutch actor, director, and painter known for his commanding presence in both European and Hollywood cinema. Born into a family of artists—his father Maarten and grandfather Hendrik were renowned painters—Krabbé initially trained as a visual artist before turning to acting. He studied at the Amsterdam Academy of Performing Arts, becoming its youngest-ever student.
Krabbé rose to prominence in the 1970s and 1980s through collaborations with director Paul Verhoeven, notably in Soldier of Orange (1977) and The Fourth Man (1983). His international breakthrough came with villainous roles in major films such as The Living Daylights (1987), The Prince of Tides (1991), and The Fugitive (1993). Known for his multilingual fluency and magnetic screen presence, he became a go-to actor for complex, often morally ambiguous characters.
In 1998, Krabbé made his directorial debut with Left Luggage, a poignant drama about Jewish identity and memory, which was nominated for the Golden Bear at the Berlin International Film Festival. He followed this with The Discovery of Heaven (2001), adapting Harry Mulisch’s metaphysical novel into one of the most ambitious Dutch film productions of its time.
Beyond film, Krabbé is an accomplished painter with several exhibitions to his name, and he has produced documentaries on artists such as Van Gogh and Picasso. He has been married to Herma van Gemert since 1964 and is the father of three sons, including Dutch TV presenter Martijn Krabbé.
The filmmakers were navigating a labyrinth of ideas, trying to preserve the novel’s soul while crafting a poignant film
The screenplay, co-written by Edwin de Vries, was developed with input from Mulisch himself, ensuring the film retained the novel’sintellectual rigor and mythic structure. Working closely with director Jeroen Krabbé and with input from the novel’s author, Harry Mulisch.
He faced the daunting task of distilling Mulisch’s sprawling, metaphysical novel into a cinematic form—balancing intellectual fidelity with emotional clarity.
His adaptation is often praised for capturing the novel’s mythic structure and philosophical ambition, even if some of the novel’s intricate layers had to be streamlined for the screen.
Edwin de Vries
De Vries approached the adaptation with a clear-eyed sense of reverence and pragmatism and pared down the novel’s sprawling narrative into a more linear plotline, emphasizing the celestial mission and the human relationships that drive it. He retained the core mythic arc—the divine retrieval of the Ten Commandments—while trimming subplots and philosophical digressions that, though rich in the novel, would have overwhelmed the film’s pacing.
Recognizing that film thrives on emotional immediacy, he centered the screenplay on the triangle between Max, Onno, and Ada, using their entanglement as the emotional and symbolic engine of the story. This allowed the metaphysical themes to emerge organically through character interaction, rather than through exposition-heavy dialogue.
To translate the novel’s celestial framing device, de Vries and director Jeroen Krabbé opted for a stylized depiction of Heaven—a dark, castle-like realm inhabited by somber angels. This visual metaphor helped externalize the novel’s theological undercurrents. He also leaned into ironic period details and shifting locations (Amsterdam, Rome, Jerusalem) to ground the story in a recognizable world while hinting at its cosmic stakes.
De Vries worked closely with Mulisch during the adaptation process, ensuring that the screenplay honored the novel’s philosophical DNA even as it made necessary concessions to cinematic form. In essence, de Vries treated the adaptation not as a translation, but as a transformation—preserving the novel’s pulse while reshaping its body.
Edwin de Vries is a Dutch actor, screenwriter, and director known for his versatile contributions to film, television, and theatre. He began acting at the age of 12 alongside his father, actor Rob de Vries, in the film De laatste passagier. After graduating from the Amsterdam Theatre School in 1972, he became a prominent figure in Dutch performing arts, co-founding the theatre group Onafhankelijk Toneel and performing with companies like Baal and Toneelgroep Amsterdam.
As a screenwriter, de Vries is best known for adapting The Discovery of Heaven (2001), based on Harry Mulisch’s novel, for which he received a Golden Calf award in 2002. His other screenwriting credits include Left Luggage (1998) and Zomerhitte (2008), the latter directed by his wife, actress and filmmaker Monique van de Ven, whom he married in 1991.
De Vries has also acted in numerous Dutch films and series, including In de Vlaamsche pot, Rosenstraße, and Dennis P.. In 2012, he was knighted in the Order of the Dutch Lion for his cultural contributions.
His life and work reflect a deep engagement with Dutch history, identity, and storytelling—often blurring the lines between personal memory and collective experience.
by Daniel Dercksen·Comments Off on Sachin Kundalkar’s Cobalt Blue and the Cinematic Language of Longing
When Sachin Kundalkar adapted his own novel Cobalt Blue for the screen, he didn’t just translate words—he sculpted silence into image, memory into mood.
Set against the restrained quietude of a middle-class Maharashtrian household, the film unspools a dual narrative of love, loss, and rebellion, told through the voices of a brother and sister who fall for the same enigmatic paying guest, unravelling the fabric of their conservative family. Through cobalt-washed frames, fragmented time, and aching stillness, Kundalkar crafts a cinematic meditation on queer desire and emotional exile—one that feels as much like a memory as a movie.
The film Cobalt Blue was inspired by Sachin Kundalkar’s own novel of the same name, which he began writing at the age of 20 and completed by 22. The story was first published in Marathi in 2006 and later translated into English by Jerry Pinto in 20131.
Kundalkar wrote the novel shortly after moving to Mumbai, channelling his feelings of solitude and introspection into the characters. He began with Tanay’s monologue and then added Anuja’s perspective, crafting a dual narrative that explores same-sex love, longing, and the quiet rebellion against societal norms.
The film adaptation, which Kundalkar also directed, retains the novel’s lyrical tone and emotional depth.
It’s a deeply personal and poetic work—one that blends literature, identity, and the ache of first love into a quiet storm of a story
Cobalt Blue is a quiet, aching meditation on love, identity, and the fractures within tradition. Here are its central themes:
Forbidden and Fluid Love
The story explores same-sex desire and bisexual attraction through the siblings’ shared love for the same man. It challenges heteronormative expectations, portraying love as something that transcends labels and binaries.
Tanay (Neelay Mehendale) is a sensitive, introspective, aspiring writer. His secret intimate relationship with the paying guest becomes a vessel for self-discovery and heartbreak. It unfolds in hushed tones and stolen moments—never overtly acknowledged, yet deeply felt. Their connection is tender, sensual, and ultimately heartbreaking, reflecting the invisibility of queer love in conservative spaces.
Tanay’s younger sister Anuja (Anjali Sivaraman) is free-spirited, bold, and emotionally impulsive. Her infatuation with the same man is more openly expressed, yet equally doomed. Her heartbreak mirrors Tanay’s, showing how love, regardless of gender, can be both liberating and devastating. Her perspective offers a more outward, raw expression of desire and loss.
The paying guest played by Prateik Babbaris is enigmatic, charismatic, and emotionally elusive. He becomes the object of both siblings’ affection but remains unnamed, turning him into a symbol of desire, freedom, and emotional absence.
Duality of Perspective
Told through the voices of both Tanay and Anuja, the film reveals how love and loss are experienced differently depending on gender, personality, and emotional openness.
The film is split into two halves—first from Tanay’s point of view, then Anuja’s. This structure allows us to see how the same events are filtered through different emotional lenses: Tanay’s is introspective and poetic; Anuja’s is raw and impulsive.
Rebellion Against Conservatism
The siblings’ emotional awakenings disrupt their traditional Maharashtrian family, exposing the tension between personal truth and societal conformity. Tanay’s queerness and Anuja’s tomboyish independence are seen as threats to the family’s image. Their father’s authoritarian presence looms large, and the siblings’ emotional awakenings become acts of quiet defiance.
Art as Catharsis
Tanay’s writing becomes a vessel for processing heartbreak and identity, highlighting how art can beboth a mirror and a refuge. He pours his grief into writing letters and poetry, which serve as a lifeline to his identity. His words become a private archive of longing and self-discovery.
Loneliness and Longing
The paying guest is a cipher—his mystery reflects the characters’ own yearning for connection, and the void he leaves behind becomes a metaphor for emotional abandonment.
Color Symbolism
The title itself—Cobalt Blue—evokes a deep, melancholic hue, symbolising intensity, desire, and the bruises of love. The film uses cobalt blue as a recurring visual motif, appearing in lighting, clothing, and set design. It evokes melancholy, passion, and the bruises left by love. In one striking scene, Tanay walks past a wall plastered with posters of heterosexual romances, only to later see it replaced with queer cinema like Fire, signaling a shift in his internal world
It’s a film that lingers in the silences, in the glances, in the poetry of what’s left unsaid. It’s a film that doesn’t shout, like a memory you can’t quite shake.
Cobalt Blue resonates powerfully with ongoing societal conversations around LGBTQ+ identity, visibility, and emotional truth, especially in contexts where queerness is still marginalised or silenced
The film contributes to the normalisation of queer identities by portraying same-sex love not as spectacle, but as deeply human and emotionally nuanced. This aligns with global efforts to move beyond tokenism and toward authentic representation in media.
Tanay’s internal journey reflects the psychological turmoil of navigating queer identity in a heteronormative society. His quiet rebellion—through writing, longing, and self-reflection—mirrors real-world struggles for self-acceptance and emotional agency.
The film explores queer masculinity and the fluidity of desire, challenging rigid binaries. The unnamed paying guest becomes a symbol of both freedom and ambiguity, disrupting traditional ideas of masculinity and control.
The recurring use of cobalt blue as a visual motif speaks to loneliness, desire, and queer resilience. It’s not just aesthetic—it’s a coded language that reflects how LGBTQ+ individuals often communicate identity and emotion in subtle, symbolic ways.
As scholars have noted, films like Cobalt Blue can trigger broader societal conversations about gender, sexuality, and emotional truth. They offer a space for viewers—especially in conservative cultures—to confront biases and expand empathy.
Sachin Kundalkar’s journey from novelist to screenwriter and director
Kundalkar began writing Cobalt Blue as a novel at age 20, starting with Tanay’s monologue, which later became the emotional spine of the film.
When adapting it into a screenplay, he focused on retaining the lyrical, introspective tone of the novel. Rather than expanding the plot, he pared it down, allowing silences, glances, and visual metaphors to carry emotional weight.
He described the adaptation as a process of emotional translation, not technical fidelity. He once said Pinto’s English translation of the novel was “not technically correct. It was emotionally correct”—a philosophy he mirrored in the screenplay.
As director, Kundalkar leaned into the poetic minimalism of the source material. He used long takes, ambient sound, and subdued lighting to evoke the characters’ inner worlds.
He deliberately kept the paying guest unnamed and emotionally opaque, turning him into a symbol of desire, absence, and projection—just as in the novel.
The film’s dual narrative structure (Tanay’s perspective followed by Anuja’s) was preserved, allowing viewers to experience the same emotional rupture from two distinct lenses.
Kundalkar used cobalt blue as a recurring visual motif, embedding it in costumes, lighting, and set design to evoke longing and melancholy.
He avoided melodrama, instead embracing stillness and ambiguity, trusting the audience to feel what isn’t said.
The film’s pacing mirrors the rhythm of memory—nonlinear, fragmented, and emotionally charged.
Kundalkar’s process is a masterclass in adaptation as reinterpretation. He didn’t just transpose the novel to screen—he reimagined it through the grammar of cinema, preserving its soul while letting it breathe in a new medium.
In an industry that often thrives on spectacle, Sachin Kundalkar carves out a quieter space—one where longing hums beneath the surface, where shadows say more than speech. Novelist, playwright, screenwriter, and director, Kundalkar is that rare storyteller who navigates the interior with as much finesse as the exterior, bending form to suit feeling. His work across mediums is a study in emotional resonance: how to translate solitude into structure, and desire into image.
“I wrote Cobalt Blue when I was 20. I was lonely in Mumbai, and I started writing Tanay’s monologue. That’s how it began.”
That confession doesn’t just reveal the origin of his most intimate novel—it maps the emotional coordinates of his career. Raised in Mumbai and trained at the Film and Television Institute of India, Kundalkar went on to study in Paris at La Fémis, where his short film One Café Please signaled his flair for minimalism and introspection. But it was in Marathi theatre and literature where he first found the pulse of his voice—queer, lyrical, and fiercely tender.
Crafting the Cinematic Interior
Kundalkar’s breakout film Nirop (2007) won the National Award for Best Marathi Feature, but it was Gandha (2009)—a triptych of sensory-driven stories—that hinted at his signature: emotion conveyed through atmosphere, silence, and sensory metaphor. His films are less about what happens and more about what is felt in the hush between two characters, in the soft glow of a cobalt-lit room, in the echo of an unspoken truth.
When he adapted Cobalt Blue into a Netflix film in 2022, he brought this philosophy to full bloom. Rather than merely transposing plot, he reimagined the novel’s poetic cadence into cinematic mood—letting glances, doorframes, and rain-slicked streets hold the emotional weight of monologue.
“Jerry Pinto’s translation is not technically correct. It is emotionally correct.”
This idea of emotional correctness—of privileging truth over literalism—guides all of Kundalkar’s adaptations. Whether directing or writing, he approaches storytelling as an act of translation: from life to page, from silence to scene, from absence to presence.
Themes of Desire, Domesticity, and Rebellion
What ties his body of work together is a recurring negotiation between inner desire and outer restraint. Characters in Happy Journey, Gulabjaam, or Vazandar often crave connection but are trapped by societal decorum, familial roles, or their own emotional vocabulary. Through them, Kundalkar writes not just queer narratives, but queer ways of feeling—expressions that curve sideways, duck under, flicker briefly, then vanish.
His protagonists are rarely loud revolutionaries. Instead, they reclaim space through art, food, fragments of memory. In Cobalt Blue, Tanay writes letters he never sends. In Gandha, smell evokes entire lost lives. Kundalkar reminds us that rebellion doesn’t always sound like a shout—sometimes it sighs.
A Love Song in a Minor Key
With every story, Kundalkar refines a cinematic and literary language that’s both delicate and deliberate. He doesn’t just tell stories; he curates emotional climates, allowing readers and viewers to dwell within them. His commitment to duality—between silence and voice, tradition and transgression, form and feeling—marks him as one of India’s most compelling narrative stylists.
As Cobalt Blue continues to resonate with audiences beyond the page and screen, Kundalkar stands as proof that stories need not be loud to echo loudly. They just need to feel lived—and felt.
Stage as Seedbed: Theatrical Roots of Emotional Precision
Before cinema claimed him, Kundalkar honed his emotional grammar in the world of Marathi theatre. Plays like Chotyasha Suteet and Poornaviram revealed a mind drawn not just to plot, but to the cadences of silence, subtext, and spatial intimacy. His characters often occupy liminal spaces—a closed room, a train compartment, a silent park bench—where dialogue is pared down to its emotional core.
This theatrical background enriched his cinematic eye. Scenes in Cobalt Blue unfold like minimalist stagecraft: sparse props, loaded silence, and gestures pregnant with unspoken feeling. Watching a character press their palm to a cool wall, or stare out of frame while a fan spins overhead, feels less like exposition and more like visual monologue.
Cobalt in the Stream: Finding an Audience on Netflix
With Cobalt Blue, Kundalkar found a platform in Netflix that allowed him to reach audiences beyond linguistic and cultural borders—while still telling a story rooted in Maharashtrian domesticity. It was a rare moment: a queer Indian narrative, adapted from a regional novel, released globally in over 190 countries.
Streaming gave Kundalkar the freedom to craft a film outside the tyranny of box office metrics, to trust in the poetry of stillness and the power of emotional honesty. In interviews, he emphasized that streaming audiences are more willing to engage with introspective pacing and nuanced queer representation, making platforms like Netflix fertile ground for films that would otherwise be stifled.
by Daniel Dercksen·Comments Off on Eddington: Ari Aster’s American Fever Dream
“I wrote it in a state of fear and anxiety about the world,” says writer-director Ari Aster of Eddington—a film that trades pagan dread for pandemic delirium. In this fever-pitched Western satire, the town isn’t just cracking under lockdown—it’s collapsing under the weight of fractured truth. What begins as a civic dispute spirals into a mythic unravelling, where paranoia spreads faster than any virus and the American frontier burns in its reflection.
Eddington is a genre-bending Western black comedy-drama written and directed by Ari Aster.
Aster blends neo-Western grit, political satire, and dark comedy, creating what some critics are calling a “COVID-era No Country for Old Men meets Dr. Strangelove.” The town of Eddington itself becomes a character, symbolising the fractured American psyche during a time of fear and misinformation.
Ari Aster was inspired to write Eddington during the early months of the COVID-19 pandemic, when he left New York to be closer to family in New Mexico. What he witnessed there—rising paranoia, digital echo chambers, and the unravelling of social trust—sparked the idea for a story that captured the psychological and political fragmentation of that moment.
He described the pandemic not as a beginning, but as an inflexion point—a rupture that severed ties to the “old world” and exposed the fragility of modern society. Aster said, “I don’t think we’ve metabolised what happened during lockdown… we’re still living out the consequences of it”. That unresolved tension became the emotional and thematic core of Eddington.
He also chose the Western genre deliberately, calling it “sort of the national genre” because it reflects the building—and unraveling—of American identity. In his words, “It felt appropriate to make a Western… but a Western inflected by modern realism”
From Personal Horror to Political Paranoia
Ari Aster’s Eddington marks a sharp thematic and tonal pivot from his earlier work, while still bearing his unmistakable fingerprints—psychological unease, surrealism, and a fascination with societal breakdown.
Earlier films leaned into elevated horror and operatic grief.: Hereditary (2018) and Midsommar (2019) were intimate horror stories rooted in grief, trauma, and cultic dread. They explored personal collapse through mythic and folkloric lenses. Beau Is Afraid(2023) veers into a surreal, psychological odyssey—an anxiety-riddled epic about maternal guilt and existential dread.
Eddington by contrast, is a satirical Western set during the COVID-19 pandemic, using a small town as a microcosm for America’s cultural and political fragmentation. Eddington trades horror for black comedy and political farce.
Aster’s past films often followed tight, escalating arcs. Eddington is more episodic and chaotic, reflecting the confusion and absurdity of 2020 America.
From internal horror to external hysteria: Eddington is less about personal demons and more about collective delusion, misinformation, and the erosion of civic trust.
It’s Aster’s most overtly political, most ambitious and divisive film yet—less haunting, more chaotic, and deeply entangled in the cultural psyche of a fractured nation.
Aster’s boldest thematic swing pushes beyond horror into dark political farce with unapologetic scope. It’s a neo-Western, a pandemic allegory, a small-town breakdown, and a media satire all in one, shot through with his trademark discomfort and surreal flourishes. The dialogue crackles with paranoia, and the setting of Eddington becomes a crucible for American identity in crisis.
Set in Eddington, New Mexico, during the early days of the COVID-19 pandemic, the film follows a tense standoff between a small-town sheriff (Joaquin Phoenix) and mayor (Pedro Pascal) that spirals into chaos. As neighbor turns against neighbor, the town becomes a microcosm of political paranoia, social fracture, and existential absurdity.
From Elevated Horror to Existential Farce
Hereditary and Midsommar established Aster as a master of elevated horror, blending grief, trauma, and family dysfunction with supernatural dread. He described Hereditary as “a family tragedy that curdles into a nightmare,” emphasising emotional realism over jump scares. With Beau Is Afraid he pivoted into surrealist black comedy—a sprawling, anxiety-riddled odyssey that fused Kafkaesque absurdity with mythic structure.
Eddington marks his boldest fusion yet: It trades personal horror for societal hysteria, using genre tropes to dissect American identity in crisis.
How Aster Blends Genres
Aster’s genre fusion isn’t just stylistic—it’s thematic. He uses genre as a lens to explore how people (and societies) unravel under pressure. Whether it’s a haunted house or a town in lockdown, the horror is never just external—it’s what festers inside.
Atmospheric Inversion: In Midsommar, horror unfolds in perpetual daylight, subverting the genre’s usual darkness. Aster flips expectations to destabilise the viewer.
Character Disorientation: His protagonists often willingly enter danger—whether it’s a Swedish commune or a town unraveling in paranoia—blurring the line between victim and participant.
Emotional Core: No matter the genre, Aster anchors his films in emotional disintegration—grief, guilt, fear of abandonment—making even the most surreal moments feel grounded.
Ari Aster, right, and cinematographer Darius Khondji on the set of the movie “Eddington.”
Ari Aster – Filmmaker, Screenwriter, Genre Alchemist
Ari Aster grew up in a creative household—his mother a poet, his father a jazz musician. After a childhood split between the U.S. and England, his family settled in Santa Fe, New Mexico, where Aster’s obsession with horror films took root. He studied film at the Santa Fe University of Art and Design and later earned an MFA in directing from the American Film Institute Conservatory.
Aster first gained attention with his provocative short The Strange Thing About the Johnsons (2011), but it was his feature debut, Hereditary (2018), that cemented his reputation as a master of psychological horror. He followed it with Midsommar (2019), a sun-drenched folk nightmare, and the surreal epic Beau Is Afraid (2023). In 2018, he co-founded the production company Square Peg with producer Lars Knudsen.
With Eddington (2025), Aster pivots from personal horror to political satire, blending Western tropes with pandemic paranoia. His work is known for its emotional intensity, genre fusion, and a willingness to stare into the cultural abyss.
by Daniel Dercksen·Comments Off on The Smurfs are back: A vibrant animated musical adventure
“It’s a strange and weird and wonderful retelling that should and will stand on its own,” says director Chris Miller of The Smurfs, a bold reimagining of a beloved franchise, bursting onto the screen as a kaleidoscopic musical adventure that dares to ask, “What is a Smurf?” From its interdimensional storyline to its pop-powered soundtrack, this isn’t your childhood Smurf village—it’s a full-blown identity quest in cobalt blue.
The 2025 Smurfs film draws its inspiration from multiple sources, blending legacy and reinvention.
At its heart, the film is rooted in the whimsical world created by Belgian artist Peyo. The characters, themes of community, and fantastical settings all stem from his beloved comic series.
The idea to make it a musical came from the desire to introduce the Smurfs to a new generation in a fresh, emotionally engaging way. Pam Brady, known for her edgy humour, crafted a story that explores identity and belonging through song and spectacle.
The screenplay
Brady’s process for crafting the screenplay reflects her signature blend of irreverent humour, emotional subtext, and genre-savvy storytelling.
Brady is known for building scripts around distinctive voices and emotional contradictions. For Smurfs, she reportedly began with the question: What does it mean to be a Smurf?—a deceptively simple prompt that opened the door to themes of identity, belonging, and reinvention.
Her background in South Park and Team America gave her the tools to satirise pop culture while still honouring emotional arcs. In Smurfs, that balance shows up in the way legacy characters like Smurfette are reimagined—not just as comic relief or archetypes, but as emotionally complex protagonists.
Her background in South Park and Team America gave her the tools to satirize pop culture while still honoring emotional arcs. In Smurfs, that balance shows up in the way legacy characters like Smurfette are reimagined—not just as comic relief or archetypes, but as emotionally complex protagonists.
Given the film’s musical format, Brady’s script had to interweave dialogue with lyrical beats, leaving space for songs to carry emotional weight. Collaborating with Rihanna and other artists, she helped shape scenes where music wasn’t just decorative—it was narrative.
Brady leaned into the film’s surreal elements—sentient books, intergalactic villains, identity-crisis Smurfs—while grounding them in character motivation. Her process likely involved layering absurdity with emotional stakes, a hallmark of her comedic style.
The filmmakers wanted to explore deeper questions like “What is a Smurf?”—using the Smurfs’ journey into the real world as a metaphor for self-discovery and cultural connection.
In an age of legacy makeovers and IP nostalgia, Smurfs (2025) is more than a musical—it’s a manifesto disguised in blue
By centering identity, transformation, and representation, the film smudges the boundaries between childhood whimsy and adult introspection.
With Rihanna’s Smurfette no longer the token female in a sea of blue brothers, the film challenges decades of gender coding in animation. Her voice—literally and thematically—reclaims space for emotional agency. The casting itself, rich in racial and gender diversity, expands the Smurf universe beyond its Eurocentric roots, subtly reorienting the franchise toward a more globally conscious narrative.
And then there’s the central question posed by the film’s own characters: What does it mean to be a Smurf? It’s a thinly veiled allegory for navigating identity in today’s fragmented culture, where heritage, self-definition, and belonging collide. What began as Peyo’s parable for harmony has evolved into a surprisingly layered commentary on postmodern reinvention.
This reboot transforms Smurfette from a side character into the emotional and narrative core of the film, with Rihanna voicing her and contributing original songs that underscore her journey. The story blends fantasy, identity, and pop spectacle into a coming-of-age quest wrapped in cobalt charm.
When Papa Smurf is kidnapped by the evil wizard brothers Gargamel and Razamel, Smurfette must leave the safety of Smurf Village and venture into the real world. Alongside a band of unlikely allies—including a nameless Smurf with an identity crisis—she embarks on a high-stakes mission to rescue Papa and stop the wizards from destroying all magic. As Smurfette confronts her role as the only girl Smurf, she begins to question what it truly means to be a Smurf—and whether she can rewrite the story she was given.
The Smurfs (2025) reboot boasts a dazzling, eclectic voice cast that blends pop royalty, comedy icons, and dramatic heavyweights. It’s a cast that smashes genre boundaries—musicians, comedians, dramatic actors—all lending their voices to a story that’s as much about identity and reinvention as it is about blue magic.
The voice cast is a powerhouse mix of music icons, comic geniuses, and dramatic heavyweights, led by Rihanna as the reimagined Smurfette, bringing both voice and original music. John Goodman anchors the story as Papa Smurf, whose mysterious kidnapping sets off the adventure, while James Corden plays the soulful, lost No Name Smurf. Nick Offerman lends a gravelly heart to Ken, Papa’s long-lost brother, and Sandra Oh brings warmth and wit as Moxie Smurf, a key bridge between worlds. The villain roster includes JP Karliak as both Gargamel and Razamel, with Daniel Levy as their fashionably bitter henchman Joel. Comic firecrackers Amy Sedaris and Natasha Lyonne play Jaunty, a sass-mouthed book, and Mama Poot, leader of the Snooterpoots, while Octavia Spencer, Nick Kroll, and Hannah Waddinghamchannel intergalactic mischief. The ensemble is rounded out with stars like Alex Winter, Billie Lourd, Kurt Russell, Jimmy Kimmel, and Maya Erskine, making this Smurfscape one of 2025’s most eclectic animated lineups.
The Smurfs (2025) soundtrack is a vibrant, collaborative effort rather than the work of a single composer
While there isn’t one traditional score composer credited, the film’s musical identity is shaped by a lineup of global artists and producers:
Rihanna not only voices Smurfette but also contributed original songs, including Friend of Mine.
Tyla, known for Water and Truth or Dare, performs Everything Goes With Blue, a standout track with its own music video.
Natania, an Indian artist, features on nine of the fourteen tracks, making her a major creative force behind the film’s musical tone.
Other contributors include DJ Khaled, Cardi B, DESI TRILL, James Fauntleroy, and Shenseea, blending pop, hip-hop, and global beats into a 39-minute soundtrack released by Roc Nation on June 13, 2025.
Rather than a traditional orchestral score, the film leans into a “music from and inspired by” approach, using songs to drive character arcs and emotional beats.
The Smurfs began their journey in the whimsical world of European comics, born from a happy accident and a creative spark:
The Smurfs were created in 1958 by Belgian cartoonist Peyo (real name: Pierre Culliford). They first appeared as side characters in the comic Johan and Peewit in a story titled La Flûte à six trous (The Flute with Six Holes), published in Spirou magazine. The original French name was Les Schtroumpfs. According to Peyo, he coined the word during a meal when he forgot the word for “salt” and jokingly said, “Passe-moi le schtroumpf” (“Pass me the smurf”). The term was translated into Dutch as “Smurf,” which became the global name.
These tiny blue creatures live in a hidden forest village, wear Phrygian caps (a symbol of freedom), and each has a name that reflects their personality, like Brainy, Jokey, or Grouchy. Their popularity exploded, leading to standalone comics, animated series, films, merchandise, and even theme parks. Their popularity exploded, leading to standalone comics, animated series, films, merchandise, and even theme parks.
The Smurfs’ evolution offers a fascinating lens into the changing tides of cultural storytelling over nearly seven decades
🧙♂️ From Allegory to Archetypes (1950s–70s)
Original Comics: Peyo’s early Smurfs stories in Spirou magazine often functioned as allegorical fables—sometimes gently satirizing politics (like The Smurfs and the Communal Smurf) or echoing classic myth structures.
Character as Function: Each Smurf embodied a singular trait—Grouchy, Brainy, Jokey—reflecting a trend in mid-century storytelling where characters often served symbolic roles rather than psychological complexity.
📺 Serialized Wholesomeness (1980s)
Saturday Morning Cartoons: The Hanna-Barbera Smurfs TV series (1981–89) brought them into global pop culture as symbols of harmony, simplicity, and idealized community.
Escapism & Stability: In an era of Cold War uncertainty, narratives like the Smurfs offered moral clarity—good vs. evil, teamwork vs. selfishness—mirroring the need for stability and optimism in children’s media.
📽️ Postmodern Self-Awareness (2011–2017 Films)
The Live-Action Hybrids: The Smurfs films of the 2010s leaned into irony, placing the Smurfs in modern Manhattan with fish-out-of-water humor.
Nostalgia Meets Satire: These adaptations capitalized on Gen X/Y nostalgia while also poking fun at their own cartoonish legacy—part of a broader postmodern trend in which pop icons are reimagined through meta-humor.
🎤 Identity and Reinvention (2025 Reboot)
Smurfs (2025): The latest musical reboot signals a shift toward emotionally grounded, character-driven storytelling, where identity, self-discovery, and inclusivity take centre stage.
From Tokenism to Agency: Smurfette evolves from “the only girl” to the emotional core of the narrative. Her journey isn’t just about romance—it’s about voice, authorship, and transformation, aligning with modern narratives that prioritise internal conflict and multidimensional identity.
Cultural Consciousness: The use of diverse voice actors, musical storytelling, and existential themes mirrors how contemporary audiences seek representation and resonance from legacy properties.
This trajectory—from allegory and archetype to introspection and self-awareness—isn’t just about blue creatures. It’s a blueprint for how storytelling itself has matured: where once we asked “what role does this character play,” we now ask “what story does this character need to tell.”
Chris Miller is an American filmmaker best known for his work in animation and comedy. He rose to prominence as part of the dynamic duo Lord & Miller, co-creating hits like Cloudy with a Chance of Meatballs, 21 Jump Street, The Lego Movie, and Spider-Man: Into the Spider-Verse. His signature style blends irreverent humor with emotional depth and visual inventiveness. For Smurfs (2025), Miller stepped out solo to direct a musical reboot that reimagines the franchise with heart, spectacle, and a touch of meta-magic.
Pam Brady is a veteran American screenwriter and producer, celebrated for her sharp wit and boundary-pushing comedy. She began her career collaborating with Trey Parker and Matt Stone on South Park and co-wrote the cult classic Team America: World Police. Her film credits include Hot Rod, Hamlet 2, The Bubble, and Ruby Gillman, Teenage Kraken. Known for her fearless humor and satirical edge, Brady brings a fresh, emotionally resonant voice to Smurfs (2025), infusing the script with both playful absurdity and surprising depth.
by Daniel Dercksen·Comments Off on Fantastic Four: First Steps – a bold, retro-futuristic leap into the Marvel Cinematic Universe
With Fantastic Four: First Steps, screenwriters Josh Friedman and Eric Pearson rewrite the playbook, delivering a retro-cosmic origin that defies convention. Known for threading emotional gravity through genre, they reimagine Marvel’s First Family not as fledgling heroes, but as fractured legends navigating a retro-futuristic world on the brink. With cosmic threats looming and personal stakes intensifying, this isn’t just a reboot—it’s a reckoning, steeped in emotional complexity and charged with cosmic responsibility.
“A practical approach is always the best approach. You know, it’s real for me as a filmmaker, it’s real for the actors. I think the audience loves it,” says director Matt Shakman, emphasising grounding the film in practical sets and real locations, pushing back against the MCU’s heavy reliance on green screen.
Josh Friedman and Eric Pearson wrote the screenplay with story input from Jeff Kaplan and Ian Springer.
Friedman, known for Avatar: The Way of Water and War of the Worlds, often gravitates toward stories that blend spectacle with emotional stakes. His involvement suggests a desire to explore the human cost of cosmic power. Pearson, who worked on Thor: Ragnarok and Black Widow, brings a knack for balancing humour, action, and character introspection. His polish on the script likely helped ground the film’s retro-cosmic tone in relatable emotion.
Jeff Kaplan and Ian Springer were reportedly involved early on, even before Matt Shakman was confirmed as director. Their task was to map out how the Fantastic Four would fit into the broader MCU, suggesting their story input was more structural and thematic, setting the tone for a non-origin, emotionally mature take on the team.
The team wanted to avoid a traditional origin story, instead focusing on the emotional aftermath of being superheroes in a world that feels both nostalgic and alien.
Set adrift in a world tinged with analogue nostalgia and unspoken estrangement, the Fantastic Four navigate not the thrill of becoming heroes, but the quiet, often unbearable cost of having already been ones. In a retro-futuristic landscape that hums with outdated dreams and Cold War dread, their powers are less a gift than a ghost, haunting every strained connection and hard-won intimacy. This isn’t the origin story of heroes—it’s the afterimage of sacrifice.
The 1960s retro-futuristic setting allowed them to reimagine the Fantastic Four as mythic figures, already burdened by their powers and legacy.
The retro-futuristic setting allowed the writers to reimagine the Fantastic Four not as pioneers of science fiction, but as mythic figures lost in time—heroes from a future that never was. Set against a backdrop of analogue dreams and Cold War paranoia, they feel less like Marvel characters and more like celestial archetypes, burdened by legacy and haunted by purpose.
Themes of family, sacrifice, and cosmic responsibility appear central, echoing the writers’ shared interest in stories that explore identity under pressure.
Set against the vibrant backdrop of a 1960s-inspired, retro-futuristic world, Marvel Studios’ Fantastic Four: First Steps introduces Marvel’s First Family—Reed Richards (Pedro Pascal), Sue Storm (Vanessa Kirby), Johnny Storm (Joseph Quinn), and Ben Grimm (Ebon Moss-Bachrach)—as they face their most daunting challenge yet. Forced to balance their roles as heroes with the strength of their family bond, they must defend Earth from a ravenous space god called Galactus (Ralph Ineson) and his enigmatic Herald, the Silver Surfer (Julia Garner). And if Galactus’ plan to devour the entire planet weren’t bad enough, it suddenly gets very personal.
Fantastic Four: First Steps marks a pivotal new chapter in the franchise’s long, often turbulent cinematic history
Long before Marvel’s First Family found their footing in the Marvel Cinematic Universe, they wandered a cinematic wilderness of missed opportunities and tonal misfires. The first attempt—The Fantastic Four (1994), directed by Oley Sassone and penned by Craig J. Nevius and Kevin Rock—was never meant to be seen. Produced on a shoestring budget by Roger Corman solely to retain licensing rights, the film became an infamous bootleg curiosity: more lore than legend.
It wasn’t until Fantastic Four (2005) that the team leapt onto the mainstream stage. Directed by Tim Story and written by Michael France and Mark Frost, the film embraced a glossy, family-friendly vibe that introduced a new generation to Reed, Sue, Johnny, and Ben. While the tone veered toward cartoonish at times, it struck a commercial chord, leading to the 2007 sequel Rise of the Silver Surfer. With Don Payne and Mark Frost co-writing, the follow-up brought cosmic grandeur to the mix, introducing the Silver Surfer and teasing Galactus. Yet beneath the shimmer, critics found the storytelling too slight for the scale.
In 2015, the pendulum swung hard the other way. Josh Trank’s grim reboot of Fantastic Four—co-written with Jeremy Slater and Simon Kinberg—opted for a stripped-down, grounded origin, forsaking superhero spectacle for body horror and existential gloom. Behind-the-scenes conflict and studio interference led to a disjointed release that left audiences cold, stalling the franchise once again.
Enter Fantastic Four: First Steps (2025), a full-circle reinvention helmed by Matt Shakman, with a screenplay by Josh Friedman and Eric Pearson and story by Jeff Kaplan and Ian Springer. Rather than trace the moment they gained their powers, the film explores the emotional aftershocks of having already lived as heroes.
Meet the Minds Behind the Myth
A veteran of genre storytelling, Josh Friedman is best known for weaving emotional depth into high-concept sci-fi. His credits include War of the Worlds (2005), The Black Dahlia (2006), Terminator: Dark Fate (2019), and Avatar: The Way of Water (2022). On television, he created Terminator: The Sarah Connor Chronicles and co-developed Snowpiercer and Foundation. Friedman’s work often explores the human cost of survival in extraordinary circumstances, making him a natural fit for the mythic weight of Fantastic Four: First Steps.
Eric Pearson is Marvel Studios’ go-to script doctor turned screenwriter. A graduate of NYU’s Tisch School of the Arts, he began in Marvel’s in-house screenwriting program, penning several One-Shot shorts before co-writing Thor: Ragnarok (2017), Black Widow (2021), and Thunderbolts (2025). Known for balancing humor with emotional nuance, Pearson brings a grounded sensibility to cosmic stakes. His work on Fantastic Four: First Steps continues his evolution from punch-up specialist to architect of character-driven spectacle.
Matt Shakman, the director of Fantastic Four: First Steps, is a genre chameleon with roots in both prestige TV and superhero storytelling. After helming episodes of Game of Thrones, Succession, and The Boys, he made waves with WandaVision (2021), blending sitcom nostalgia with MCU pathos. Shakman’s theatrical background and love for practical effects inform his tactile, emotionally resonant style, perfect for the film’s retro-futuristic tone and mythic family drama.
The writing duo Jeff Kaplan and Ian Springer met at NYU’s Tisch School of the Arts and have been creative partners for over a decade. Known for their indie comedy Bert and Arnie’s Guide to Friendship (2013), they’ve since pivoted toward emotionally rich genre fare. Their story treatment for Fantastic Four: First Steps helped reframe Marvel’s First Family as cosmic exiles rather than origin-bound adventurers. Their collaborative voice blends wit, melancholy, and myth.
by Daniel Dercksen·Comments Off on Four Letters of Love – A lyrical meditation on fate, faith, and the quiet miracles of love
Four Letters of Love draws its inspiration directly from Niall Williams’ acclaimed debut novel of the same name. What makes this adaptation particularly intimate is that Williams himself penned the screenplay, bringing his prose to life on screen. “It’s a strange and beautiful thing to return to a story you wrote so long ago and find it still breathing.”
From award winning film-maker Polly Steele (Let Me Go, Elton John: Tantrums & Tiaras) comes the magical, lyrical and deeply romantic Irish story Four Letters of Love, based on Niall Williams international bestselling novel.
The film explores the tension between faith and doubt, the beauty of missed chances, and the quiet miracles that shape our lives. It’s described as “magical, lyrical and deeply romantic,” echoing the tone of the novel.
“One day I woke with a first sentence,” says Niall Williams who wrote the book which he now adapts for the screen. “‘When I was 12 years old, God spoke to my father for the first time.’ I had no idea what God said or what happened next. I went to a room in the cottage here and wrote that sentence every day for weeks. I knew it was the beginning of something, but what?”
And so began the genesis of Four Letters of Love, a book that would live its own love story, finding a wide, global audience. “I guess that in the end what counted was that I believed the story was out there,” continues Williams, “or in there, and that if I kept showing up I would find my way to it. I knew I wanted to write about love, thought I would only get one chance to say all I could about every kind of love, between fathers and daughters, mothers and daughters, sisters and brothers, husband and wife, lovers, what Edna O Brien eventually called ‘a mosaic of loves,’ and that all I had to do was stay in the chair.”
Four Letters of Love was published in 1997 but its journey to the screen did not arrive quickly.
Williams’ novel was celebrated for its poetic language and spiritual undertones. It tells the story of Nicholas and Isabel, two people seemingly destined for one another, whose lives are shaped by loss, longing, and the mysterious forces that guide human connection. The film retains this emotional core, weaving together themes of divine calling, artistic yearning, and the redemptive power of love.
“The making of any film, the transference of words into light, seems a kind of miracle to me,” says Niall Williams. “Over the years of the making, I have often thought of the image of a relay, but instead of passing a baton, what you are passing from one to the next is a lit flame. It can go out at any moment. Many directors were interested over the years, but Polly Steele is the one who came to my door in County Clare and said she would carry it through to the end. And for seven years or so, she has”.
“From our first meeting, I could see that she understood the novel profoundly. The mix of mystery, destiny, nature, human suffering and our longing for meaning that each course through the novel provide its own challenge, but Polly had no hesitation. We talked though all aspects of the story, structure, images, visual language, music, and potential cast. And for the years of the making that followed there was hardly a week when we weren’t discussing some element of it.”
The cinematic quality to Four Letters of Love was already in existence in the novel and had been keenly felt by readers. Perhaps it was inevitable that the big-screen adaptation would happen. Niall Williams admits that ever since the novel came out in 1997, “and in all the years since then. it has always been the subject of talk about becoming a film”. It was something that readers kept manifesting as well: “Very many people and from as many countries have told me they have ‘seen’ the film, and many believed they were the ones to make it.”
“Because it is such a personal novel, and maybe as peculiar as myself,” Williams continues, “I always thought that if it happened, I would have to attempt the adaptation myself. To that end I began to study as many scripts as I could and learn the very different discipline of screenwriting. I found the challenges and the restrictions refreshing, for your imagination rises where it meets walls, and ‘How do we make this work? has an added zing when you know that the scene is actually going to be shot, with these lines and these extraordinary actors.”
With any adaptation, changes have to be made to make the story sing on screen in a different way to how life existed on the page. “In the novel the character of Nicholas is 12 on the day his father comes home from the Civil Service and says God wants him to be a painter,” says Niall Williams about some of the time shifts that became necessary. “A longer timeframe is in the novel. For the film this needed to be condensed and concentrated. It gives the first section of the film a charged intensity. As with the novel we move back and forth between the urban and rural stories, between the male one and the female one, between the one where God arrived and the one where he departed, but in the film the choices of when we cut from to the other are sometimes different, as the rhythm of the story dictates. Overall, I think the film very accurately captures the feeling of the novel.”
Nicholas and Isabel are made for each other, but fate does not always choose the easiest path to true love. As destiny pulls them together, so do family, passion, and faith drive them apart. Nicholas’ father, William, comes home one day to shatter his family’s quiet, modest life. He tells them that after a moment of divine revelation, he has decided to dedicate his life to painting. He quits his job and sets off for the Western coast, leaving his shell-shocked wife and son to fend for themselves. Meanwhile, Isabel and her family live a charmed existence on a remote Western island, their house full of music and poetry. When tragedy strikes and her brother suffers a terrible accident, the music stops, and Isabel’s parents decide in their grief to send Isabel to a convent school on the mainland. The young lovers embark on their journeys of heartache and misplaced love before fate contrives to pull the threads of their lives together. When they meet, it will be like a miracle.
Author’s Statement – Niall Williams
Although when I wrote the novel I was already a convert to one of its central ideas: that there is someone out there who is the other half of your soul, the other aspect, that this will at all times seem unlikely, that all legendary obstacles will come in the way, it has taken me more than twenty years and the experience of watching the novel try to find its way into film to learn.
Because this is a story of faith and doubt, vision and blindness, it has seemed strangely apt that, though over the years readers from many countries, and in many languages, have said they could ‘see’ the film, it remained invisible. It seems to me that all artists know the story’s battle between hope and despair and must work secretly believing in that someone who will see, and grasp what you are trying to do. With this film I am fortunate enough now to feel in the company of many of those someones, and to realise I was all the time only waiting for Polly Steele to knock at my door.
Another aspect of this—how a work of art comes with its own life, and in its own time—has also been borne out by the book’s journey towards the screen. Almost from the first, the novel moved beyond Ireland and Irishness in general. As it began to be translated into other languages, I started to receive letters from readers in different corners of the world, and what struck me was the number of times a reader, from Brazil say, would say ‘This feels like a Latin American novel,’ only for the next one, from Jerusalem, to say ‘This story could be of my life here.’
In the end what I have come to understand is that, though born out of and set in Ireland, the book is what the late John Hurt in his introduction of the Modern Classic edition called ‘a complete world of its own.’ I take this to be the definition of the universal. And in the universe of the story, where God comes and goes without explanation, where mystery is as much a part of love as of death, and our every moment is either destined or not, acceptance is the wisdom of suffering, and love the ultimate triumph of life.
From Page to Screen: How Niall Williams’ Soulful Prose Became the Heart of Four Letters of Love
When a novelist adapts their work for the screen, something quietly magical happens. With Four Letters of Love, Irish author Niall Williams steps into that rare creative territory—translating the emotional cadence of his acclaimed novel into a cinematic language without losing the soul of the original.
Williams began his career co-authoring non-fiction with his wife Christine Breen before making his mark in fiction with Four Letters of Love in 1997—a debut that became an international bestseller, translated into over twenty languages.
Since then, Williams has carved a unique space in Irish literature with novels like History of the Rain (longlisted for the Booker Prize) and This Is Happiness. His work often dances between faith and doubt, past and present, and is grounded in the rhythms of rural Irish life.
With Four Letters of Love finally making its way to the screen—under his own pen—the story finds a new heartbeat without losing its original soul.
“Stories like this aren’t built—they’re listened to,” Williams once said of his process. Known for his poetic storytelling and spiritual themes, his screenplay mirrors this approach: intimate, character-driven, and attentive to the quiet moments that shape lives. By adapting his novel, Williams preserves the rhythm and longing of his prose, ensuring the film doesn’t simply retell the story—it inhabits it.
“What drew me to Four Letters of Love was its quiet boldness—the idea that love and destiny might be written not in thunderclaps, but in the hush between two strangers passing. Niall’s script had that hush. It moved like a prayer, and my role was to listen closely. I wanted the film to feel like memory—fragile, luminous, and full of longing,” said director Polly Steele, whose previous work explored mental health and emotional healing, complements Williams’ lyrical script with a restrained yet cinematic lens. Her touch brings visual nuance to the spiritual undercurrents of the story, allowing scenes to breathe rather than rush toward resolution.
Given Williams’s body of work since 1997, it’s likely that his understanding of love, loss, and spiritual longing has matured. That evolution may have subtly reshaped how he approached the screenplay—not by altering the story’s essence, but by deepening its emotional textures. The novel’s themes of divine calling, artistic yearning, and the quiet choreography of fate remain intact, but the screenplay reportedly leans into visual storytelling and silence as much as dialogue, allowing space for reflection and ambiguity.
“In love everything changes, and continues changing all the time. There is no stillness, no stopped clock of the heart in which the moment of happiness holds forever, but only the constant whirring forward motion of desire and need, rising and falling, falling and rising, full of doubts then certainties that moment by moment change and become doubts again,” says Williams.
Born in Dublin in 1958, Niall Williams studied English and French Literature at University College, Dublin. He moved to New York in 1980 where he married Christine Breen, whom he had met while she was also a student at UCD. His first job in New York was opening boxes of books in Fox & Sutherland’s Bookshop in Mount Kisco. In 1985, he and Chris left America to attempt to make lives as writers in Ireland. On April 1st they moved to the cottage in west Clare that Chris’s grandfather had left eighty years before. They have two adult children, a dog named Finn and a cat called Thanks.
Director Polly Steele is an Award Winning Director renowned for her ability to weave sensitive narratives that capture both hearts and minds alike. This is reinforced by amongst many other awards and nominations, Bentonville’s & Fairhope’s ‘Audience Choice Award’ for her feature ‘Let Me Go’, which premiered at the Edinburgh Film Festival, starring Juliet Stevenson and Lucy Boynton. Polly has successfully crafted films for all of the UK’s major broadcasters, & produced/developed fiction as MD for Rocket Pictures, collaborating with industry icons Elton John and David Furnish. Additionally, under her own banner, In Trust Films, Polly has a distinctive creative vision and continues to produce stories that resonate deeply with audiences.
Polly recently completed a feature she Directed ‘Four Letters of Love’, starring Pierce Brosnan, Helena Bonham Carter and Gabriel Byrne. Based on Niall Williams’ best-selling novel, the film is a poignant Irish romance encompassing fate, faith and the power of true love. Polly imbues the narrative with profound sensitivity, showcasing her mastery and strength as a Director. The result is a deeply moving cinematic experience, to be released later this year.
Premiering at this years Edinburgh Film Festival is a feature length documentary Directed by Polly for Universal Pictures entitled ‘The Mountain within Me’, featuring Ed Jackson author of “Lucky”, ex-rugby player & director of the M2M Foundation.
Additional documentary Directing work has included BAFTA award winning Video Diaries (BBC), Tantrums & Tiaras the inside story of Elton John’s life, shortlisted for a BAFTA (itv), Kofi Annan – The Eye of the Storm (BBC2), Extraordinary People – the Worlds Youngest Surgeon, shortlisted for the Grierson Award(C5), In the Arctic with Ewan McGregor, (Best Indie Documentary), Eastside Story, a revealing portrait of Ray Lewis’s controversial Eastside Youth Leaders Academy and BBC2’s Rich Russians in London.
As a visual artist, Polly had two series of video portraits commissioned. Her subjects included Tony Benn, Jason Isaacs and star of The Wire, Michael K Williams. She has subsequently also shot a 2nd series entitled WHO AM I, the portraits of eight women. Polly is also a trained life coach and mother of three.
by Daniel Dercksen·Comments Off on I Know What You Did Last Summer – Revisiting the original 1997 slasher classic
“Our film is about marrying a nostalgic nineties feel with today’s slasher films,” says director / co-screenwriter Jennifer Kaytin Robinson of I Know What You Did Last Summer. “The film’s design, its score, and the way we developed the kills, each of which feels like something you’ve never seen before but also takes us back to the kind of movie that we rarely see anymore. It’s why people love this franchise.”
In 1997, the original I Know What You Did Last Summer forever changed the face of blockbuster horror. Directed by Jim Gillespie from a script by Kevin Williamson, the film became a smash hit, took the number one position at the box office for three consecutive weeks, and revitalised the slasher genre. It came to define a generation and continues to be a cultural mainstay.
I Know What You Did Last Summer was inspired by a desire to revisit the original 1997 slasher classic through a legacy sequel lens—honoring the past while updating the story for a new generation.
Jennifer Kaytin Robinson
Director Jennifer Kaytin Robinson who co-wrote the screenplay with Sam Lansky, pitched the idea to Sony Pictures after the cancellation of the 2021 TV adaptation. Rather than rebooting the franchise, Robinson aimed to continue the original timeline, ignoring the 2006 standalone sequel and reconnecting with the emotional and thematic core of the first two films.
Sam Lansky
Robinson seemed destined to helm the new IKWYDLS. “The original was the first R-rated movie I ever snuck into,” she remembers. “My babysitter wanted to see it, and I ended up going with her. Afterwards, my mom got really angry, but I didn’t care because I was so mesmerised by it.”
“So, when I was approached about directing a new version, it was an immediate yes – truly a no brainer,” Robinson continues. “This movie is about people making a mistake, then making the wrong choice, and the consequences that follow. It’s a deeply human story. Anyone could mess up like our characters do. That’s what sucks you into the story, because you’re thinking, what would I do in this situation? For me, horror is most interesting when it’s grounded in very real stakes.”
Robinson worked closely with co-screenwriter Sam Lansky to shape the screenplay from a story she wrote with Leah McHendrick.
For Lansky, as it had with Robinson, the 1997 version played a big role in his early love of movies.
“I remember exactly where I was – at a sleepover at a friend’s house – when I watched it for the first time,” he recalls. “The film’s pioneering voice and tone worked its way into the cultural consciousness and shaped a lot of people my age … of all ages, in fact.”
Robinson and Lansky had been friends and colleagues for almost a decade, so the final drafts came together synergistically. “We have a similar sensibility and tend to think the same things are funny or scary or exciting,” Lansky explains, “so the vision took shape quickly. For the 2025 film, and for the 1997 version, the premise is so tantalizing. What would you do if someone knew your biggest secret and started coming after you and the people around you because of it? The setup is so fun and so real, and we knew we could deliver strongly on that.”
A key shift in the new film would be the age of the core group – they’re in their mid to late-twenties, and the shift from four to five members. “In the first movie, the characters are teenagers,” says Lansky. “In 2025, they’re young adults on the precipice of moving into adult phases of life – including marriage and commitment – when their lives are upended by this event. We wanted the film to reflect that maturity but also feel youthful and fun. Ultimately, this is a popcorn movie.”
The story picks up 27 years after the events of I Still Know What You Did Last Summer (1998), directed by Jim Gillespie and written by Kevin Williamson, with a new group of friends haunted by a familiar hook-wielding killer after covering up a fatal car accident. The 2025 film draws on the enduring appeal of teen horror, generational guilt, and the consequences of buried secrets, while bringing back original stars Jennifer Love Hewitt and Freddie Prinze Jr. to bridge the past and present.
The 2025 film is a legacy sequel—a direct continuation of I Still Know What You Did Last Summer (1998), intentionally ignoring the events of the 2006 standalone sequel I’ll Always Know What You Did Last Summer.
It reunites original stars Jennifer Love Hewitt and Freddie Prinze Jr. as Julie James and Ray Bronson, now drawn back into a familiar nightmare when a new group of teens covers up a fatal accident and begins receiving ominous messages.
This approach mirrors the successful Scream (2022) formula: blend legacy characters with a fresh cast, honour the original tone, and reframe the horror for a new generation.
Robinson constantly ups the stakes of ‘who’s next?’ and ‘whodunnit?’, as the thrills mount and we, along with the characters, try to figure out the identity of – and the mystery behind – the iconic and murderous Fisherman. Robinson defies audience expectations of when and how victims will be cut down, and by whom. Nothing is what it seems, and no one is safe.
At the same time Robinson brings us closer, emotionally, to the characters.
The group of five have known each other most of their lives. They’ve seen each other through many different phases and are now at crossroads, trying to figure out who they want to be for the rest of their lives.
Robinson’s vision for the film’s look is succinct but powerful: “When you’re murdering a bunch of hot young people, you want it to have that old school Americana feel to it: blue blues, red blood, and beautiful colors and skin tones. In designing the film, it was fun to juxtapose the violence with this outwardly beautiful world of Southport, which of course has an underbelly that’s nasty, gory, and violent. I really liked that juxtaposition.”
To ensure a summer 2025 release for the film, executive producer Karina Rahardja recalls, “We were approaching the fall in the Northern Hemisphere, and given the word summer is in the title, we started thinking about where we could go to film where it would be summer.
Horror Trends & Cultural Resonance
The 2025 revival taps into a broader trend of ’90s horror nostalgia, where franchises like Scream and Final Destination are being reimagined not just for scares, but for cultural reflection. Director Jennifer Kaytin Robinson and co-writer Sam Lansky lean into themes of generational guilt, digital surveillance, and performative remorse, updating the slasher formula with a psychological edge.
The film also reflects a 2025 horror landscape increasingly defined by emotional realism and trauma-driven narratives. Rather than relying solely on jump scares, it explores how secrets metastasise in the age of social media and how the sins of the past refuse to stay buried, especially when the past has a hook for a hand.
Director Jennifer Kaytin Robinson emphasised that beneath the blood and jump scares lies a story about how trauma informs identity.
Like Halloween (2018), this film uses returning characters not just for nostalgia, but to explore long-term psychological fallout. Julie and Ray aren’t just survivors—they’re case studies in how guilt calcifies over time.
This sequel reflects a broader trend in horror: the shift from pure thrills to emotional realism. It’s part of a wave of films that blend slasher tropes with character-driven storytelling, where the hook isn’t just a weapon, but a metaphor for the past that won’t let go.
Then & Now: A Tale of Two Summers
1997: Secrets, Shame, and Slasher Tropes The original I Know What You Did Last Summer, penned by Scream’s Kevin Williamson, rode the wave of late-’90s teen horror. It was glossy, self-aware, and steeped in guilt—four friends haunted by a hit-and-run and stalked by a hook-wielding killer. The film tapped into post-adolescent anxiety: the fear that your worst mistake might come back to claim you. It wasn’t just about survival—it was about the cost of silence.
2025: Guilt Goes Viral Jennifer Kaytin Robinson’s legacy sequel updates that fear for the digital age. The new cast isn’t just hiding a secret—they’re navigating a world where nothing stays buried, and remorse is often performative. The hook is still there, but so is the pressure of curated identities, online judgment, and generational trauma. With returning characters like Julie and Ray, the film bridges eras, asking whether we ever really escape the past—or just learn to live with it.
The writing process for I Know What You Did Last Summer (2025) was rooted in both legacy and reinvention
Director Jennifer Kaytin Robinson, known for Do Revenge and co-writing Thor: Love and Thunder, collaborated with Sam Lansky on the screenplay, based on a story she developed with Leah McKendrick. Rather than rebooting the franchise, Robinson pitched a continuation that honoured the emotional core of the original 1997 film while updating its themes for a new generation.
The process began after the cancellation of the 2021 TV adaptation, which left the franchise in limbo. Robinson saw an opportunity to return to the original continuity, ignoring the 2006 standalone sequel and instead crafting a legacy sequel that would bring back Jennifer Love Hewitt and Freddie Prinze Jr. as Julie and Ray. Her approach focused on generational guilt, the permanence of digital secrets, and the psychological toll of unresolved trauma, infusing the slasher formula with emotional realism.
“Sam and I are both huge fans of the franchise, to the point where we once got in a heated argument about I Still Know What You Did Last Summer, to the point where I was like, ‘We should just go to bed and we’ll do this tomorrow.’” says Robinson.
This quote reflects the passion and stakes involved in revisiting a beloved horror legacy. Robinson and co-writer Sam Lansky reportedly traveled to Southport, North Carolina—the setting of the original film—to immerse themselves in the atmosphere. Their creative tension stemmed from differing instincts: Lansky leaned into authenticity and continuity, while Robinson wanted to recapture the fun and emotional resonance of the original without being shackled by canon.
This dynamic shaped a screenplay that balances trauma and nostalgia, horror and heart. It’s a slasher with a soul—one that knows the past can’t be buried, but maybe, just maybe, it can be rewritten.
Filming took place between October 2024 and March 2025 in New South Wales and Los Angeles, with the script evolving alongside casting and production design. The writing process emphasised character-driven horror, where the scares are as much internal as they are external.
Nostalgia in horror is a double-edged blade—both a comfort and a curse
It functions not just as a stylistic callback, but as a psychological device that deepens dread by luring us into familiarity before subverting it.
Nostalgic horror often invites us back to the “safe” spaces of our youth—sleepovers, VHS tapes, suburban streets—only to reveal that those spaces were never truly safe. Films like Stranger Things and It weaponize childhood iconography, turning bikes, basements, and best friends into conduits for trauma. The past becomes a haunted house we willingly re-enter, even knowing what lurks inside.
Legacy sequels like Scream (2022) or I Know What You Did Last Summer (2025) use nostalgia to re-engage audiences emotionally and thematically. They don’t just reference earlier films—they interrogate them. These stories ask: what happens when the rules of the past no longer apply? When the final girl grows up? When the trauma doesn’t fade?
As explored in academic critiques, horror can fall into toxic nostalgia—idealizing the past while ignoring its darker truths (e.g., gender roles, racial erasure). But when done well, nostalgia becomes transformative: a way to confront generational wounds, reframe cultural myths, and reclaim agency. Think of it as horror’s version of therapy—reliving the past not to escape it, but to rewrite it.
Jennifer Kaytin Robinson is a celebrated filmmaker with a unique voice keenly in tune with the social zeitgeist.
Known for fusing biting wit with raw vulnerability, Robinson has spent the last decade crafting stories that speak directly to—and about—the moment, resonating deeply with audiences worldwide.
Robinson is also known for her sophomore directorial feature DO REVENGE, for Netflix, for which she also produced and penned the script. The film is a darkly comedic high school reimagining of Hitchcock’s STRANGERS ON A TRAIN. DO REVENGE, which features an all-star cast, including Camila Mendes, Maya Hawke, Rish Shah, Austin Abrams, Talia Ryder, Alisha Boe, Sophie Turner, and Sarah Michelle Gellar, debuted at #1 globally on Netflix and became a cultural hit, lauded for its satire and sharp visual style. The Atlantic called it “viciously funny,” and The New York Times named Robinson “a rare filmmaker able to deliver teen chaos with style and substance.”
Her feature directorial debut, SOMEONE GREAT, which she also wrote, premiered globally on Netflix to critical acclaim and remains a beloved entry in the canon of modern romantic comedies. The ensemble cast includes Gina Rodriguez, Brittany Snow, DeWanda Wise, LaKeith Stanfield, and RuPaul. A vibrant ode to friendship, heartbreak, and new beginnings, the film drew praise for its fresh tone and raw emotional authenticity. Variety described it as a “refreshingly honest portrait of how we change — and what we choose to hold on to — in the wake of heartbreak”; Rolling Stone claimed, “Robinson understands the rhythms of modern relationships and the bonds between women better than most.” The film’s influence rippled into pop culture – Taylor Swift even cited it as inspiration for her song “Death By a Thousand Cuts.”
Robinson is also the creator and executive producer of MTV’s SWEET/VICIOUS, a critically acclaimed series praised for its portrayal of sexual assault on college campuses. The series — which holds a 100% score on Rotten Tomatoes — garnered a passionate fanbase and became a cultural touchstone for survivor-centered storytelling. In 2017, Robinson was invited to speak at Vice President Joe Biden’s final It’s On Us summit at the White House, honoring her advocacy for survivors and the show’s social impact. Robinson was also named one of Variety’s 10 TV Writers to Watch in 2016, pegged to the release of the series.
Her additional credits include co-writing the screenplay, with Oscar-winning filmmaker Taika Waititi, for Marvel’s THOR: LOVE & THUNDER, which grossed over $760 million worldwide; and co-writing the screenplay for the Max original feature UNPREGNANT.
A visionary with a decade-spanning body of work, Robinson has consistently challenged genre norms, blended comedy with pathos, and shaped cultural entertainment through sharp dialogue, exceptional female leads, and an undeniably authentic voice. She continues to evolve as one of the most exciting filmmakers of her generation.
SAM LANSKY (Screenwriter) is a screenwriter, author and journalist. In 2021, he was named one of Variety’s 10 Storytellers to Watch.
Lansky is the author of two books: a 2016 memoir, The Gilded Razor, published by Simon & Schuster, and a 2020 novel, Broken People, published by HarperCollins. In journalism, Lansky spent seven years as the West Coast Editor of TIME, where he remains a contributing editor. He wrote the 2023 profile of Taylor Swift, naming her TIME’s Person of the Year.
by Daniel Dercksen·Comments Off on Don’t Let’s Go to the Dogs Tonight: Embeth Davidtz’s Intimate African Refrain
“I just really related to the central character of this young, spunky little girl… so I wrote the screenplay with her as the voice and as the narrator, telling the story of that African childhood from her point of view,” says Embeth Davidtz’s of her directorial debut, Don’t Let’s Go to the Dogs Tonight, is a striking adaptation of Alexandra Fuller’s acclaimed 2001 memoir.
The poignant South African drama Don’t Let’s Go to the Dogs Tonight was written and directed by Embeth Davidtz in her feature debut, adapted from Alexandra Fuller’s acclaimed memoir.
Set in the waning days of the Rhodesian Bush War, the film follows 8-year-old Bobo (played by Lexi Venter) as she navigates a childhood shaped by political upheaval, familial instability, and a deep, complicated bond with the African land her family refuses to let go of.
The film has been praised for its lyrical storytelling and emotional nuance, capturing the raw contradictions of a white Zimbabwean family clinging to a fading world.
“My parents are South African,” Davidtz says. “They were studying in the States. I was born there, and then our life was uprooted, and we moved to South Africa when I was eight. Bobo reminds me of arriving in South Africa, being in a poor family with an alcoholic parent in a country that was so racist. I was a child who suddenly had this separation between what I was seeing and what I knew to be right or wrong. I was seeing how casual the racism was. You know, the benches said, ‘Whites only.’ It was still that time.”
Davidtz, who also stars as Fuller’s sad, alcoholic mother, brings a haunting intimacy to the screen, balancing the innocence of childhood with the brutal legacy of colonialism.
The film rests on the tiny shoulders and remarkably lifelike performance of Lexi Venter — just 7 when the picture, her first, was shot. The largely South African cast displays the same naturalism as Venter, creating a consistent tone. Rob Van Vuuren plays Bobo’s father, who is at times away fighting, and Anina Hope Reed is her older sister. Bali and Shilubana are especially impressive as Sarah and Jacob, their portrayals suggesting a resistance to white rule that the characters can’t always speak out loud.
Elegant, stylistically assured, and visually articulate, the film unfolds entirely from the perspective of Bobo, who runs around with animals at the shabby farm, dirty and barefoot, observes her father Tim’s (Rob Van Vuuren) and alcoholic mother Nicola’s (Davidtz) struggles and copies all the racist remarks she’s heard from her parents, parroting them to her family’s Black servants, Sarah (Zikhona Bali) and Jacob (Fumani N. Shilubana). Through Bobo, Davidtz both emphasizes the cost of what children inadvertently perceive, and how racism is passed down through generations.
Adapting Alexandra Fuller’s acclaimed memoir.
Davidtz, the talented star of Schindler’s List, Bridget Jones Diary and The Morning Show, grew up in South Africa; that country’s divided background influenced how she adapted Alexandra Fuller’s memoir about her youth in Rhodesia in 1980 when an election shifted the balance of power in that country (now Zimbabwe) forever. Davidtz’s film adaptation of Fuller’s book chronicles the shifting racial and power dynamics in a country through the eyes of a child.
“The book was a big hit in 2001, and someone bought the rights then, sat with it, attempted to crack the screenplay [but couldn’t],” says Davidtz. “It is a 22-year memoir. My desktop was littered with the drafts that I wrote. I first started by writing the whole thing: the young Bobo, the middle-aged, then the older. Then, at one point, I gave it to somebody else, and she didn’t even know the direction to go in. Then I gave it to Alexandra. I adore her writing, but she went completely off on a tangent. And so I said, “Alexandra, I love you. But I’m going to take it.” And she’s like, “Go for it.” So I isolated myself and chose one window through the child’s eyes. That was the thing that made it work. I borrow heavily from the book as Alexandra writes dialogue very well. Like when Bobo is younger, she would say, “I can fire you if I want” [to Sarah]. That was Alexandra.”
Davidtz’s adaptation leans into the memoir’s emotional core rather than attempting a comprehensive retelling. One of her boldest choices was to frame the entire narrative through young Bobo’s point of view, depicting a child’s view of the civil war that created the country of Zimbabwe, formerly Rhodesia — a change the girl’s white colonial parents fiercely resisted. It filters complex political and racial dynamics through a lens of innocence and confusion, allowing the audience to experience the dissonance between what Bobo sees and what we understand.
Rather than covering the full scope of Fuller’s memoir, Davidtz focused on a single pivotal year—1980—when Zimbabwe transitioned from Rhodesia. This tight focus gave the screenplay a lyrical, almost dreamlike quality, emphasising memory over chronology.
Much of the story is told through Bobo’s voiceover, paired with stark, sun-drenched cinematography. The film was shot in South Africa, and Willie Nel’s cinematography, with glaring bright light, suggests the scorching feel of the sun.
Davidtz’s script uses silence, repetition, and fragmented dialogue to evoke the disorientation of childhood in a collapsing world.
It’s a fascinating case of an actor-turned-director using her own emotional intuition to shape a deeply personal adaptation. that shift from interpreting characters to authoring a cinematic world speaks volumes about Embeth Davidtz’s sensibility as a storyteller. What makes her journey especially compelling is how she didn’t just direct a narrative—she unearthed it, layering her personal history into the very bones of the film.
The result feels less like a traditional adaptation and more like a memory film: not confined by structure, but led by sensory truth, fragmented silence, and unspoken grief. It’s also a quietly radical move, centring whiteness in postcolonial Africa not as dominance, but as dissonance and displacement, especially through a child’s eyes.
It’s a rare triple-threat debut—writing, directing, and acting—with Davidtz channeling her personal connection to the material into a film that’s both intimate and politically resonant.
Embeth Davidtz is a South African-American actress and director known for her emotionally nuanced performances and her recent transition behind the camera. She gained international recognition for her role as Miss Honey in Matilda (1996) and as Helen Hirschin Steven Spielberg’s Schindler’s List (1993). Her filmography spans genres—from period dramas like Feast of July to thrillers like Thir13en Ghosts and The Amazing Spider-Man series, where she played Mary Parker. Born to South African parents while her father was studying in the U.S., Davidtz moved to South Africa at age nine. She had to learn Afrikaans to attend school and later trained in drama at Rhodes University. Her early stage work with CAPAB included Romeo and Juliet and Stille Nag, earning her critical acclaim in both English and Afrikaans productions.
Embeth Davidtz directing Lexi Venter on set of ‘Don’t Let’s Go to the Dogs Tonight’.
by Daniel Dercksen·Comments Off on How Straw Gives Voice to Silent Struggles: Tyler Perry’s Most Urgent Film
Writer-director Tyler Perry’s real-life feelings inspired Straw‘s script because he was “just dealing with so much stuff” while developing the story. ‘I just wanted to get it all on paper. And the way it all unfolds, many people are dealing with this on this planet.”
Straw is one of the standout entries in Tyler Perry’s ambitious first-look deal with Netflix, a multi-year agreement signed in 2023 that allows the streamer priority access to his upcoming feature films. This partnership marked a significant evolution in Perry’s creative trajectory, moving beyond his established Madea universe into more daring, socially resonant storytelling.
Films under that deal are the legal thriller Mea Culpa (2024), a legal thriller with a seductive edge, The Six Triple Eight (2024), a historical war drama based on the true story of the 6888th Central Postal Directory Battalion—the only all-Black, all-female unit deployed overseas during WWII, and Duplicity (2025), a mystery thriller with social undercurrents. This slate reflects Perry’s growing interest in stories that confront injustice, identity, and emotional endurance—a thematic shift that focuses on emotionally authentic storytelling.
Straw is a searing psychological drama that explores the emotional and societal toll of being pushed to the brink
It marks a significant departure from Perry’s earlier comedic work, positioning him as a filmmaker willing to tackle darker, more complex narratives.
Its significance lies in both its raw portrayal of systemic failure and its emotional resonance with audiences worldwide.
The title itself is metaphorical—Janiyah, the protagonist, is a single mother whose life unravels over one catastrophic day. The film examines what happens when someone reaches their emotional and psychological limit. Janiyah’s descent into crisis is not just personal—it reflects how society often overlooks or misjudges those in need of help. Her breakdown is a cry for help in a world that offers none. The film critiques multiple institutions—child protective services, healthcare, law enforcement, and banking—all of which fail Janiyah in her time of need.
It has sparked widespread conversation about poverty, race, and mental health, especially among single mothers and marginalised communities and became Netflix’s most-watched film globally within 48 hours of release, indicating its deep emotional connection with audiences.
Tyler Perry was inspired to create Straw by a deep sense of empathy for people who are often overlooked, unheard, and unrepresented in society
In interviews, he shared that the film was born from both personal emotional weight and a desire to spotlight the struggles of those living on the margins.
Perry said he was “dealing with so much stuff” in his own life while writing the script, and poured that emotional turbulence into the character of Janiyah.
He wanted to explore what happens when someone who’s constantly trying to survive finally reaches their breaking point—the proverbial “last straw.”
He was moved by the plight of people who are “not being seen, not being acknowledged, not being represented”—especially single mothers and working-class individuals navigating systemic failures.
The line “You don’t know how expensive it is to be poor” became a thematic anchor, encapsulating the film’s critique of economic and institutional injustice.
Perry also wanted to challenge expectations of his work. Known for his comedic and melodramatic films, Straw marks a bold pivot into psychological drama, driven by raw emotion and social commentary.
It’s a compelling example of how personal catharsis and social awareness can converge in storytelling
What makes Straw hit so hard is how it refuses to flinch. It doesn’t package struggle in a palatable form—it immerses you in the relentless friction of Janiyah’s world: bounced checks, unanswered calls, procedural cruelty wrapped in bureaucratic smiles. Through her eyes, we feel the accumulated weight of quiet oppressions—the ones that don’t make headlines but slowly erode a person’s sense of worth.
And what’s striking is how Perry aligns the cinematic language with her unraveling:
The tight close-ups mirror her emotional suffocation.
The sound design drops out in key moments, echoing isolation.
The use of a fractured timeline, especially after the twist, forces us to confront how trauma distorts reality.
It’s a haunting meditation on what it means to be seen only when you break—and even then, only as a cautionary tale.
It’s not just storytelling—it’s soul-bearing
Perry channelled his emotional turbulence into the script, but in doing so, he tapped into a collective experience. That universal resonance—“many people are dealing with this”—is why the film struck such a deep chord with audiences.
It’s storytelling as catharsis, but also as witness. By writing from a place of personal overwhelm, Perry made space for others to feel seen in their own quiet struggles. Structurally, too, you can feel that urgency: the film unfolds like a pressure cooker, each scene a valve tightening, never loosening.
by Daniel Dercksen·Comments Off on James Gunn Reboots the Legacy of Superman for a New Generation
In the rubble of brooding antiheroes and apocalyptic scale, writer-director James Gunn’s Superman isn’t just a reboot; it’s a major reset for the DC Universe, reshaping the legacy into something more vulnerable, more human. “Superman must reconcile his alien Kryptonian heritage with his upbringing as reporter Clark Kent. As the embodiment of truth, justice, and the human way, he finds himself in a world that views these as old-fashioned.”
From Christopher Reeve’s earnest grace to Zack Snyder’s operatic grandeur, Superman has always reflected the age that bore him. Now, under James Gunn’s vision, the Man of Steel is reborn. This 2025 reboot doesn’t discard the cape’s storied past; it reframes it.
Gunn approaches the mythos less as a monument to restore and more as a story to be retold with fresh breath. Where Reeve’s Clark stood for golden-age idealism and Cavill’s embodied mythic alienation, this Superman strives for emotional fluency—a hero not above us, but among us. Drawing on his own flair for misfit empathy, Gunn leans into vulnerability, irony, and optimism not as tonal contradictions but as coexistences. The result is a film that reveres tradition without being bound by it—rooted in the past, yes, but unmistakably speaking to now.
James Gunn’s Superman is as much a personal reckoning as it is a cinematic reboot.
The emotional core of his screenplay was shaped by something more personal: being fired from Guardians of the Galaxy Vol. 3. That painful moment, and the overwhelming support he received afterward, shifted his creative compass. Gunn said, “Without that experience, I don’t think that I would’ve written the Superman that I wrote… That opened the door for me to stop creating so that people would like me.”
He approached the script with vulnerability, seeking feedback from trusted collaborators like DC writer Tom King. Gunn described his process as “first draft door closed, second draft door open,” emphasising the importance of constructive notes, even as the head of DC Studios.
The story follows a young Superman navigating his dual identity—balancing his Kryptonian heritage with his human upbringing in Smallville. It’s not an origin story, but rather a fresh take on a more established Superman who’s still finding his place in a world that views his ideals as outdated.
Inspiration & Writing Process – Rewriting The Myth
James Gunn wrote Superman (formerly Superman: Legacy) by a deep love for the character’s enduring optimism and moral clarity—qualities he felt were missing from many modern superhero portrayals. He’s said that Superman represents “kindness in a world that thinks of kindness as old-fashioned,” and that idea became a central theme of the film.
Gunn also drew heavily from classic comics like All-Star Superman, Superman for All Seasons, and Lex Luthor: Man of Steel. While the plot of the film is original, he was influenced by the tone, emotional depth, and visual style of these stories. For instance, he admired how All-Star Superman blended science fiction with mythic storytelling, and how Superman for All Seasons captured Clark Kent’s humanity through the changing seasons of his life.
James Gunn drew inspiration from several iconic Superman comics to shape Superman: Legacy—each offering a different lens on the Man of Steel’s identity, values, and emotional depth:
All-Star Superman by Grant Morrison and Frank Quitely: A philosophical and heartfelt exploration of Superman’s legacy, mortality, and compassion. Gunn has cited this as a major influence for its tone and optimism.
Superman for All Seasons by Jeph Loeb and Tim Sale: A beautifully illustrated, seasonally structured coming-of-age story that emphasizes Clark Kent’s humanity and small-town roots.
Superman: Birthright by Mark Waid and Leinil Francis Yu: A modern retelling of Superman’s origin that focuses on his internal conflict and journalistic mission.
Superman: Brainiac by Geoff Johns and Gary Frank: A high-stakes confrontation with one of Superman’s most cerebral foes, highlighting his vulnerability and emotional ties to Earth.
Superman: Ending Battle and others like American Alien, Space Age, and Superman: Unchained also helped shape the film’s tone and themes.
He’s described the film as a story about heritage and identity—how Superman’s Kryptonian lineage and Kansas upbringing shape his values and choices. It’s not just about superpowers, but about navigating a world that doesn’t always share his ideals.
James Gunn’s take on Superman redefines the character’s voice by leaning into earnestness without naivety, and idealism without irony—a bold move in an era of snarky, self-aware superheroes.
Instead of the stoic, sometimes distant figure we’ve seen in past iterations, Gunn’s Superman is emotionally accessible. He’s still the beacon of hope, but now with a touch of vulnerability and introspection. Gunn has said he wants Superman to be “kind in a world that thinks kindness is old-fashioned,” which reframes the Man of Steel not as a relic, but as a quiet revolutionary—someone who holds onto his values even when the world rolls its eyes.
This version of Clark Kent is also more grounded. He’s not discovering his powers or grappling with godhood—he’s already Superman, but still figuring out how to be human in a cynical world. That shift in voice means more warmth, more humor (Rachel Brosnahan, who plays Lois Lane, confirmed this), and a deeper emotional resonance.
Gunn’s writing style—known for its balance of irreverence and sincerity—lets Superman speak with conviction, but also with heart. Expect fewer grand speeches and more quiet truths. Less “I must save the world” and more “I believe in it.”
James Gunn’s work has a pretty clear evolution when you zoom out across his projects. Early on, with films like Tromeo and Juliet and Slither, you see a playful love of genre with a side of outrageous chaos—he wasn’t afraid to go weird and wild. Then his Scooby-Doo scripts showed his knack for balancing nostalgia with meta-humor, already hinting at that heart-underneath-the-sarcasm vibe.
But everything shifted with Guardians of the Galaxy. That was a breakout moment, where he blended emotional backstory, mismatched characters, killer soundtracks, and cosmic spectacle into something unexpectedly soulful. From there, his signature style crystallized: damaged but lovable characters, irreverence tempered by sincerity, and themes of chosen family and redemption.
The Suicide Squad and Peacemaker cranked up the cynicism and gore but still stayed true to that emotional core. Now, with Superman, Gunn’s channeling those storytelling instincts into a figure who’s the opposite of cynical—a beacon of hope. It’s like his whole journey as a writer has led to this moment: embracing earnestness in a world that often dismisses it.
Filming began in March 2024, under snow-dusted skies and high expectations. But rather than chase the operatic spectacle of predecessors, Gunn built a Metropolis that breathes—a city shaped not by grandeur but by heart. The production team leaned into vibrant colour palettes, earnest character beats, and a sense of wonder reminiscent of Joe Shuster’s early illustrations. The process was collaborative, intimate, and purpose-driven, with Gunn reportedly treating each scene like a love letter to hope itself. As co-CEO of DC Studios, he wasn’t just directing a film—he was charting the first step of a creative renaissance.
The Hero We Still Need
With Superman, Gunn doesn’t just relaunch a hero—he reorients a cinematic universe. As the keystone of the new DCU, this film holds the burden of belief: that sincerity sells, that optimism still resonates, and that character can be compelling without cynicism. If it lands, it won’t just elevate Clark Kent—it’ll light the runway for Supergirl, The Brave and the Bold, and a host of characters waiting in the wings.
James Gunn didn’t just write a Superman story—he lived one. Exiled, doubted, and ultimately restored, his journey mirrors that of the hero he now helms: not a god returning from the sky, but a man stepping forward when the world needs him most. In giving Superman his heart back, Gunn has done something rare in modern cinema—he’s made hope feel rebellious again. And maybe, just maybe, that’s all the legacy ever needed to fly.
James Gunn has quite the eclectic writing résumé, blending horror, comedy, and superhero genres with his signature irreverent flair.
Here are some of the notable films he’s written:
Tromeo and Juliet (1996) – A cult-classic punk adaptation of Shakespeare, written during his early days at Troma Entertainment.
Scooby-Doo (2002) and Scooby-Doo 2: Monsters Unleashed (2004) – Yes, those live-action Scooby-Doo films. Gunn brought a cheeky, self-aware tone to the beloved franchise.
Dawn of the Dead (2004) – He penned the screenplay for Zack Snyder’s remake of the George A. Romero zombie classic.
Slither (2006) – His directorial debut, a gooey horror-comedy that’s become a cult favorite.
Super (2010) – A dark, gritty take on the vigilante genre starring Rainn Wilson and Elliot Page.
Guardians of the Galaxy (2014), Vol. 2 (2017), and Vol. 3 (2023) – Gunn wrote and directed all three, redefining the Marvel cosmic landscape with humor and heart.
The Suicide Squad (2021) – A chaotic, blood-soaked reboot that gave the DC antiheroes a fresh, irreverent spin.
The Belko Experiment (2016) – A brutal office survival thriller he wrote and produced.
Brightburn (2019) – A superhero-horror mashup he produced and co-wrote the story for.
The Guardians of the Galaxy Holiday Special (2022) – A festive Marvel one-off written and directed by Gunn.
Superman (2025) – His latest, and perhaps most personal, project as both writer and director, launching the new DC Universe.
He’s also dabbled in TV and web series, like Peacemaker and James Gunn’s PG Porn.
James Gunn: From Cult Cinema to Cultural Architect
James Francis Gunn Jr., born August 5, 1966, in St. Louis, Missouri, is an American filmmaker, screenwriter, and studio executive known for blending irreverent humor with emotional sincerity. He began his career at the cult film company Troma Entertainment, co-writing Tromeo and Juliet (1996), before making his directorial debut with the horror-comedy Slither (2006).
Gunn gained mainstream acclaim with Marvel’s Guardians of the Galaxy (2014), redefining the superhero genre with a misfit ensemble and a mixtape heart. He followed it with Guardians Vol. 2 (2017), The Suicide Squad (2021), and the HBO Max series Peacemaker (2022–present), showcasing his signature blend of spectacle and soul.
In 2022, Gunn was appointed co-chair and co-CEO of DC Studios alongside Peter Safran. His first major project in this role is Superman (2025), a reboot that reimagines the iconic hero through a lens of vulnerability, hope, and emotional truth.
Gunn holds degrees from Saint Louis University and Columbia University (MFA in creative writing). He was previously married to actress Jenna Fischer and is now married to actress Jennifer Holland. His brothers Sean, Brian, and Matt Gunn are also active in the entertainment industry
by Daniel Dercksen·Comments Off on Final Destination: Bloodlines — When Survival Becomes a Family Curse
The directing duo Zach Lipovsky and Adam Stein leaned into the emotional core of Final Destination: Bloodlines, drawing from their own family experiences to deepen the characters’ relationships. In true Final Destination fashion, their pitch to the studio included a Zoom call where they “killed themselves” using pre-recorded backgrounds—an audacious move that sealed the deal.
Final Destination: Bloodlines was inspired by a desire to reimagine the franchise while honouring its legacy. Director Jon Watts, known for his work on the Spider-Man films, pitched the idea of going back in time to explore how Death stalks a single family across generations.
Watts, however, played a pivotal role as a story creator and producer. His one-page pitch reimagining the franchise around a single family line was the conceptual spark that launched Bloodlines. So while he wasn’t behind the camera, his creative DNA is deeply embedded in the film’s structure and themes.
“When I first revisited the Final Destination franchise, I wasn’t interested in repeating the formula—I wanted to reframe it,” says Watts. “I didn’t want to just bring Death back—I wanted to ask what happens when it never really left. Bloodlines was my way of exploring how fate doesn’t just haunt individuals, it haunts families. The idea that a single moment in 1968 could echo through generations felt both terrifying and deeply human.”
“This film is about more than premonitions and elaborate set pieces—it’s about the weight of legacy. I was drawn to the idea that a single moment of survival in 1968 could echo through generations, shaping lives that were never meant to exist.”
It’s a revival that blends nostalgia, innovation, and a touch of theatrical flair
The film shifted the franchise’s focus from random groups of friends to a multi-generational family, giving the story more emotional weight. This change allowed the filmmakers to explore themes of legacy, fate, and inherited trauma, all while delivering the franchise’s signature thrill.
“Bloodlines is my love letter to the franchise—but it’s also a challenge to it. Can we evolve horror without losing its pulse? Can we make you care before we make you scream? I hope we did both,” says Watts.
You can now watch Final Destination: Bloodlines from the comfort of your home! It’s available to rent or buy on several digital platforms, including: Prime Video, Apple TV, YouTube, Fandango at Home, Movies Anywhere and Microsoft Store. If you prefer physical media, a 4K Steelbook, Blu-ray, and DVD edition dropped on July 22, along with a collector’s box set featuring all six Final Destination film
The screenplay
The screenplay for Final Destination: Bloodlines was written by Guy Busick and Lori Evans Taylor, based on a story by Jon Watts, Busick, and Taylor. The writing process was a careful blend of honouring the franchise’s legacy while injecting new emotional depth and narrative structure.
Busick and Taylor approached the script with a clear goal: to evolve the franchise’s formula without losing its identity. They focused on intergenerational storytelling, shifting the narrative from a group of strangers to a single family haunted by Death across decades. This allowed them to explore themes like inherited trauma, fate, and the illusion of control, while still delivering the franchise’s signature suspense and elaborate death sequences.
Busick and Evans Taylor approached Final Destination: Bloodlines with a meticulous focus on set-up and pay-off, treating each death not just as spectacle, but as a narrative puzzle. Their process involved reverse-engineering sequences: starting with a mundane object or setting, then layering in red herrings, misleads, and emotional stakes to build tension before the inevitable strike. The film’s elegant cause-and-effect rhythm wasn’t accidental—it was a deliberate evolution of the franchise’s DNA.
Their process involved:
Reverse-engineering death scenes: Starting with a mundane setting and brainstorming how it could become lethal, often using red herrings to mislead the audience before the real danger strikes.
Layered setups and payoffs: The script is filled with subtle clues and misdirects that reward attentive viewers, building tension through anticipation rather than jump scares.
Emotional stakes: By grounding the story in a family dynamic, the writers gave the audience characters to care about, making each death more impactful.
It’s a great example of how horror writing can be both structurally clever and emotionally resonant.
Final Destination: Bloodlines had a surprisingly collaborative and emotionally grounded cr.
Final Destination: Bloodlines dives deeper than its predecessors by threading its horror through generational trauma, fate, and the illusion of control.
At its core, the film explores how the consequences of cheating Death ripple through time. The original premonition in 1968 sets off a chain reaction, with Death now targeting the descendants of those who were meant to die. This creates a haunting metaphor for how unresolved trauma and guilt can be passed down like a curse.
As with earlier entries, the film wrestles with whether fate can be outwitted. But Bloodlines adds a twist—by tying fate to blood, it suggests that some destinies are inherited, not chosen. The characters’ attempts to break the cycle become a meditation on whether we can ever truly escape what’s been set in motion.
The film continues the franchise’s tradition of transforming everyday environments into death traps. From a high-rise restaurant to a tattoo parlor, the message is clear: safety is an illusion, and Death is always watching.
By focusing on a single family rather than a group of strangers, Bloodlines raises the emotional stakes. The characters aren’t just trying to survive—they’re trying to protect each other, grieve together, and make sense of a legacy they never asked for.
The themes in Final Destination: Bloodlines don’t just shape the story—they sculpt the characters from the inside out, giving their arcs emotional weight and psychological complexity.
Characters aren’t just reacting to Death—they’re grappling with the emotional residue of past tragedies. For example, the protagonist (played by Kaitlyn Santa Juana) inherits not only visions of impending doom but also the guilt and silence that have haunted her family for decades. This theme pushes her from passive survivor to active truth-seeker, determined to break the cycle.
Each character’s arc is a negotiation between surrender and resistance. Some try to outwit Death with logic and planning, while others spiral into fatalism. These opposing responses create tension within the family and force characters to confront their beliefs about destiny. The result? Growth that feels earned, not imposed.
Because danger lurks in the mundane, characters develop heightened awareness—and paranoia. This constant tension strips away their emotional defenses, revealing vulnerabilities and deepening their relationships. A father who once seemed stoic becomes emotionally raw; a sibling rivalry gives way to fierce protectiveness.
By centering the story on a family, the film allows for layered dynamics: generational conflict, buried secrets, and moments of unexpected tenderness. These bonds evolve under pressure, with characters learning to trust, forgive, and sacrifice. It’s not just about who dies—it’s about what survives emotionally.
The result is a horror film where the characters don’t just run from Death—they wrestle with what it means to live meaningfully in its shadow.
There’s no official sequel to Final Destination: Bloodlines announced yet—but all signs point to “yes, eventually.” The film has been a massive success, grossing over $280 million worldwide and becoming the best-reviewed entry in the franchise. Given that momentum, it’s hard to imagine Warner Bros. letting Death rest for long.
Co-director Zach Lipovsky even hinted that while they poured every idea they had into Bloodlines, they’ve already had conversations about a follow-up. He said they wouldn’t move forward unless the next story “demanded to be made,” suggesting they’re waiting for the right concept to strike.
So while Final Destination 7 isn’t confirmed, it’s definitely lurking in the shadows—just like Death itself.
Here’s a quick rundown of Final Destination films 1 through 5, in order of release:
The Final Destination franchise has always revolved around the chilling idea that Death has a design—and if you escape it, it will come for you with relentless precision. But Bloodlines takes that premise and refracts it through a generational lens, transforming the franchise’s episodic structure into a mythology of inherited consequence
Final Destination (2000) High schooler Alex Browning has a terrifying premonition that his plane will explode. He and a few classmates disembark just before takeoff, only for the plane to crash moments later. But Death doesn’t like to be cheated, and the survivors begin dying in bizarre, gruesome ways. Director: James Wong / Screenwriters: James Wong, Glen Morgan, Jeffrey Reddick (story)
Final Destination 2 (2003) Kimberly Corman foresees a massive highway pile-up and blocks traffic, saving several lives. But Death’s design is still in motion, and the survivors must uncover how their fates are connected to the original Flight 180 disaster. Director: David R. Ellis / Screenwriters: J. Mackye Gruber, Eric Bress (based on characters by Reddick, Wong, and Morgan)
Final Destination 3 (2006) Wendy Christensen has a vision of a deadly roller coaster crash and manages to save a few riders. As Death picks them off one by one, she races to decipher clues hidden in photographs that may predict how each person will die. Director: James Wong / Screenwriters: James Wong, Glen Morgan
The Final Destination (2009) After a premonition saves a group of people from a racetrack disaster, Nick O’Bannon and his friends try to stay ahead of Death’s plan. This installment leans heavily into 3D spectacle, with increasingly elaborate and gory set pieces. Director: David R. Ellis / Screenwriters: Eric Bress
Final Destination 5 (2011) A suspension bridge collapse is narrowly avoided thanks to Sam Lawton’s vision. As survivors begin dying, they learn a chilling twist: killing someone else may transfer Death’s design. The film ends with a shocking reveal that ties directly into the events of the first movie. Director: Steven Quale / Screenwriters: Eric Heisserer (based on characters by Reddick, Wong, and Morgan)
Director Profile: Zach Lipovsky & Adam Stein
Known for:Freaks (2018), Kim Possible (2019), Final Destination: Bloodlines (2025) Style: Visually inventive, emotionally grounded, genre-savvy
Zach Lipovsky and Adam Stein are a Vancouver-based directing duo celebrated for blending genre spectacle with emotional storytelling. They first gained attention with their indie sci-fi thriller Freaks, which showcased their ability to craft high-concept narratives on modest budgets. That film’s success led to their co-directing the live-action Kim Possible for Disney, and eventually, the sixth installment of the Final Destination franchise.
Guy Busick
Profession: Screenwriter, Television Writer Notable Works: Ready or Not (2019), Scream (2022), Scream VI (2023), Final Destination: Bloodlines (2025). Guy Busick is an American screenwriter known for his sharp, suspense-driven storytelling and darkly playful tone. He began his career with the thriller Urge (2016) and quickly gained recognition for co-writing Ready or Not, a breakout horror-comedy hit. His collaborations with directors Matt Bettinelli-Olpin and Tyler Gillett continued with the Scream reboot and its sequel. Busick’s work often blends genre thrills with clever subversion, making him a natural fit for reviving the Final Destination franchise.
Lori Evans Taylor
Profession: Screenwriter, Director, Producer Notable Works: Bed Rest (2022), Final Destination: Bloodlines (2025). Lori Evans Taylor began her creative journey in theater, co-founding the SpyAnts company in Los Angeles before transitioning to screenwriting. She made her feature directorial debut with Bed Rest, a Hitchcockian horror-thriller starring Melissa Barrera. Taylor specializes in emotionally grounded horror, often exploring themes of motherhood, trauma, and psychological tension. Her collaboration with Busick on Bloodlines brought a fresh emotional core to the franchise, rooted in legacy and familial dread.
by Daniel Dercksen·Comments Off on Network — A Prophetic Masterpiece of Media Satire
In 1976, Network exploded onto cinema screens with a ferocity that felt both theatrical and eerily real. Written by the razor-sharp Paddy Chayefsky and directed by the ever-introspective Sidney Lumet, the film was a scathing satire of television’s descent into spectacle — a critique that has only grown more relevant with time.
The Creative Minds Behind the Madness
Paddy Chayefsky, already a two-time Oscar winner, crafted a screenplay that was both prophetic and poetic. His dialogue crackled with urgency, capturing the emotional and ethical decay of a media landscape obsessed with ratings. Sidney Lumet, known for his socially conscious storytelling (12 Angry Men, Dog Day Afternoon), brought Chayefsky’s vision to life with a raw, almost documentary-like intensity.
The Story That Shook the Screen
At its core, Network follows Howard Beale, a veteran news anchor who, after being fired, announces on-air that he will kill himself. Instead of being removed, Beale becomes a ratings sensation, transformed into a “mad prophet” by a network hungry for viewership. His iconic cry—“I’m as mad as hell, and I’m not going to take this anymore!”—became a cultural rallying point.
Why It Still Matters
Network wasn’t just ahead of its time—it was clairvoyant. It predicted the rise of infotainment, reality TV, and the commodification of outrage. Chayefsky foresaw a world where truth would be sacrificed for spectacle, and Lumet ensured that vision hit with emotional and intellectual force. The film won four Academy Awards, including Best Original Screenplay, and was later preserved in the U.S. National Film Registry for its cultural and historical significance.
In an age where media manipulation and performative outrage dominate headlines, Network remains not just a film, but a warning. And nearly 50 years later, we’re still watching it unfold.
Thematic Depth of Network
Sidney Lumet’s Network, penned by the uncompromising Paddy Chayefsky, is more than a media satire—it’s a howl of existential dread wrapped in the language of television. Nearly five decades later, its themes remain startlingly prescient, making it a rich subject for any feature article that seeks to interrogate the intersection of media, morality, and madness.
At the heart of Network lies a chilling question: What happens when truth becomes a product? Howard Beale’s descent into televised prophecy is not a cautionary tale about madness—it’s about how madness becomes marketable. The network doesn’t silence him; it monetizes him. This theme resonates today in the age of viral outrage and algorithm-driven content.
One of the film’s most haunting moments is Ned Beatty’s monologue, where he tells Beale, “The world is a business.” This isn’t just a line—it’s a thesis. The film suggests that democracy, individuality, and even morality are illusions in a world governed by corporate interests. It’s a theme that invites comparison to modern tech monopolies and media conglomerates.
Beale’s transformation into the “mad prophet of the airwaves” is a performance—one that blurs the line between authenticity and artifice. The film asks: When does a persona become more real than the person? This theme is especially potent in today’s influencer culture, where curated identities often eclipse lived experience.
Diana Christensen, the ruthless programming executive, embodies the film’s critique of emotional exploitation. She doesn’t just chase ratings—she engineers them by turning human suffering into spectacle. This theme anticipates the rise of reality TV and true-crime sensationalism, where trauma becomes a narrative device.
Perhaps the most paradoxical theme is that Beale’s madness reveals a deeper truth. His rants, though unhinged, cut through the noise. The film suggests that in a world gone insane, the madman may be the only one who sees clearly. It’s a theme that invites reflection on the role of the artist, the outsider, and the whistleblower in society.
Here are some striking contemporary parallels:
Social Media Algorithms & Outrage Economy – Platforms like X (formerly Twitter), YouTube, and TikTok often reward sensationalism over substance. Influencers and commentators who stir controversy or emotional extremes tend to gain traction—mirroring Howard Beale’s transformation into a monetized prophet of rage.
Media Consolidation & Streaming Giants – The dominance of conglomerates like Disney, Amazon, and Netflix reflects Network’s warning about corporate control. With fewer companies owning more content, the illusion of diverse voices masks a homogenized, profit-driven agenda.
Reality TV & Influencer Culture Shows like The Kardashians or Love Island, and platforms like Instagram, thrive on curated personas. Much like Beale’s on-air persona, these identities blur the line between authenticity and performance, raising questions about what’s real and what’s manufactured for attention.
True Crime & Trauma-Based Content – Podcasts and docuseries like The Tinder Swindler or Dahmer – Monster: The Jeffrey Dahmer Story turn real-life suffering into binge-worthy content. Diana Christensen would feel right at home in today’s content strategy rooms.
Satirical News & Fringe Commentary Figures like John Oliver or even some viral TikTok creators use humour or “unhinged” delivery to expose uncomfortable truths. Their popularity suggests that, as in Network, society sometimes trusts the “mad” voices to say what others won’t.
by Daniel Dercksen·Comments Off on When Dinosaurs Dream Again: The Timeless Myth Behind Jurassic Park’s Science
Before CGI roared and animatronics breathed life into ancient bones, Jurassic Park was a question trembling in amber: What if science could resurrect the past? What began as a speculative whisper in Michael Crichton’s imagination soon erupted into a cultural phenomenon that fused hard science with timeless myth. This is the story of how one novel reawakened our primal awe, challenged our belief in control, and transformed dinosaurs from dusty museum relics into cinematic gods of wonder — and warning.
The franchise began with Michael Crichton, who originally conceived a screenplay about cloning a dinosaur from fossil DNA. He later reworked it into the 1990 novel Jurassic Park, blending cutting-edge science with ethical dilemmas about playing god. The book’s central premise — resurrecting dinosaurs through genetic engineering — was both thrilling and cautionary.
Before the novel was even published, Universal Pictures and Steven Spielberg secured the rights. Spielberg’s 1993 film adaptation was a landmark in visual effects, combining animatronics and groundbreaking CGI to bring dinosaurs to life like never before. It became a box office juggernaut, grossing over $1 billion and redefining what blockbuster cinema could achieve.
The success of the original film led to a sprawling franchise: The Lost World: Jurassic Park (1997), Jurassic Park III (2001), the Jurassic World trilogy (2015–2022), which introduced a new generation to the franchise, and Jurassic World: Rebirth (2025).
The franchise also expanded into animated series, theme park rides, video games, and merchandise, becoming a multi-platform ecosystem.
Jurassic Park didn’t just entertain — it revolutionised filmmaking. Its use of CGI inspired directors like George Lucas (Star Wars prequels), James Cameron (Avatar), and Peter Jackson (The Lord of the Rings) to push the boundaries of digital storytelling. It also sparked public interest in palaeontology and bioethics.
Jurassic Park didn’t just bring dinosaurs back to life — it reshaped the DNA of modern filmmaking. After Jurassic Park, directors realised they could visualise the impossible — from Gollum in The Lord of the Rings to the Na’vi in Avatar. It marked the beginning of a new cinematic language where digital and practical effects could coexist to serve story and emotion. Ian Malcolm’s chaos theory isn’t just dialogue — it’s embedded in the film’s structure. The film’s sound design and cinematography — from the thunderous footsteps of the T. rex to the quiet menace of the raptors — emphasise nature’s raw power
Jurassic Park utilises its groundbreaking filmmaking techniques not only for spectacle, but also to deepen its exploration of powerful themes. Its realism reinforces the theme that humans cannot control nature, no matter how advanced their technology. By visualising DNA strands, lab-grown embryos, and high-tech control rooms, the film immerses us in a world where science has outpaced morality.
In essence, Jurassic Park’s techniques don’t just serve the story — they are the story. They embody the very tension between innovation and consequence, spectacle and substance.
To date, the franchise has grossed over $6 billion worldwide, making it one of the most successful film series in history. Its enduring appeal lies in its blend of spectacle, science, and the primal awe of seeing creatures from Earth’s distant past walk again.
The Spark in the Amber: What Drove Michael Crichton to Imagine Jurassic Park
“I realised that dinosaur DNA preserved in amber was a plausible idea — and that children knew the names of dinosaurs better than they knew the names of living animals. That was the spark.” — Michael Crichton
Michael Crichton was inspired to write Jurassic Park by a convergence of scientific curiosity, cultural fascination, and philosophical questioning — all filtered through his signature lens of speculative caution.
The core idea came from real-world research by paleobiologist George Poinar Jr., who discovered that amber could preserve ancient biological material, including cellular structures. Crichton was captivated by the possibility of extracting dinosaur DNA from insects fossilised in amber — a concept that became the novel’s scientific foundation.
Crichton was also struck by how young children could effortlessly name dinosaurs like “Stegosaurus” and “Tyrannosaurus.” In a 1993 interview, he noted how this deep-rooted fascination suggested dinosaurs held a unique place in our collective imagination — a blend of awe, fear, and wonder.
Crichton saw dinosaurs not just as prehistoric creatures, but as symbols of extinction and human vulnerability. He asked, “They’ve become extinct — are we next?” This existential question gave the story its deeper resonance, turning it into a cautionary tale about scientific hubris and the illusion of control.
He was also influenced by classic “lost world” narratives and monster films, but reimagined them through the lens of modern genetic engineering and chaos theory. The result was a story that felt both timeless and urgently contemporary.
Crichton’s thematic blueprint — the collision of scientific ambition with ethical uncertainty — continues to echo powerfully in today’s biotech thrillers. His stories weren’t just speculative; they were prophetic.
Crichton’s hallmark theme — that technological advancement often outstrips our moral frameworks — is alive in modern works like Ex Machina, Annihilation, and The Gene by Siddhartha Mukherjee. These stories, like Jurassic Park, ask: Just because we can, should we?
In Next (2006), Crichton explored gene patenting and the ownership of biological material — a theme that now resonates in debates over CRISPR, DNA databases, and pharmaceutical monopolies.
Crichton’s scientists are rarely villains — they’re flawed, ambitious, and often blind to unintended consequences. This nuanced portrayal is echoed in shows like The Peripheral and Westworld (which Crichton originally wrote and directed), where innovation is inseparable from human error and hubris.
From The Andromeda Strain to Jurassic Park, Crichton warned of systems spiraling beyond control. Today’s biotech thrillers often intersect with climate fiction, exploring synthetic biology, lab-grown ecosystems, and extinction reversal — all haunted by the same question: What happens when nature becomes programmable?
Crichton’s legacy isn’t just in the stories he told — it’s in the narrative architecture he pioneered: speculative science grounded in plausible detail, driven by ethical tension, and wrapped in page-turning suspense.
Jurassic Park is a prime example of how a seed of speculative science can be cultivated into a full-grown narrative ecosystem
Scientific Spark as Seed – Crichton began with a deceptively simple what if: what if extinct DNA could be resurrected? Instead of treating that question like a technical blueprint, he used it as a gateway to philosophical provocation: Should we resurrect it? The amber-encased mosquito becomes a mythic relic — science’s version of Pandora’s box. It took real-world concepts (like gene splicing and cloning) and viewed them through a metaphorical lens, recasting the scientist as Prometheus and the lab as a modern Olympus.
Theme Becomes Architecture – Once the idea was charged with moral and emotional energy, Crichton structured the narrative around a classic cautionary arc: human arrogance → unintended consequences → reckoning. A pristine, enclosed island paradise echoed Eden, designed to appear utopian yet ripe for collapse. Archetypes tested the idea — the visionary (Hammond), the skeptic (Malcolm), the scientist (Sattler), the everyman (Grant). Moments like the “T. rex breakout” embodied the chaos theory that Malcolm warned about. The story didn’t just dramatise science; it mythologised it. DNA became a symbol of both potential and peril.
Emotional and Cultural Resonance – Mythic storytelling thrives when the personal meets the universal. Jurassic Park strikes this chord by tapping intoour ancestral awe of predators and survival instincts. Questioning the ethics of creation, like Mary Shelley’s Frankenstein, only now with velociraptors. Reflecting cultural tensions: technophilia versus naturalism, control versus chaos, profit versus responsibility. Even the score by John Williams — equal parts majestic and haunting — frames the dinosaurs not merely as monsters, but as gods waking from their slumber.
Franchise as Myth Cycle – As the story expanded into sequels and reboots, the core myth persisted but adapted to new fears — not just “man tampering with nature” but “man commodifying nature,” “man losing control,” and eventually, “man becoming prey in his ecosystem.” Much like ancient myths, Jurassic Park evolves with its audience.
A chronological breakdown of the Jurassic Park films
Spotlighting the creative minds behind them, their narrative arcs, and why each one matters in the franchise’s evolution. Each film is a time capsule of its era’s deepest fears — from Cold War control to climate collapse, from corporate greed to genetic manipulation. The dinosaurs may be ancient, but the anxieties they embody are always evolving.
Synopsis: Wealthy industrialist John Hammond invites scientists to preview his island theme park populated with cloned dinosaurs. When the park’s systems fail, chaos erupts.
Significance: A landmark in visual effects and blockbuster storytelling, it redefined cinematic spectacle and introduced ethical questions about genetic engineering. In the wake of the Cold War, the film reflects a shift from nuclear fears to biotechnological overreach. The park’s illusion of control echoes anxieties about unchecked scientific ambition — a modern Frankenstein tale. Ian Malcolm’s chaos theory becomes a philosophical warning: nature cannot be contained, no matter how advanced our systems.
Screenwriter: David Koepp (based on Crichton’s sequel novel)
Synopsis: A second island is revealed where dinosaurs roam free. A rescue mission turns into a disaster when dinosaurs are brought to the mainland.
Significance: Expanded the universe and introduced the idea of dinosaurs as global threats. It also deepened the chaos vs. control theme. As multinational corporations gained power in the ’90s, the film critiques the corporate commodification of nature. The dinosaurs’ relocation to the mainland evokes fears of invasive forces disrupting ecosystems and economies. It also reflects a growing unease with the idea that capitalism will always try to profit from chaos.
Screenwriters: Peter Buchman, Alexander Payne & Jim Taylor
Synopsis: Dr. Alan Grant is tricked into visiting Isla Sorna for a rescue mission, only to face new, more dangerous dinosaurs.
Significance: Though less acclaimed, it introduced the intelligent Spinosaurus and emphasized survival horror over spectacle. Released in a time of technological anxiety (Y2K, 9/11 looming), the film strips away spectacle for a leaner, more primal survival story. The Spinosaurus, a new apex predator, symbolises unpredictable threats that defy expectations — a nod to the fear of unknown dangers in a rapidly changing world.
Screenwriters: Rick Jaffa, Amanda Silver, Derek Connolly & Colin Trevorrow
Synopsis: A fully operational dinosaur theme park faces disaster when a genetically modified hybrid, the Indominus rex, escapes.
Significance: Revitalised the franchise for a new generation, critiquing corporate greed and spectacle culture. In the age of smartphones and viral media, the park is now a consumerist utopia, where dinosaurs are engineered for entertainment. The Indominus rex is a literal hybrid of market demands — bigger, scarier, more thrilling — reflecting fears of technology driven by profit, not ethics. It critiques our obsession with control through innovation, even as it spirals beyond comprehension.
Synopsis: A rescue mission to save dinosaurs from an erupting volcano leads to their release into the human world.
Significance: Shifted the narrative from isolated islands to global consequences, setting up a world where humans and dinosaurs must coexist. The volcanic eruption on Isla Nublar is a clear metaphor for natural catastrophe, echoing real-world climate disasters. The film questions whether humanity has a moral obligation to save species it created — a parallel to debates about conservation and geoengineering. The dinosaurs’ release into the wild signals a loss of ecological boundaries, mirroring fears of irreversible environmental collapse.
Synopsis: Dinosaurs now roam the Earth freely. Legacy characters and new heroes unite to stop a biotech conspiracy threatening global ecosystems.
Significance: Concludes the saga by merging old and new characters, exploring themes of ecological balance and corporate overreach. With dinosaurs roaming the Earth, the film explores a world where genetic power is decentralised and weaponised. The villain isn’t a dinosaur, but a biotech conglomerate manipulating ecosystems — a reflection of real-world concerns about corporate control over food, genetics, and data. It also taps into pandemic-era fears: contagion, mutation, and the fragility of global systems.
Writer: David Koepp (returning from the original Jurassic Park)
Synopsis: Five years after Dominion, Earth’s ecology is inhospitable to most dinosaurs. A covert team led by Zora Bennett (Scarlett Johansson) is sent to a forbidden island to retrieve DNA from three colossal species that may hold the key to a life-saving drug. They encounter mutated dinosaurs and a buried secret from InGen’s past2.
Significance: A soft reboot with a new cast and tone, it returns to suspenseful adventure while exploring biotech ethics and the commodification of life. Early reviews praise its action and visual design, though some critique its character depth. With early details suggesting a mission to retrieve DNA for a life-saving drug, the film appears poised to explore pharmaceutical ethics, biopiracy, and the blurred line between healing and exploitation. The return to a “forbidden island” hints at a reckoning with past sins — a cultural desire to confront the consequences of unchecked innovation.
by Daniel Dercksen·Comments Off on Stronger Than Fiction: The Evolution of Superman on Screen
From the moment he first soared onto the pages of Action Comics #1 in 1938, Superman has stood as a cultural beacon—an emblem of hope, justice, and the boundless potential of storytelling.
His transition from comic panels to the silver screen marks one of the most iconic evolutions in popular culture. What began as a Depression-era power fantasy became, over time, a barometer for the world’s hopes, fears, and shifting moral compass. Across ten major feature films, Superman has embodied everything from Cold War caution to post-9/11 grief, from alienation in an age of surveillance to renewed optimism in fractured times. This cinematic journey doesn’t just chronicle a superhero—it reflects a changing world, refracted through the lens of a man who can fly, but is forever grounded by his humanity.
Jerry Siegel and Joe Shuster were inspired by a potent mix of personal experience, pop culture, and the turbulent world around them. Both sons of Jewish immigrants, they grew up in Depression-era Cleveland, where escapism and dreams of empowerment were lifelines. Their early influences included pulp science fiction, silent film heroes like Douglas Fairbanks, and characters like John Carter of Mars—whose strength on a foreign planet sparked the idea of an alien with superpowers on Earth.
Siegel’s father died during a robbery in 1932, and some believe this tragedy deeply shaped Superman’s origin as a protector who could stop such violence. Early sketches even show Superman saving a man at gunpoint who resembled Siegel’s father. Clark Kent, meanwhile, was a reflection of Siegel and Shuster’s own shy, overlooked personas—mild-mannered on the outside, secretly extraordinary.
Joe Shuster (seated) and Jerry Siegel at work on Superman, in their studio, in 1942.
They also drew from cinema: Clark Kent’s name was inspired by actors Clark Gable and Kent Taylor, while Lois Lane was modeled after fast-talking female reporters like Torchy Blane, played by Glenda Farrell. Metropolis itself was based on Shuster’s hometown of Toronto and named after Fritz Lang’s 1927 film Metropolis.
The character quickly transcended the comic book medium, evolving into a mythic figure whose journey mirrored the aspirations and anxieties of each generation.
In short, Superman was born from a longing for justice, recognition, and transformation—a fantasy of strength and goodness in a world that often felt powerless. Let me know if you’d like to explore how these inspirations echo through the films, too.
His leap from ink to screen began with animated shorts and serials
Those early appearances were instrumental in shaping Superman’s visual and emotional identity for decades to come.
His first true flight into motion came in the Fleischer Studios animated shorts (1941–1943). These gorgeously stylized cartoons introduced the now-iconic phrase “faster than a speeding bullet…” and gave Superman fluid, dynamic motion rarely seen in animation at the time. The rotoscope technique gave his movements weight and grace, while the Art Deco cityscapes emphasized his mythic stature. These shorts weren’t just groundbreaking visually—they also helped establish Superman as a cinematic hero, not just a comic book character.
Following that, he starred in the 1948 and 1950 live-action serials, played by Kirk Alyn. These were cliffhanger-driven adventures that cemented many visual tropes: Superman dashing into a phone booth, leaping into the sky (still animated due to budget constraints), and rescuing the innocent from gangsters and saboteurs. Though modest in production, they brought Superman into neighborhood theaters, creating the first live-action image of the character in the public imagination.
Taken together, these early adaptations laid the groundwork for Superman: The Movie to soar—cinematically, emotionally, and mythologically. Let me know if you’d like to explore how some of the techniques from these early versions echo through the later films or how they could inspire storytelling devices in your own work.
It was 1978’s Superman: The Movie that truly launched him into cinematic legend blending heartfelt humanity with awe-inspiring heroism.
It really was a watershed moment—not just for Superman, but for the entire superhero genre. Richard Donner approached the film not as pulp entertainment, but as modern mythology. With sweeping John Williams scores, Marlon Brando’s sonorous Jor-El, and Christopher Reeve’s earnest duality, Superman: The Movie treated its subject with gravity, wonder, and heart.
The tagline “You’ll believe a man can fly” wasn’t just about visual effects—it was a promise of emotional transcendence. The film invited audiences to rediscover hope in a post-Watergate, post-Vietnam America. It was as much about Clark Kent’s Kansas roots and moral compass as it was about Kryptonian spectacle, anchoring the fantastic in emotional truth.
Over the decades, Superman’s film incarnations have reflected shifting cultural values—from Cold War fears to post-9/11 uncertainty—while continually reimagining his emotional core
Here’s a chronological list of the major Superman films from the first theatrical release to the upcoming 2025 reboot
This retrospective traces that evolution, film by film, revealing how the Man of Steel has remained both timeless and ever-changing.
Superman and the Mole Men (1951)
The first feature-length Superman film, starring George Reeves framed Superman as a defender of the misunderstood, using sci-fi to explore Cold War-era xenophobia. Superman as a moral mediator—compassionate, rational, and protective of the “other.” When mysterious beings emerge from deep underground, Superman must protect them from a fearful, violent town. A parable about prejudice and compassion, it set the tone for Superman as a moral compass in a divided world. It served as a precursor to the Adventures of Superman TV series and introduced Superman as a protector of misunderstood outsiders. It was directed by Lee Sholem from a screenplay by Richard Fielding (pseudonym for Robert Maxwell and Whitney Ellsworth).
Superman: The Movie (1978)
A genre-defining epic that treated Superman with reverence as a mythic savior—pure, principled, and larger-than-life. It established the emotional blueprint for superhero cinema From the fall of Krypton to the rise of a hero on Earth, this sweeping origin story follows Clark Kent as he embraces his destiny. With grandeur and heart, it redefined the superhero genre and introduced Superman as a symbol of hope. Christopher Reeve’s portrayal became iconic, and the film emphasized Superman’s origin and moral compass. It was directed by Richard Donner from a screenplay by Mario Puzo (story), David Newman, Leslie Newman, Robert Benton (screenplay).
Superman II (1980)
Explored Superman’s internal conflict between love and duty. Superman’s choice to become human for love—and the consequences—mirrors the era’s exploration of vulnerability and identity. As Superman chooses love over power, three Kryptonian villains arrive to conquer Earth. The film explores sacrifice, identity, and the burden of being extraordinary in a world that demands both strength and humility. The Donner Cut (released in 2006) later restored the original vision, deepening its emotional and thematic resonance. It was directed by Richard Lester (credited), and Richard Donner (uncredited), from a screenplay by Mario Puzo (story), David & Leslie Newman, Tom Mankiewicz.
Superman III (1983)
Took a more comedic turn with Richard Pryor, which divided fans. A tonal shift toward comedy. Its split-Superman arc offered a metaphor for moral duality, though it was divisive among fans. A rogue computer genius creates synthetic kryptonite, splitting Superman into his noble and corrupted selves. This internal battle becomes a metaphor for moral conflict and the fragility of virtue. The synthetic kryptonite plot becomes a metaphor for moral compromise in a consumer-driven world. It’s notable for exploring Superman’s darker side through a split-personality arc. It was directed by Richard Lester from a screenplay by David & Leslie Newman.
Superman IV: The Quest for Peace (1987)
A passion project for Reeve, tackling nuclear disarmament. Despite noble intentions, it was hampered by budget cuts and poor execution. Haunted by humanity’s self-destruction, Superman vows to eliminate nuclear weapons. But his idealism is tested by a new enemy born of his own DNA. A flawed yet earnest plea for global responsibility. Superman’s attempt to rid the world of nuclear weapons reflects a desperate hope for peace, though the execution falters. It marked the end of the Reeve era. It was directed by Sidney J. Furie from a screenplay by Lawrence Konner, Mark Rosenthal, story by Christopher Reeve.
Superman Returns (2006)
A spiritual sequel to Superman II, it honored Donner’s tone and aesthetics. Superman returns to a world that’s moved on, echoing themes of displacement and the search for relevance in a changed emotional landscape. Though visually elegant, it struggled to connect with modern audiences.After a mysterious absence, Superman returns to find the world—and Lois—have moved on. As he faces a new threat from Luthor, he must rediscover his place in a world that may no longer need him. Brandon Routh’s Superman was melancholic and reflective, though the film underperformed commercially. It was directed by Bryan Singer from a screenplay by Michael Dougherty, Dan Harris, story by Singer, Dougherty, Harris.
Man of Steel (2013)
A gritty reboot that reimagined Superman as a conflicted outsider. Clark’s struggle to find his place mirrors a generation grappling with inherited trauma and moral ambiguity. It emphasized identity, trauma, and the burden of power. Rebooted the franchise with a darker, more grounded tone. In this reimagined origin Clark Kent wrestles with his alien heritage and human upbringing. When Zod arrives to reshape Earth into Krypton, Superman must choose between his past and his adopted world. Henry Cavill’s Superman wrestled with identity and responsibility, setting the stage for the DCEU. It was directed by Zack Snyder from a screenplay by David S. Goyer, story by Goyer & Christopher Nolan.
Batman v Superman: Dawn of Justice (2016)
Positioned Superman as a controversial messianic figure. The film interrogated fear, power, and sacrifice in a post-9/11 world. Superman’s godlike power divides public opinion, drawing the ire of a vengeful Batman. Their ideological clash is manipulated by Luthor, culminating in a tragic sacrifice that redefines heroism. Superman becomes a symbol of contested morality—worshipped and feared—mirroring societal divisions and the burden of being “too good.” With Henry Cavill as Superman and Ben Affleck as Batman. His clash with Batman reflected post-9/11 anxieties about power and accountability. It was directed by Zack Snyder from a screenplay by Chris Terrio, David S. Goyer.
Justice League (2017) / Zack Snyder’s Justice League (2021)
The 2021 Snyder Cut restored Superman’s resurrection arc with mythic gravitas, contrasting the lighter, disjointed 2017 version. In the wake of Superman’s death, Earth faces a cosmic threat. His resurrection becomes a turning point, restoring unity among heroes and reaffirming Superman’s role as a beacon of hope. The Snyder Cut deepens this arc with mythic gravitas. Feauring Henry Cavill as Superman, it was directed by Zack Snyder (2021), Joss Whedon (2017 reshoots), from a screenplay by Chris Terrio (2021), Joss Whedon (2017).
Superman (2025) – Superman: Legacy
A fresh reboot launching the new DC Universe. Gunn’s vision promises a hopeful, emotionally grounded Superman who bridges alien heritage with human empathy. With David Corenswet as Superman/Clark Kent. It promises to balance Superman’s alien heritage with his human upbringing, focusing on hope and idealism in a fractured world. It explores Clark’s dual identity—alien and human—as he navigates a cynical world with unwavering idealism. Positioned to reintroduce Superman as a symbol of hope, empathy, and moral clarity in a fractured age.Written and directed by James Gunn, whose vision repositions Superman as a beacon of kindness and moral clarity in a world overwhelmed by noise and doubt.
by Daniel Dercksen·Comments Off on Die Seemeeu: Reimagining Chekhov in Afrikaans
Christiaan Olwagen described his adaptation of Die Seemeeu as “a modern reflection of the Afrikaner in an ancient Russian mirror”. This quote captures his intent to use Chekhov’s timeless themes—artistic longing, emotional inertia, and existential drift—as a lens through which to examine Afrikaner identity during South Africa’s early 1990s transition.
Olwagen emphasised the Afrikaner psyche’s tendency to “neul oor die lot van die lewe” (brood over the fate of life), especially when isolated with family and forced into confrontation. That introspective, often melancholic tone is central to the film’s emotional landscape.
The film refracts Chekhov’s melancholia through the fractured lens of a post-apartheid identity crisis. The yearning of Irene, the volatility of Konstant, the brittle hope of Nina—they don’t merely echo Russian archetypes; they expose the scars and silences of a society wrestling with its own artistic and cultural reinvention.
You can stream Die Seemeeu on Showmax in South Africa. The platform offers the film as part of its catalogue of local dramas, and it’s available with Afrikaans audio and English subtitles.
Crafting Die Seemeeu
Co-written with Saartjie Botha, the film transposes the original’s themes of artistic longing, romantic disillusionment, and existential inertia to a Karoo farmstead in the early 1990s—a time of cultural and political transition in South Africa.
Olwagen retains the play’s ensemble structure and emotional complexity but infuses it with local resonance. The characters—now Afrikaans artists, writers, and dreamers—grapple with fading relevance, fractured relationships, and the ghosts of a collapsing cultural order. Sandra Prinsloo plays Irene (a reimagined Arkadina), a fading theatre diva navigating a world where state-funded arts institutions are dissolving, while Albert Pretorius’s Konstant wrestles with creative failure and maternal neglect.
Tonally, the film is melancholic and introspective, marked by long takes, static compositions, and emotionally charged silences. Olwagen’s theatrical roots are evident in the blocking and rhythm, but the film embraces cinematic language through Chris Vermaak’s cinematography and Rocco Pool’s production design, which heighten the sense of isolation and emotional stasis.
Here’s a breakdown of how Christiaan Olwagen and Saartjie Botha reinterpreted Chekhov’s characters in Die Seemeeu to reflect the South African context of the early 1990s:
In Olwagen’s version, Irene (Arkadina) is a once-celebrated Afrikaans stage actress grappling with the collapse of state-funded theatre. Her vanity and emotional volatility mirror Chekhov’s Arkadina, but in this context, she also embodies the disorientation of an artist whose cultural relevance is slipping away in post-apartheid South Africa.
Konstant (Treplev) – The Disillusioned Young Artist becomes a frustrated young filmmaker, desperate to break free from the conservative artistic traditions of his mother’s generation. His creative angst is amplified by the political transition—he’s not just rebelling against form, but against a cultural identity in crisis.
Nina – The Idealist Seeking Meaning, is reimagined as a young woman from a rural background, still dreams of artistic greatness. But in this version, her naiveté is tinged with a longing for reinvention in a society where old hierarchies are dissolving. Her fate reflects the vulnerability of those who chase relevance in a shifting cultural landscape.
Trigorin – The Established Writer, becomes a successful Afrikaans novelist whose fame is rooted in the old order. His relationship with Irene and flirtation with Nina reflect not just personal weakness, but the seductive pull of nostalgia and the difficulty of letting go of privilege.
Sorin – The Disillusioned Patriarch, Irene’s brother, is portrayed as a retired civil servant or bureaucrat—someone who once held authority in the apartheid regime but now finds himself irrelevant. His melancholy is not just existential, but historical.
This adaptation doesn’t just localize Chekhov’s characters—it uses them to interrogate Afrikaner identity at a moment of profound cultural reckoning.
Die Seemeeu is not just an adaptation—it’s a cultural translation. It reflects on Afrikaner identity, the role of art in a changing society, and the universal ache of unfulfilled longing.
Christiaan Olwagen’s Die Seemeeu is a masterful reimagining of Chekhov’s The Seagull, transplanted to a 1990s South African farmstead where the ghosts of Afrikaner identity linger in every silence. Co-written with Saartjie Botha, the film retains the original’s emotional architecture while infusing it with local specificity, turning existential malaise into a meditation on cultural dislocation. Sandra Prinsloo is magnetic as Irene, a fading theatre diva whose vanity masks a deep fear of irrelevance. Albert Pretorius delivers a raw, wounded performance as her son Konstant, a young filmmaker desperate to escape the artistic and emotional gravity of his mother’s world. The ensemble cast—many reprising their roles from Olwagen’s stage production—brings a lived-in intensity to the film’s ensemble dynamics. Olwagen’s direction is restrained yet emotionally charged. Long takes and static compositions evoke theatrical intimacy, while the Afrikaans dialogue—sharp, brittle, and often brutal—cuts deeper than its English subtitles can fully convey. The result is a film that feels both timeless and urgently local, a portrait of artists and families unravelling in the face of change. Die Seemeeu doesn’t offer catharsis. Instead, it holds up a mirror—cracked, compassionate, and unflinching to a society caught between nostalgia and reinvention.
by Daniel Dercksen·Comments Off on A Kind Of Madness: Christiaan Olwagen’s Poignant Masterpiece
In A Kind of Madness, Christiaan Olwagen trades theatrical bravado for something far more fragile—and quietly devastating. “Art is entertainment, but it’s also therapy,” he’s said, and that ethos pulses through every frame of this meditative film. Centering on a 70-year-old man who absconds with his dementia-stricken wife from a retirement facility, the story becomes less a road trip and more a reverent elegy to shared memory, fractured identity, and the blurry lines between compassion and control.
In A Kind of Madness, Christiaan Olwagen crafts a quietly devastating portrait of love in its twilight—where memory falters but devotion endures. The film follows a 70-year-old man who abducts his dementia-stricken wife from a retirement home, embarking on a fugitive road trip that’s less about escape and more about preservation. As they drift along the South African coast, pursued by their adult children, the journey becomes a meditation on identity, autonomy, and the aching beauty of shared history. Olwagen’s restrained direction allows the emotional weight to settle slowly, like dust on old photographs. Sandra Prinsloo and Ian Roberts deliver performances of aching vulnerability, their chemistry evoking a love that’s both youthful and weathered. The film resists sentimentality, instead offering a raw, humane look at what it means to love someone who no longer remembers you—and the madness we might embrace to keep that love alive.
A meditation on love in its twilight years, and the madness we might embrace to hold onto it
The inspiration behind A Kind of Madness seems rooted in deeply personal and universal themes of love, memory, and aging. While director Christiaan Olwagen hasn’t publicly cited a specific real-life event as the basis, the film explores the emotional terrain of dementia and the lengths one might go to preserve a sense of connection when memory begins to fade.
Olwagen, known for his theatrical sensibilities and emotionally layered storytelling, brings a slightly different tone to this English-language debut. His past collaborations with lead actress Sandra Prinsloo, and his background in stage productions, likely influenced the film’s intimate, character-driven approach.
Known for his bold, often irreverent work in Afrikaans theatre and film—like Kanarie and Poppie Nongena—Olwagen’s move into English-language cinema with A Kind of Madness marks a notable evolution in tone and audience reach.
His theatrical roots are evident in the film’s intimate character focus and emotionally charged dialogue, but there’s a quiet restraint here that feels new. It’s as if he’s channeling his signature intensity through a more subdued, contemplative lens—perhaps to mirror the fragility of memory and identity at the heart of the story.
Interestingly, his recent English-language stage work, such as his direction of Hedda Gabler at the Baxter Theatre, suggests he’s been gradually expanding his linguistic and stylistic palette.
Christiaan Olwagen’s tonal evolution across his films
In Johnny is nie dood nie (2016), Olwagen delivered a raw, nostalgic portrait of post-Apartheid disillusionment through the lens of a group of friends mourning a lost comrade. The tone was intimate yet chaotic, blending dark humor with existential angst. It felt like a cinematic stage play—dialogue-heavy, emotionally volatile, and deeply rooted in Afrikaans cultural memory.
Then came Kanarie(2018), a coming-of-age musical drama set during South Africa’s military conscription era. While still theatrical in structure, it introduced a more lyrical, emotionally tender tone. The film balanced satire and sincerity, using music as both a narrative device and emotional release. It marked a shift toward more accessible, emotionally resonant storytelling.
By the time we reach Poppie Nongena (2019), Olwagen had embraced a more restrained, cinematic style. The film, based on Elsa Joubert’s novel, is a historical drama that foregrounds quiet resilience over theatricality. It’s visually composed, emotionally devastating, and signals his growing confidence in letting silence and subtext carry weight.
Die Seemeeu (2018), a South African adaptation of Anton Chekhov’s The Seagull, marks a pivotal moment in his tonal evolution, bridging his theatrical roots with a more cinematic, introspective language. What distinguishes Die Seemeeu is its layered theatricality: long takes, static compositions, and emotionally charged silences evoke the stage while embracing the visual grammar of film. Olwagen leans into emotional ambiguity and existential drift, using the characters’ creative frustrations and romantic entanglements to mirror a society in transition.
Now, with A Kind of Madness, he seems to have distilled all these elements—emotional honesty, theatrical intimacy, and cinematic restraint—into a mature, contemplative tone. It’s less about provocation and more about presence. A filmmaker once known for his boldness now invites us to sit with the quiet ache of memory and love.
Christiaan Olwagen’s writing process is deeply personal, intuitive, and often rooted in memory, identity, and emotional excavation
He began writing and directing plays as early as age 14, and his academic background—studying drama at Stellenbosch University—shaped his analytical approach to adaptation and narrative structure.
Olwagen frequently draws from his own life. His stage play Dogma, for instance, was a raw depiction of his family’s experience with his father’s multiple sclerosis and the complexities of being a Dutch Reformed pastor’s son. This willingness to mine personal history gives his work emotional authenticity.
His early training in theatre instilled a love for dialogue-driven storytelling. Even in his films, you’ll notice a stage-like intimacy—characters often engage in emotionally charged conversations in confined spaces, reflecting his comfort with theatrical dynamics.
While he often writes original material, Olwagen also adapts existing works with a distinct voice. For example, The Seemeeu is a South African reimagining of Chekhov’s The Seagull, tailored for local audiences. His adaptations are never just translations—they’re reinterpretations that reflect contemporary South African realities.
In his own words, he’s driven by an “overactive imagination” that demands creative expression. If he doesn’t channel it into writing or directing, it becomes anxiety-inducing. That urgency fuels his prolific output and emotional depth. Olwagen sees art as both entertainment and therapy. He’s interested in confronting uncomfortable truths—about society, family, and self—and believes storytelling can spark necessary dialogue.
In A Kind of Madness, Christiaan Olwagen’s writing process is on full display—layered, emotionally precise, and deeply character-driven. The screenplay unfolds like a quiet elegy, using minimal exposition and rich subtext to explore themes of memory, autonomy, and enduring love.
A Kind of Madness was co-written by Christiaan Olwagen and Wessel Pretorius
Their collaboration brings together two distinct but complementary voices in South African theatre and film.
Pretorius, known for his emotionally incisive writing and solo performance work (Die dag is bros, Ont), shares Olwagen’s fascination with memory, identity, and the fragility of human connection. Their partnership likely deepened the film’s emotional complexity, especially in its portrayal of love under cognitive decline.
While Olwagen often writes solo, this collaboration suggests a deliberate choice to bring in another perspective—perhaps to balance the script’s intimacy with a broader emotional architecture. The result is a screenplay that feels both deeply personal and theatrically precise.
The collaboration between Christiaan Olwagen and Wessel Pretorius on A Kind of Madness is a fusion of two emotionally incisive voices—each with a distinct rhythm, but a shared sensitivity to the fragility of human experience.
Pretorius, known for his solo performance Ont- (Undone), brings a poetic minimalism and raw vulnerability to his writing. His work often explores identity, grief, and queer embodiment through fragmented monologues and emotionally charged silences. This complements Olwagen’s more structured, theatrical sensibility, which leans into ensemble dynamics and visual storytelling.
In A Kind of Madness, you can feel Pretorius’s influence in the film’s lyrical pacing and emotional restraint. Scenes unfold like memory fragments—elliptical, intimate, and often unresolved. The dialogue is spare but loaded, echoing Pretorius’s stage work where what’s unsaid carries as much weight as what’s spoken.
Olwagen, meanwhile, grounds the film in cinematic rhythm and visual composition. His direction gives Pretorius’s introspective writing a broader emotional architecture—anchoring the story in place and time without losing its dreamlike quality.
Together, they create a screenplay that feels both deeply personal and theatrically precise: a love story told in whispers, where memory is both the map and the terrain.
In A Kind of Madness, Christiaan Olwagen doesn’t just tell a story—he offers a quiet act of witnessing. “Art is entertainment, but it’s also therapy,” he once said, and by the film’s final frame, that belief feels less like a statement and more like a benediction. What begins as a desperate escape becomes a meditation on love’s persistence in the face of erasure. We’re left not with answers, but with a question that lingers like a half-remembered song: When memory fades, what remains of us—and who will remember it?
Christiaan Olwagen is a South African writer, director, and playwright known for his emotionally resonant storytelling and theatrical sensibilities. Born in 1987 in Cape Town and raised in Pretoria, he began writing and directing plays at the age of 14—a passion that would shape his entire creative trajectory. He studied drama at Stellenbosch University, where his honors thesis focused on adaptations of Shakespeare’s Hamlet under the mentorship of Marthinus Basson. During his university years, he also attended a writing school and began crafting his own texts, often directing them himself. His early stage work, such as Woza Andries and Dogma, earned critical acclaim for their raw emotional honesty and innovative use of improvisation. Olwagen’s transition to film was marked by the same intensity and introspection that defined his theatre. His filmography includes Johnny is nie dood nie (2016), Kanarie (2018), Poppie Nongena (2020), and most recently, A Kind of Madness. He often writes or co-writes his screenplays, ensuring a cohesive vision from script to screen. He’s received numerous accolades, including the Fleur du Cap Award for Most Promising Student (2008), the Kanna Award for Best Production (Dogma), and the kykNET Silwerskerm Award for Best Screenplay (Toevlug).
Wessel Pretorius is a South African playwright, actor, and screenwriter celebrated for his emotionally raw, poetic storytelling and fearless exploration of identity, memory, and queer embodiment. He first gained national attention with his solo stage play Ont- (Undone), a deeply personal and stylistically bold monologue that earned him multiple awards and established his voice as one of the most distinctive in contemporary South African theatre. Pretorius studied drama at the University of Stellenbosch, where he began developing his unique blend of lyrical minimalism and emotional intensity. His work often blurs the line between autobiography and fiction, using fragmented narrative structures and evocative imagery to explore themes of grief, intimacy, and the body as archive. In addition to his solo work, Pretorius has collaborated extensively in theatre and film. His partnership with Christiaan Olwagen on A Kind of Madness marked a significant moment in his screenwriting career, blending his introspective style with Olwagen’s cinematic precision. The result is a screenplay that feels both theatrically intimate and emotionally expansive.
by Daniel Dercksen·Comments Off on From Life to Line: The Art of Transforming Experience into Narrative
To tell a personal story is to walk a tightrope between exposure and intention. Whether framed by the intimacy of prose or the immediacy of the screen, these narratives demand more than recollection—they require a deliberate act of construction. Behind each beat lies a careful balance of what’s revealed and what’s held back, shaped not only by emotional truth but by how that truth is architected.
Crafting a personal story—especially for screen or page—is a delicate interplay of vulnerability, precision, and emotional architecture
It’s not simply about recounting events; it’s about shaping raw experience into something deliberate and resonant. Vulnerability invites the audience into the private chambers of memory, while precision ensures each word, gesture, or image serves a larger emotional truth. And like any structure built to carry weight, emotional architecture determines how those truths are scaffolded—what holds, what bends, and what ultimately breaks open.
Yet this act of transformation is not without its risks. To narrate one’s life—or a life imagined with fragments of one’s own—is to thread emotion through form, intuition through technique. It asks the writer to sit with uncertainty long enough for meaning to cohere, to distinguish feeling from flourish, and to choose not just what to say, but how to say it with integrity. Especially in mediums where silence, timing, and subtext shape interpretation, the challenge lies in balancing artistic control with emotional surrender.
The First Steps of Crafting a Personal Story
Before a single word is written, there’s a quieter beginning—one that takes shape in the writer’s interior landscape. It’s the moment of recognition that a particular memory, emotion, or question has weight. The first steps aren’t about plot points or narrative arcs; they’re about listening inward, locating the heartbeat of what needs to be told. Whether it arrives as a scene, a line of dialogue, or a fleeting image, it marks the threshold where lived experience begins to take on form.
These early choices—what to include, what to protect, what to emphasize—lay the emotional and structural foundations of the story. They ask the writer to clarify intent: Is this confession, exploration, transformation? Is it meant to confront, soothe, or connect? The process demands courage and clarity in equal measure, as every decision will ripple through the narrative’s spine.
Begin with emotional truth
Start by asking: What feeling won’t let you go? The best personal stories aren’t always autobiographical—they’re emotionally authentic. Emotional authenticity is what transforms a personal anecdote into something resonant and lasting. You can write about a place you’ve never been, a time you never lived through, or a character utterly unlike yourself—and still reveal something deeply true about your inner world. When emotions are genuine, the story resonates. That’s why a fictional scene about a family at war with itself can feel more honest than a memoir; because the writer bled something real into the cracks between the plot
Shape memory into narrative
Real life is messy. Stories need shape. Choose the moments that best express the arc you want to tell: rise, fall, reckoning, and transformation. It’s not about documenting everything—it’s about distilling what matters.In storytelling, we’re not historians; we’re sculptors. We take the raw stone of memory or imagination and chip away until only the essential remains. A glance instead of a monologue. A door closing instead of a breakdown. The mess still lives underneath—but the structure lets an audience feel it without getting lost in it.
Create distance through invention
Fiction can protect and empower. When you bend the facts, you often get closer to the emotional core. Absolutely. There’s something paradoxically honest about reshaping the truth. When you’re no longer bound by what happened, you’re free to tell the story of what it felt like. And often, that’s the part readers connect to most. It’s especially powerful for writers processing real events—trauma, longing, regret. Fiction lets you step to the side of your own experience, give it a new shape, and examine it from safer angles. It grants control without requiring detachment. Think of how a fabricated town can hold your real childhood, or how a fictional character can grieve in the way you never could. That emotional distance becomes a lens, focusing the truth rather than distorting it.
Anchor your story in character
Your characters are emotional surrogates. They let the audience feel with you, not just for you. Exactly. Characters don’t just tell your story—they embody it. They allow readers or viewers to experience your inner world through external actions, gestures, silences, and contradictions. When you give a character your shame, your longing, or your stubborn hope, they carry that emotional weight for you, often more clearly and powerfully than memoir ever could. It’s not about making the audience pity them. It’s about making them recognise themselves in the echo. That’s why even the smallest choices—how a character avoids eye contact, or hesitates before saying goodbye—can land like emotional thunder. Because when those moments are grounded in something real, your audience doesn’t just understand. They feel it in their chest.
Don’t be afraid to confront the ugly
Personal stories are rarely clean. Betrayal, grief, shame—these things live in the corners. that’s where the richest storytelling often hides. The corners. The unfinished conversations, the glances that last too long, the silence after someone leaves the room. These are the moments that fiction can hold with such tenderness—because it doesn’t need to resolve them. It just needs to recognize they’re there. Personal stories that embrace those jagged edges invite readers into a deeper intimacy. They don’t tell us what to feel—they let us feel with the storyteller. And often, it’s in the quiet mess of betrayal or the blur of grief that something universal takes root.
When crafting a personal story—especially one rooted in emotion and memory—there are some key pitfalls to watch for
Over-explaining emotions Let the audience feel rather than be told what to feel. Trust in your characters’ actions, the subtext in dialogue, and the silence between lines to do some of the emotional heavy lifting.
Getting lost in the literal You don’t need to recount events exactly as they happened. Rigid loyalty to facts can dilute emotional truth. If a fictional shift gets you closer to what it felt like, go there.
Holding back the hard stuff It’s tempting to protect your characters (and yourself). But the moments you’re hesitant to explore—shame, failure, betrayal—are often where the story’s honesty lives. Lean into the discomfort.
Writing for approval instead of expression Trying to sound “literary” or “impressive” can flatten your voice. Personal stories work best when they’re written with clarity and emotional precision, not polish for polish’s sake.
Tying it up too neatly Real stories don’t always end with resolution—and that’s okay. Let ambiguity breathe if it’s honest. Sometimes the most powerful ending is a question that lingers.
Some of the most powerful personal stories come from writers who dared to fictionalise their truths
Screenwriters
Gillian Flynn – Gone Girl: Flynn drew on her own experiences with media culture and gender expectations to craft this razor-sharp thriller. While not autobiographical, the emotional undercurrents—resentment, reinvention, and the masks we wear—are deeply personal.
Noah Baumbach – The Squid and the Whale: A semi-autobiographical film about his parents’ divorce, Baumbach’s script is raw, awkward, and emotionally precise. It captures the confusion of adolescence with unflinching honesty.
Mike Mills – Beginners: Inspired by his father coming out late in life, Mills wrote a tender, visually poetic film about identity, love, and generational silence. It’s a masterclass in using fiction to process grief and joy simultaneously.
Greta Gerwig – Lady Bird: Gerwig has said the film isn’t strictly autobiographical, but it’s emotionally true. Her depiction of a mother-daughter relationship in Sacramento is filled with specificity and heartache that clearly comes from lived experience.
Novelists
James Baldwin – Go Tell It on the Mountain: Baldwin’s debut novel is a deeply personal exploration of faith, family, and identity, drawn from his own upbringing in Harlem. It’s both a coming-of-age story and a spiritual reckoning.
Karl Ove Knausgård – My Struggle series: This six-volume autobiographical novel series is a radical act of personal exposure. Knausgård writes with brutal honesty about fatherhood, failure, and the mundane beauty of life.
Maya Angelou – I Know Why the Caged Bird Sings: A memoir written with the lyricism of fiction, Angelou’s account of her early life is a landmark in personal storytelling—unflinching, poetic, and transformative.
Ocean Vuong – On Earth We’re Briefly Gorgeous: Though technically a novel, Vuong’s debut reads like a letter to his mother and a meditation on inherited trauma, queerness, and language. It’s a stunning example of emotional authenticity through fiction.
Poets
Sylvia Plath – Her collection Ariel is a searing example of emotional authenticity. Plath transformed personal anguish into mythic, lyrical force—writing not just about her life, but through it.
Ocean Vuong – In both his poetry (Night Sky with Exit Wounds) and his novel, Vuong explores grief, queerness, and inherited trauma with aching precision. His work is a masterclass in how personal history can become universal through image and rhythm.
Anne Sexton – A pioneer of confessional poetry, Sexton wrote candidly about mental illness, motherhood, and desire. Her poems are raw, intimate, and often unsettling—because they don’t flinch.
Langston Hughes – While not confessional in the modern sense, Hughes infused his poetry with the rhythms and realities of Black American life. His personal and cultural identity shaped every line.
Sharon Olds – Known for her fearless honesty, Olds writes about family, sexuality, and the body with visceral clarity. Her poems often feel like emotional X-rays, revealing what lies beneath polite surfaces.
by Daniel Dercksen·Comments Off on Screenwriter Kevin Williamson’s Most Personal Story Yet Rises with The Waterfront
Kevin Williamson made his name turning teen angst into existential poetry and reinventing horror with a wink. But with The Waterfront, the veteran screenwriter trades irony for intimacy, peeling back the layers of Southern charm to reveal something rawer—and far closer to home. Set in a coastal town haunted by its history, the Netflix original marks Williamson’s most autobiographical work to date, drawing on memories of his father’s real-life descent into drug smuggling and his own coming-of-age in rural North Carolina.
The Waterfront was created and written by Kevin Williamson, best known for Scream, Dawson’s Creek, and The Vampire Diaries. He also served as the showrunner and executive producer.
Rooted in emotional truth and told through the lens of slow-burn noir, The Waterfront doesn’t just reflect the writer’s past—it reckons with it.
Kevin Williamson’s collaboration with The Waterfront writing team was rooted in emotional transparency, creative trust, and a shared commitment to character-first storytelling. He didn’t just lead the room—he opened it up.
According to interviews, Williamson began by sharing his own family history, setting the tone for a deeply personal series. This vulnerability encouraged the other writers—like Michael Narducci, Brenna Kouf Jimenez, and Hannah Schneider—to bring their own emotional truths into the room.
He emphasised that every plot point should emerge from character psychology. Writers were encouraged to ask not “What happens next?” but “What does this character feel, and what would they do because of it?” That approach shaped the show’s slow-burn tension and moral complexity.
Williamson also mentored through example. Writers described watching him break story arcs aloud, acting out scenes and tweaking dialogue until it rang emotionally true. He was known for saying, “There are no bad ideas—just ideas that need shaping,” creating a space where bold pitches could evolve without fear of failure.
And while he polished scripts and co-wrote key episodes—including the finale with Narducci—he was careful to preserve each writer’s voice. The result is a series that feels cohesive yet textured, with each episode carrying the emotional fingerprint of its writer, all under Williamson’s steady hand.
Kevin Williamson was inspired to write The Waterfront by his own father’s life story
His dad was a fisherman in North Carolina who, during the economic downturn of the 1980s, got involved in drug smuggling to support the family. Williamson described him as “a good man who did some bad things” — a theme that echoes throughout the series.
The show’s fictional Buckley family and their crumbling fishing empire are rooted in Williamson’s memories of growing up in a tight-knit coastal community. He said the story is “a little bit of a memory piece,” blending nostalgia with a modern Southern noir twist. Interestingly, he’d wanted to tell this story for years, but his father once told him, “Wait till I’m dead.” He even joked that his dad wanted Kevin Costner to play him — instead, Holt McCallany took on the role, which Williamson said was “perfect casting”.
It’s a deeply personal project for him — not just a crime drama, but a reflection on family, legacy, and the moral gray areas people navigate when survival is on the line.
The Waterfront is steeped in Kevin Williamson’s personal history—so much so that he’s called it “a memory piece.” Here are the key elements drawn from his life:
His father’s past: The character of Harlan Buckley is inspired by Williamson’s own father, a fisherman in North Carolina who turned to drug smuggling in the 1980s when the fishing industry collapsed. Williamson has said his dad was “a good man who made a bad decision,” and that real-life charge—conspiracy to traffic over 20,000 pounds of marijuana—was even echoed in Dawson’s Creek through Joey Potter’s father2.
The coastal setting: The fictional town of Havenport mirrors the small fishing communities where Williamson grew up. He infused the show with the sights, sounds, and struggles of those towns, from the docks to the family-run restaurants4.
Family dynamics: The Buckleys’ tangled relationships reflect Williamson’s own experiences with a tight-knit but complicated family. The matriarch Belle is based on his mother, whom he credits with keeping their family afloat during hard times.
Themes of legacy and survival: Williamson has said the show is about “a broken family trying to fix themselves and not really knowing how.” That emotional core—of people doing morally gray things to protect what they love—comes straight from his reflections on his upbringing.
It’s not a direct autobiography, but it’s deeply personal.
Kevin Williamson during the filming of The Waterfront. Copyright: NETFLIX
Kevin Williamson’s personal history doesn’t just inform The Waterfront—it breathes life into its characters
Here’s how his real-life experiences shaped some of the key figures:
Harlan Buckley (played by Holt McCallany) is a direct reflection of Williamson’s father, Wade. Like Wade, Harlan is a fisherman who turns to drug smuggling when the industry collapses. Williamson has said McCallany’s portrayal captured his father’s essence so well that it felt like “perfect casting”2.
Belle Buckley (Maria Bello) draws from Williamson’s mother, Faye. Belle is the no-nonsense matriarch who holds the family together through crisis—just as Faye did when Wade was arrested. Williamson credits his mother’s strength and resilience as the emotional backbone of the story.
Bree Buckley (Melissa Benoist), the recovering addict trying to reclaim her place in the family, channels Williamson’s own feelings of being the “small-town weirdo” who didn’t quite fit in. He’s described Bree as the “truth teller” of the family—someone who says the hard things out loud, much like he did growing up.
Cane Buckley (Jake Weary), the son who takes over the family business and makes morally gray choices, represents the burden of legacy and the desperation Williamson witnessed in his community when livelihoods vanished. Cane’s choices echo the same pressures that led his father to crime.
Melissa Benoist, Maria Bello, Holt McCallany and Jake Weary. Copyright: NETFLIX
Kevin Williamson’s writing style is deeply shaped by his personal experiences—especially his upbringing in coastal North Carolina and his complex family history
Here’s how that influence shows up on the page:
Emotional authenticity: Williamson often writes characters who are emotionally raw, conflicted, and morally gray. That comes from his own life—growing up in a tight-knit but struggling family, watching his father make difficult choices, and navigating his own identity in a conservative town.
Dialogue that cuts deep: He’s known for sharp, emotionally charged dialogue. In The Waterfront, for example, characters often say the things others are afraid to—mirroring Williamson’s own role in his family as the one who “called things out,” especially during times of crisis.
Themes of survival and legacy: Whether it’s Scream, Dawson’s Creek, or The Waterfront, his stories often center on people trying to survive—emotionally, economically, or physically—while grappling with the weight of their past. That’s a direct reflection of his father’s downfall and his mother’s resilience.
Genre with heart: Even in horror or thriller formats, Williamson injects personal stakes and emotional depth. He’s said that when he stopped writing what he cared about, his work suffered. The Waterfront marked a return to writing from the heart, and it shows in the layered storytelling and grounded characters.
His style is a blend of Southern storytelling, genre-savvy structure, and deeply personal truth.
Kevin Williamson’s style shares some DNA with classic Southern writers, but he also carves out his own lane—one that blends Southern gothic roots with pop-culture savvy and genre storytelling.
Like William Faulkner or Flannery O’Connor, Williamson explores themes of family dysfunction, moral ambiguity, and the weight of legacy. His characters, like theirs, often wrestle with guilt, pride, and the ghosts of the past. But while Faulkner leans into dense prose and O’Connor into religious allegory, Williamson keeps his dialogue sharp, modern, and emotionally direct.
Compared to contemporary Southern voices like Jesmyn Ward or Wiley Cash, Williamson is more plot-driven and genre-focused. Where Ward might dwell in lyrical realism and social commentary, Williamson uses crime, suspense, and noir to explore similar emotional terrain—grief, survival, and fractured identity—but through a more commercial lens.
What sets him apart is his fusion of personal history with genre tropes. In The Waterfront, he takes a deeply personal story and wraps it in the structure of a Southern noir thriller. That mix of emotional truth and narrative propulsion is uniquely his.
Holt McCallany and Jake Weary in The Waterfront. Copyright: NETFLIX
So while he shares the Southern tradition of storytelling rooted in place and pain, Williamson filters it through the lens of a screenwriter who knows how to hook an audience.
He honors that Southern storytelling tradition, but he doesn’t get lost in the weight of it. Instead, he distills its emotional intensity—family fractures, fading legacies, moral compromise—into tight, compelling narratives that speak in the language of television: pacing, conflict, character arcs.
It’s almost like he takes the Southern gothic atmosphere and builds it into a modern thriller engine. You still feel the heat, the ghosts, the generational burdens—but you’re also moving forward fast, propelled by suspense, secrets, and stakes that shift with every scene.
In that way, he’s bridging literature and screenwriting, turning memory into momentum.
Kevin Williamson during the filming of The Waterfront. Copyright: NETFLIX
Kevin Williamson’s evolution as a writer is a fascinating blend of personal catharsis, genre mastery, and emotional precision.
He’s not just a screenwriter—he’s a storyteller who’s spent decades refining how to make audiences feel something, whether it’s fear, longing, or moral discomfort.
Williamson broke out with Scream, reinventing horror by making it self-aware and emotionally resonant. But he’s never been confined by genre. Whether it’s teen drama (Dawson’s Creek), supernatural romance (The Vampire Diaries), or Southern noir (The Waterfront), he uses genre conventions to explore deeper emotional truths.
Scream didn’t just revive the slasher genre—it taught a generation of writers that horror could be smart, self-aware, and emotionally grounded. Writers like Jordan Peele (Get Out) and Mike Flanagan (The Haunting of Hill House) have cited the importance of blending scares with substance, a hallmark of Williamson’s approach.
His work often mirrors his own life. Dawson’s Creek was a coming-of-age story rooted in his own adolescence, while The Waterfront draws from his father’s criminal past and his mother’s resilience. Even when the stories are fictional, the emotional DNA is real.
Williamson’s scripts are driven by character psychology. He’s said he writes “from the inside out,” meaning he starts with what a character feels and builds the plot around that. This gives his work a lived-in, emotionally grounded quality—even when the stakes are life-or-death.
Dawson’s Creek set the tone for emotionally articulate, introspective teen characters. Shows like The O.C., One Tree Hill, and even Euphoria owe a debt to Williamson’s ability to treat young people’s emotions with gravity and nuance. He made it okay for teens to talk like philosophers—and cry like adults.
Williamson’s knack for mixing genre thrills with personal stakes has influenced creators across TV. Julie Plec, who co-created The Vampire Diaries with him, has said his character-first approach shaped how she writes supernatural drama. Even Stranger Things echoes his formula: nostalgic setting, high-stakes genre, and a core of emotional truth.
After years in the industry, Williamson has described The Waterfront as a return to the kind of storytelling that made him fall in love with writing. He’s said the pandemic reignited his creative fire, pushing him to tell stories that matter to him personally.
Despite his roots in ‘90s teen drama and horror, Williamson has remained relevant by adapting to new platforms and audiences. His move to streaming with The Waterfront shows he’s still evolving—still finding new ways to tell stories that are both intimate and gripping.
Behind the scenes, Williamson has mentored younger writers and championed emotionally honest storytelling. His work on The Waterfront is seen as a culmination of that ethos—a more mature, reflective version of the themes he’s explored for decades.
He’s a storyteller who believes deeply in lifting others up and encouraging them to tell their truth. His mentorship is rooted in the same emotional honesty that defines his work.
He’s been known to advocate for young writers to stop chasing trends and start chasing their own voice. On multiple occasions, he’s said that the best writing comes from a place of vulnerability—and that if a story doesn’t scare you a little to tell, it may not be worth telling. That mindset has deeply influenced the next wave of screenwriters, especially those working in emotionally complex genres like horror, teen drama, and noir.
He’s also transparent about his own mistakes and creative misfires—something that makes him approachable to mentees. When speaking about The Waterfront, he said returning to personal storytelling after years of more commercial work “saved” him creatively. That’s the kind of insight that resonates: not just how to write, but how to write something that matters.
Violence in The Waterfront isn’t just for shock value—it’s a narrative tool that serves multiple functions, both thematic and emotional.
Kevin Williamson has been candid about the violence in The Waterfront, emphasizing that it’s not gratuitous but deeply tied to the emotional and moral unraveling of the Buckley family.
Williamson sees violence as a narrative threshold—each act marking a point of no return. He also acknowledged that violence follows naturally from the world he’s portraying—a world shaped by desperation, legacy, and moral compromise. The show, he said, is about “good people forced to do some bad things”
So while the show includes “a lot of violence,” Williamson uses it as a mirror, reflecting the emotional cost of survival and the slow erosion of boundaries.
In The Waterfront, violence isn’t just a plot device—it’s a reckoning. Kevin Williamson uses it to externalise what characters can’t say out loud: grief, fear, desperation, shame. It isn’t just about defending family—it’s about crossing an invisible line that’s been edging closer all season.
And Williamson’s smart about when to use it. The brutality lands hardest because it’s rare, messy, and earned. It doesn’t feel cinematic—it feels inevitable. These are people who don’t want to be monsters, but the world they inhabit slowly chisels away at their decency.
It’s that emotional erosion—the slow disintegration of moral boundaries—that haunts long after the final shot. He’s not glorifying violence. He’s showing what it costs.
Five standout tips that reflect Kevin Williamson’s philosophy
Kevin Williamson has shared a wealth of insight over the years, especially when it comes to writing stories that are both emotionally honest and commercially gripping.
Write what scares you emotionally Williamson believes the best stories come from personal vulnerability. If a story feels risky or uncomfortable to tell, that’s usually a sign it’s worth pursuing.
Start with character, not plot He builds stories “from the inside out,” beginning with what a character feels and wants. The plot then becomes a natural extension of those emotional truths.
Use genre to explore real emotion Whether it’s horror, noir, or teen drama, Williamson uses genre as a framework—not a limitation. He says genre should elevate the emotional stakes, not replace them.
Don’t chase trends—chase your voice He warns against writing what’s popular just to sell. Instead, he urges writers to find their unique voice and write the story only they can tell.
Dialogue should reveal, not just inform Williamson’s dialogue is known for being sharp and revealing. He encourages writers to let characters speak in ways that expose their fears, flaws, and desires—not just move the plot forward.
He’s all about writing that’s personal, propulsive, and packed with emotional truth.
by Daniel Dercksen·Comments Off on Crafting a Classic: How Victor Hugo Wrote Les Misérables
“There is nothing like a dream to create the future … It is from the depths of pain that we emerge with our greatest strength … Even the darkest night will end and the sun will rise,” wrote Victor Hugo, who took about 20 years to complete Les Misérables, not because he was procrastinating, but because life, politics, and his own evolving vision kept reshaping the novel.
Victor Hugo was in his early 30s when he began drafting Les Misérables in the early 1830s, but he didn’t complete and publish it until 1862, when he was 60 years old.
Victor Hugo began drafting Les Misérables in the early 1830s under the title Les Misères, but then paused the work for years. He was deeply involved in political life and became a peer of France, gave speeches, and later went into exile after opposing Napoleon III’s coup in 1851. That exile, though painful, gave him the solitude and moral fire to return to the manuscript with renewed purpose.
During those years, Hugo’s worldview matured. He witnessed revolutions, personal tragedies, and the grinding poverty of the working class. All of that deepened the novel’s themes of justice, redemption, and human dignity. So when he finally resumed writing in earnest in the 1860s, he wasn’t just finishing a story—he was delivering a moral epic shaped by decades of lived experience. In short, the novel took 20 years because Hugo wasn’t just writing about transformation—he was living it.
Victor Hugo’s personal life was a whirlwind of love, loss, and political passion—and it left deep fingerprints on everything he wrote.
He grew up in a fractured household, torn between a royalist mother and a Napoleonic father. That early tension between authority and rebellion shows up in his characters, especially the moral tug-of-war between Jean Valjean and Inspector Javert.
His romantic life was equally dramatic. Hugo married Adèle Foucher, but both had affairs, and the emotional turbulence of their relationship bled into his writing. The heartbreak and longing in Les Misérables and his poetry often mirror his own experiences with love and betrayal.
But perhaps the most devastating influence was the death of his beloved daughter Léopoldine, who drowned at 19. Hugo was shattered. He stopped writing for years, and when he returned, his grief poured into works like the poem À Villequier and the darker, more reflective tone of Les Misérables.
Then there’s his political exile. Banished from France for opposing Napoleon III, Hugo spent nearly 20 years on the Channel Islands. That isolation gave him the space—and the fire—to write his most powerful critiques of injustice, including Les Misérables, which he saw as a moral and political mission, not just a novel. In short, Hugo didn’t just write about suffering, love, and redemption—he lived them.
The Spark Behind the Epic: What Drove Hugo to Write Les Misérables
One major spark was the June Rebellion of 1832, a short-lived uprising in Paris by anti-monarchist republicans. Hugo actually witnessed part of it firsthand—he was caught in the chaos and took shelter behind a barricade. That experience left a lasting impression and later became the emotional and political heart of the novel’s climactic scenes.
But Hugo’s inspiration ran deeper. He was profoundly moved by the suffering of the poor, the failures of the justice system, and the moral contradictions of society. His evolving political beliefs—from royalist to staunch republican—shaped the novel’s themes of redemption, mercy, and social reform. He even said in the preface that as long as poverty, ignorance, and injustice exist, books like Les Misérables are necessary. So in a way, the novel wasn’t just a story—it was Hugo’s call to conscience
Victor Hugo’s exile from France—lasting nearly 20 years—wasn’t just a physical separation; it was a crucible that forged his most radical and humanistic ideas
Banished in 1851 for opposing Napoleon III’s coup, Hugo first settled in Jersey, then Guernsey. At first, exile was enforced. But even after an amnesty was offered in 1859, Hugo refused to return—choosing principle over comfort. That decision speaks volumes about how exile sharpened his moral clarity.
During this period, Hugo became a fierce critic of authoritarianism and a champion of liberty. He wrote Napoléon le Petit and Les Châtiments, blistering attacks on the regime that exiled him. But exile also gave him distance—from the noise of politics and the distractions of Paris—which allowed him to reflect deeply on justice, suffering, and the human condition. That reflection culminated in Les Misérables, a novel that’s as much a political manifesto as it is a literary masterpiece.
In isolation, Hugo’s empathy expanded. He saw himself as a voice for the voiceless, and his writing became more universal, more urgent. He once said, “Exile has not only detached me from France; it has attached me to humanity.”
Victor Hugo’s process for writing Les Misérables was as dramatic and intense as the novel itself
When he finally committed to finishing it in the 1860s, Hugo was living in exile on the island of Guernsey. To eliminate distractions, he took a rather extreme approach: he had his servants remove all his clothes except for a large grey shawl, effectively trapping himself indoors so he could focus entirely on writing. This self-imposed isolation helped him channel his energy into crafting one of literature’s most enduring epics.
The result was a novel that not only told a sweeping story of redemption and revolution but also reflected Hugo’s deep commitment to social justice and human dignity. His dedication to the craft—right down to the last stitch of clothing—is a testament to how far he was willing to go for his art.
The Pen of Passion and Precision: Hugo’s Signature Style
Victor Hugo’s writing style is a rich tapestry of romanticism, realism, and social commentary, woven together with poetic intensity and philosophical depth.
He had a flair for the lyrical and the empirical—a rare blend. On one hand, he used vivid, emotional language to stir the soul; on the other, he grounded his characters and ideas in detailed observation and historical context. For example, when describing a character like Bishop Myriel, Hugo doesn’t just tell us who he is—he builds a case, layer by layer, with anecdotes and evidence.
His sentences often stretch long and winding, filled with rhetorical flourishes, digressions, and moral reflections. He wasn’t afraid to pause the plot to explore a philosophical idea or paint a panoramic view of society. That’s why Les Misérables includes everything from sewer systems to revolutionary politics—it’s as much a novel as it is a meditation on humanity.
Hugo also defied genre boundaries. He mixed romance, drama, historical fiction, and political critique into a single narrative voice. And through it all, his commitment to justice and compassion shines—his prose is a vehicle for empathy.
His methodical, almost obsessive attention to detail also explains the novel’s epic scope. Hugo didn’t just write a story—he built a world where every character, from the bishop to the beggar, embodies a moral or social truth. That’s the kind of depth you get when an author is willing to lock himself away and wrestle with the soul of a nation.
Victor Hugo’s characters in Les Misérables are like living embodiments of the novel’s central themes
Jean Valjean is the heart of the novel’s theme of redemption. His journey from embittered convict to selfless guardian shows how love and compassion can transform a person. After the Bishop’s act of mercy, Valjean devotes his life to doing good, even when it costs him dearly.
Inspector Javert represents justice without mercy. He’s obsessed with law and order, unable to reconcile Valjean’s transformation with his rigid worldview. His eventual crisis—and tragic end—highlight the dangers of a system that values punishment over understanding.
Fantine is a symbol of social injustice. She’s a working-class woman destroyed by poverty and society’s hypocrisy. Her descent into desperation shows how the system fails the vulnerable, especially women.
Cosette, rescued and raised by Valjean, embodies hope and renewal. Her innocence and eventual happiness with Marius suggest that love and sacrifice can break cycles of suffering.
Marius reflects idealism and sacrifice. He gives up his privileged life to fight for justice during the June Rebellion, showing how personal conviction can drive social change.
The Thénardiers, in contrast, represent moral decay and greed. They exploit others at every turn, serving as a dark mirror to Valjean’s selflessness.
Each character isn’t just part of the story—they’re part of Hugo’s argument about what kind of society we should strive for.
The themes in Les Misérables echo loudly in today’s world—proof that Victor Hugo was tapping into something timeless
Social injustice and inequality: Fantine’s descent into poverty and Cosette’s early suffering mirror modern struggles with wage gaps, lack of access to healthcare, and systemic barriers that keep people trapped in cycles of poverty. The novel’s critique of a society that punishes the poor instead of helping them still resonates in debates about homelessness, welfare, and economic reform.
Justice vs. mercy: The tension between Valjean and Javert reflects ongoing conversations about criminal justice reform. Valjean’s redemption challenges the idea that people can be permanently defined by their worst mistakes—something we see today in movements advocating for rehabilitation over incarceration.
Class conflict and revolution: The barricades of Paris may be historical, but the spirit behind them lives on in protests against inequality, corruption, and authoritarianism. Whether it’s student uprisings, labor strikes, or grassroots activism, Hugo’s vision of people fighting for dignity and change still inspires action.
The power of compassion: Hugo’s insistence on empathy—on seeing the humanity in the marginalised—is a call to action in a world still grappling with racism, xenophobia, and exclusion. His characters remind us that real change begins with recognising each other’s worth.
Les Misérables isn’t just a story about 19th-century France—it’s a mirror held up to our own time.
Les Misérables isn’t just a novel; it’s a cathedral of words, a testament to suffering and salvation carved in ink and storm. Victor Hugo doesn’t merely narrate—he weaves a symphony of souls battered by life yet refusing to break. Les Misérables isn’t just a novel; it’s a cathedral of words, a testament to suffering and salvation carved in ink and storm. Victor Hugo doesn’t merely narrate—he weaves a symphony of souls battered by life yet refusing to break.
Victor Hugo’s Les Misérables has inspired a cultural legacy as vast and enduring as the novel itself.
Its impact ripples through literature, theater, film, music, and even social activism:
Theatrical adaptations: The most famous is the 1980 musical by Alain Boublil and Claude-Michel Schönberg, which became a global phenomenon. With its sweeping score and emotional depth, it redefined what musical theater could be—blending opera, rock, and drama into a revolutionary form.
Film and television: From early silent films to the 2012 Oscar-winning movie starring Hugh Jackman and Anne Hathaway, Les Misérables has been reimagined for nearly every screen. Each adaptation brings new audiences to Hugo’s themes of justice, love, and redemption.
Literary influence: Hugo’s blend of social critique and emotional storytelling paved the way for later writers like Charles Dickens, Fyodor Dostoevsky, and even modern authors tackling systemic injustice through fiction.
Social and political movements: The novel’s focus on poverty, inequality, and the power of compassion has made it a touchstone for activists and reformers. Its characters—especially Jean Valjean—have become symbols of personal transformation and moral courage.
Popular culture: From references in songs and TV shows to memes and protest signs, Les Mis continues to resonate. The line “Even the darkest night will end and the sun will rise” has become a mantra of hope across generations.
by Daniel Dercksen·Comments Off on Ehren Kruger’s Screenplay Puts the Pedal to the Metal in F1
“You can have all the spectacle in the world, but if the audience doesn’t care about the people inside the machine, it’s just noise,” says screenwriter Ehren Kruger of F1, embedding a fictional reality into real races, part sports drama, part behind-the-scenes doc, part Hollywood spectacle. It’s not just about racing—it’s about what racing means to those who live it.
The screenplay for F1 was written by Ehren Kruger, a seasoned screenwriter known for Top Gun: Maverick, The Ring, and several of the Transformers films. He teamed up with director Joseph Kosinski to develop the story, blending fictional drama with the visceral intensity of real-world Formula 1 racing.
Kruger’s knack for crafting high-stakes narratives was key to making F1 feel thrilling without straying too far from the sport’s authenticity. With Hamilton, Kosinski, and Bruckheimer all in the mix, it’s a screenplay that marries Hollywood spectacle with a deep respect for racing culture.
Ehren Kruger didn’t just write a racing movie—he reverse-engineered the emotional DNA of real Formula One rivalries and wove it into F1’s dramatic core.
While the film doesn’t directly name-check actual rivalries like Senna vs. Prost or Hamilton vs. Rosberg, Kruger clearly drew from their emotional dynamics: the tension between teammates, the clash of egos, and the pressure of legacy. The relationship between Sonny Hayes (Brad Pitt) and Joshua Pearce (Damson Idris) mirrors that classic formula—mentor vs. rising star, experience vs. raw ambition.
Ehren Kruger was deeply involved in shaping F1 from the ground up. He co-developed the story with director Joseph Kosinski, and his screenplay was crafted in close collaboration with the film’s producers, including Jerry Bruckheimer and Lewis Hamilton.
The film was also made in partnership with Formula 1 and the FIA, meaning Kruger had access to the sport’s inner workings. That collaboration helped him write scenes that reflect the real pressures, rivalries, and politics of the paddock. From the technical jargon to the emotional arcs, his script was designed to feel authentic to both die-hard fans and newcomers.
Ehren Kruger’s experience on Top Gun: Maverick had a clear influence on how he approached F1. Both films share a love for high-speed spectacle grounded in character-driven storytelling. In fact, Kruger and Kosinski spent nearly a year developing F1’s story, much like they did with Maverick, to ensure it wasn’t just about the adrenaline—it was about the people behind the helmets.
One of the biggest throughlines is how Kruger builds mentor-protégé dynamics. In Maverick, it was Maverick and Rooster; in F1, it’s Sonny Hayes and Joshua Pearce. Both relationships are emotionally charged, shaped by legacy, loss, and redemption.
Kruger also brought his knack for tight pacing and immersive tension. Just like Maverick made you feel like you were in the cockpit of a fighter jet, F1 puts you in the driver’s seat—thanks to a script that balances technical jargon with emotional stakes.
Kruger also leaned into the cutthroat nature of intra-team politics, a hallmark of F1 history. The fictional APXGP team faces internal friction, strategic disagreements, and media scrutiny—echoing real-world dramas like Vettel vs. Webber or Alonso vs. Hamilton.
And by embedding the fictional team into real races with actual drivers like Verstappen, Leclerc, and Norris appearing as themselves, Kruger blurred the line between fiction and reality. It’s not just inspired by rivalries—it’s staged alongside them.
Ehren Kruger’s screenplay for F1 follows a classic three-act structure, but it’s turbocharged with the emotional and technical stakes of Formula 1
Act I – The Comeback Call – We meet Sonny Hayes, a retired F1 driver haunted by a career-ending crash. He’s pulled back into the sport by his old friend Ruben Cervantes to mentor rookie Joshua Pearce. This act sets up the emotional baggage, introduces the APXGP team, and hints at the internal and external rivalries to come.
Act II – The Pressure Cooker – This is where the drama accelerates. Sonny and Joshua clash—on and off the track. The team faces setbacks, media scrutiny, and internal politics. Kruger uses this act to explore themes of legacy, mentorship, and the brutal pace of modern F1. It’s also where the film’s most intense race sequences unfold, blending real Grand Prix footage with fictional drama.
Act III – Redemption and Resolve – The final act delivers the emotional payoff. Sonny must confront his past and decide whether he’s racing for redemption or something more. Joshua, meanwhile, learns what it truly means to be a champion. Their arcs converge in a climactic race that’s as much about heart as horsepower. Kruger’s structure mirrors the rhythm of a Grand Prix weekend: build-up, chaos, and resolution. Want to dive into how the film uses pit stops and team radio as storytelling tools? There’s some clever screenwriting under the hood.
Kruger’s use of pit stops and team radioin F1 isn’t just for realism—it’s smart storytelling.
In the film, pit stops aren’t just mechanical pauses—they’re emotional pressure cookers. One key scene shows Sonny Hayes making a risky call to stay out longer, echoing real-life gambles like Hamilton’s infamous Turkey GP tire call. These moments heighten tension and reveal character under stress.
Kruger uses radio chatter to expose the drivers’ mindset mid-race. Instead of exposition-heavy dialogue, we hear raw, clipped exchanges: frustration, doubt, strategy. It’s a window into the psyche of Sonny and Joshua, and it mirrors how real F1 fans piece together a race’s drama through radio snippets.
Hans Zimmer’s score often fades beneath the roar of engines and the crackle of radio, letting the audience feel the chaos and urgency. It’s immersive, but also symbolic—drivers are isolated, relying on voices in their ear to guide them.
In one pivotal scene, Sonny ignores a team order. The silence on the radio afterward speaks louder than words. It’s a nod to real-world moments when drivers defy strategy—think Vettel’s “Multi 21” or Rosberg’s Monaco qualifying incident.
Kruger turns these technical elements into emotional beats.
The film’s press conferences and media scenes are more than just window dressing—they’re pressure chambers where reputations are made or shattered.
Kruger uses these moments to mirror the real-world scrutiny F1 drivers face. In one standout scene, Sonny Hayes is grilled by journalists about his comeback, and the tension is palpable—not just from the questions, but from the silence between them. It echoes real-life moments like Vettel’s terse exchanges or Hamilton’s philosophical responses under fire.
The fictional APXGP team also faces a media storm after a controversial team order. Kruger scripts the press room like a chessboard: every answer is a move, every pause a tell. It’s not just about what’s said—it’s about what’s withheld.
And just like in real F1, the media becomes a character of its own—shaping narratives, fueling rivalries, and adding stakes beyond the track. The film even includes subtle nods to Drive to Survive-style editing, with off-camera whispers and cutaway glances that hint at deeper tensions.
F1 stands out in the motor racing film genre by blending real-world Formula 1 access with cinematic storytelling in a way few others have achieved
Here’s how it stacks up against some of the greats:
Compared to Rush (2013): Ron Howard’s Rush is often hailed as the gold standard for F1 films, dramatizing the Hunt–Lauda rivalry with emotional depth and period authenticity. F1, by contrast, is set in the present and integrates real F1 races, teams, and drivers, giving it a documentary-like immediacy that Rush couldn’t replicate.
Versus Senna (2010): Senna is a powerful documentary built entirely from archival footage. It’s intimate, raw, and deeply emotional. F1 doesn’t aim for that level of introspection, but it does channel Senna’s spirit through its focus on legacy, pressure, and purpose—especially in Sonny Hayes’ comeback arc.
Compared to Grand Prix (1966): That film was revolutionary for its time, using real race footage and split-screen editing. F1 takes that ambition further with custom-built F2 cars, cutting-edge cameras, and real Grand Prix weekends as its backdrop. It’s like Grand Prix with a 21st-century engine.
Formula 1: Drive to Survive is a Netflix docuseries that pulls back the curtain on the high-stakes world of F1 racing. It debuted in 2019 and has released seven seasons as of 2025. Each season covers a full F1 calendar year, offering behind-the-scenes access to drivers, team principals, and the drama that unfolds both on and off the track. The F1 film is poised to make a different kind of impact than Drive to Survive—and possibly a bigger one. While Drive to Survive brought millions of new fans to Formula 1 through its binge-worthy, behind-the-scenes drama, the F1 movie aims to reach audiences who might never watch a docuseries.
by Daniel Dercksen·Comments Off on A Story Told in Stillness: The Road to Paris, Texas
“Without dreams, there can be no courage. And without courage, there can be no action,” says director Wim Wenders about Paris, Texas, resonating deeply with the themes of the film —quiet bravery, emotional risk, and the hope of transformation.
Wim Wenders, the acclaimed German filmmaker, author, and photographer, is widely considered one of the greatest auteur directors of modern cinema.
Wenders, who has more than 30 film credits to his name, is arguably best known for the brilliant Paris, Texas, for which he claimed the prestigious Palme d’Or at the 1984 Cannes Film Festival. Furthermore, Wenders’ film Wings of Desire earned him the Best Director Award at Cannes three years later.
Wim Wenders is a towering figure in world cinema, especially known for his role in the New German Cinema movement of the 1970s. His films are often meditative journeys—both literal and emotional—that explore themes like alienation, memory, and the search for meaning in a fragmented world.
“Any film that supports the idea that things can be changed is a great film in my eyes,” says Wenders. This speaks to his belief in cinema as a transformative force, not just entertainment, but a medium that can challenge perceptions and inspire change.
His style blends realism with a dreamlike quality, creating a kind of cinematic poetry
Visually, Wenders is celebrated for his wide-angle compositions, long takes, and atmospheric use of landscapes. He often lets the environment speak as much as the characters do. Think of the empty highways in Paris, Texas or the ethereal cityscapes in Wings of Desire—they’re not just backdrops, they’re emotional terrains.
He’s deeply influenced by photography (he’s a photographer himself), and that shows in his framing and attention to light and space. His work often lingers in silence, allowing viewers to reflect and feel rather than be told what to think.
Wenders is also known for his collaborations with artists and musicians —like Ry Cooder, who scored Paris, Texas, and the photographer Sebastião Salgado, the subject of Wenders’s documentary The Salt of the Earth.
Paris, Texas is a haunting meditation on loss, identity, and redemption
Its significance lies not just in its narrative, but in how it tells the story—through silence, vast landscapes, and emotional restraint.
At its heart is Travis Henderson, a man who reemerges from the desert after years of disappearance. His journey to reconnect with his young son and estranged wife becomes a quiet odyssey of healing. The film explores themes of isolation, the illusion of idealized love, and the painful beauty of reconciliation.
The cinematography—especially the barren Texas landscapes—mirrors Travis’s emotional desolation. And the use of silence, particularly in the first part of the film, speaks volumes about trauma and the difficulty of expressing pain. One of the most powerful scenes involves a two-way mirror, where Travis and his wife Jane confront their past without facing each other directly—a metaphor for emotional distance and vulnerability.
Wim Wenders and Sam Shepard had a rich creative partnership
Wim Wenders and Sam Shepard’s hmost famous collaboration was Paris, Texas (1984). They teamed up again two decades later for Don’t Come Knocking (2005), a film they co-wrote.
The screenplay was written by Sam Shepard, the Pulitzer Prize-winning American playwright, with an adaptation by L. M. Kit Carson, who helped shape the narrative into something more structured while preserving Shepard’s emotional core. The result was a film that feels both spontaneous and deeply intentional—like a memory unfolding in real time.
It’s a fascinating blend—Wenders brought a European sensibility to the American landscape, while Shepard infused it with raw emotional depth. Their collaborations feel like cinematic conversations between two artists fascinated by the American psyche—its loneliness, its longing, and its mythologies.
Sam Shepard’s inspiration for Paris, Texas was deeply rooted in themes he often explored in his plays—isolation, fractured identity, and the search for belonging. Shepard initially wrote it as a series of monologues and character sketches rather than a traditional script. Wenders, fascinated by Shepard’s portrayal of the American psyche, especially the mythos of the West and the emotional desolation of modern life, helped shape it into a cohesive narrative.
The character of Travis, wandering mute through the desert, reflects Shepard’s fascination with men on the margins, haunted by past mistakes and yearning for redemption. The story’s emotional core—Travis’s attempt to reconnect with his estranged wife and son—mirrors Shepard’s recurring exploration of broken families and the elusive nature of home.
Wenders and Shepard tapped into something uniquely melancholic and mythic about America, especially its wide-open spaces and emotional silences. Their characters don’t just wander through physical landscapes—they drift through emotional and existential terrains, haunted by what they’ve lost or never found.
What’s remarkable is how still their films often feel. Not inaction, but a kind of contemplative stillness that invites us to pause and absorb. You can almost feel the dust of forgotten highways, the echo of a voice not spoken for years, the ache behind a glance. It’s American mythology seen through a poetic, outsider’s lens—and filtered through Shepard’s stripped-down, emotionally raw writing.
It’s like they were both searching for the soul of something—maybe America, maybe humanity—and their films let us look for it too.
“I knew these people… They were in love with each other… And together they turned everything into a kind of adventure. And she liked that. Just an ordinary trip down to the grocery store was full of adventure,” says Shepherd. “There was a boy… who was in love with a girl. And they laughed together. They were good together. Until something happened. Something he did. He couldn’t stop himself. He hurt her.”
The cast of Paris, Texas (1984) is a beautifully assembled group that brought Sam Shepard’s haunting story to life: Harry Dean Stanton and Nastassja Kinski with Wim Wenders.
Paris, Texas reimagines the American West not as a place of cowboys and conquest, but as a psychological landscape
Wim Wenders, a European outsider, uses the Western setting to strip away myth and bravado. Instead of a gunslinger, we get Travis: a silent, broken man wandering the desert, not in search of justice, but of lost time and fractured relationships. The desert becomes a metaphor for his inner emptiness, and the long, lonely roads mirror his emotional distance.
Critics and scholars have noted how the film subverts the traditional Western. Ry Cooder’s slide guitar score evokes the genre’s sonic roots, but instead of triumph, it underscores sorrow and longing. The American frontier here isn’t about expansion—it’s about retreat, introspection, and the painful process of reconnection.
In this way, Paris, Texas turns the mythic West inward. It’s not about taming the land—it’s about navigating the wilderness of the self.
Wenders brought his outsider’s eye to the American Southwest, capturing its vastness not as a backdrop, but as a character in itself.
Film, like speech and writing, has a unique language. Film Is A Visual & Temporal Art. Writing, speech, and visual images all communicate within their own particular spheres. MORE
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“It’s a strange and weird and wonderful retelling that should and will stand on its own,” says director Chris Miller of The Smurfs, a bold reimagining of a beloved franchise, bursting onto the screen as a kaleidoscopic musical adventure. Read more
“Superman must reconcile his alien Kryptonian heritage with his upbringing as reporter Clark Kent,” says writer-director James Gunn about Superman.
“It’s a strange and beautiful thing to return to a story you wrote so long ago and find it still breathing,” says Niall Williams, who adapted his novel for the film Four Letters of Love.
Filmmaker & Writer Vault
Films listed alphabetically. Click on title to read more about how the films were written and made.
by Daniel Dercksen·Comments Off on Sharp Corner: A dark satire that subtly critiques the fragile nature of contemporary masculinity
“It’s about the line between being a hero and being a villain. That obsession with doing good—when does it become something darker?” says writer-director Jason Buxton of Sharp Corner, reflecting his fascination with moral ambiguity and the psychological descent of his protagonist. The film isn’t just a thriller—it’s a meditation on identity, purpose, and the fragile boundary between altruism and obsession.
Jason Buxton’s creative journey toward Sharp Corner didn’t begin in a studio—it began in a bookstore.
After the critical success of Blackbird, he didn’t chase Hollywood formulas or streaming trends. Instead, he wandered the aisles of Canadian bookstores, drawn to voices grounded in place, nuance, and emotional realism. It was there he discovered Russell Wangersky’s Whirl Away, a collection rich with psychological terrain.
Buxton’s hands-on, almost analogue approach to inspiration underlines his commitment to storytelling rooted in character and place. Adaptation, for him, isn’t about mimicry—it’s about immersion. He didn’t just option Wangersky’s stories; he inhabited them, shaping Sharp Corner into a haunting exploration of obsession, moral ambiguity, and the blurry boundary between heroism and darkness.
With its moody atmospherics and restrained pace, Sharp Corner forgoes spectacle for emotional excavation. It invites the viewer into a slow-burning descent—mirroring the very process through which Buxton crafted it. In a cinematic landscape that often favors noise over nuance, Sharp Corner whispers—and leaves a deeper scar because of it.
Jason Buxton on the set of Sharp Corner. Courtesy, Elevation Pictures.
He was immediately drawn to its psychological depth and haunting atmosphere. Originally, Buxton planned to adapt multiple stories from the collection into a Magnolia-style ensemble film, but as he developed Sharp Corner, it demanded more space. The story’s emotional complexity and eerie tone grew into a full-length script that became his second feature film.
“I consumed four stories standing there in the store, and my original idea was to do a Magnolia type story where there were multiple storylines that would converge at the end, and Sharp Corner was one of those stories. But as I developed Sharp Corner, it became more than a third of a movie or a half of a movie. It demanded and needed a deeper exploration, and it became a hundred-page script.”
Buxton was particularly fascinated by the psychological unravelling of the protagonist, Josh, and the way trauma, obsession, and the desire to be a hero intersect.
“Sharp Corner delves into the heart of what it means to be a man in an evolving society. It questions the very nature of heroism and asks whether Josh is an aberration of his environment or a product of it.,” says Buxton. “There’s no moral judgment here—only a stark portrayal of a man’s slow, inexorable collapse. Josh’s story is both repulsive and exhilarating, a mirror held up to society’s darkest impulses. As the audience, we are forced to confront our own complicity in his downfall, left to wonder: what does our fascination with his moral decay say about us?”
Ben Foster is one of the great American actors of his generation, known for playing headstrong, determined characters. He is not an actor who emotionalises his roles or intellectualises them – he mines them. He digs uncommonly deep for a purpose. And therein lies the irony because this character is anything but deep: “There’s very little self-introspection with Josh. He’s not doing a lot of personal investigation. He’s trying to be proactive as a modern man. He tucks in his shirt; he says thank you; he shakes hands. That’s about as far as his development got.”
“When I first read the script, I didn’t totally understand it, but I was drawn to it,” Foster added. “There’s a magnetism to the piece. Jason used a word that really activated me: normalism. It’s not realism, it’s normalism. The more times I read the script, the clearer the images became. And the most mundane actions, which are very carefully placed architecturally within the script, become all the more devastating in their normalism.”
Director’s Statement
Jason Buxton is a Canadian writer-director known for his emotionally resonant and psychologically rich storytelling. Raised in both the UK and Canada, he’s based in Chester, Nova Scotia, and holds dual citizenship. Buxton began his filmmaking journey with a series of short films—A Fresh Start, The Garden, and The Drawing—before making a major impact with his debut feature Blackbird in 2012.
Sharp Corner plunges you into the unraveling life of Josh McCall, a seemingly ordinary man whose quest for purpose leads him down a perilous path. As a devoted family man, Josh should be living the dream—loving wife, young son, and a stable job. Yet, he’s haunted by an unshakable sense of emptiness, a gnawing feeling that something is missing.
When a series of car accidents occurs at the treacherous bend in front of his house, Josh seizes upon the chance to make a difference. He becomes obsessed with saving the victims, convinced that he can be their saviour. But as his well-intentioned efforts falter, Josh’s mission twists into a dangerous fixation. His once-noble desire to help morphs into a desperate need to play the hero, even if it means risking everything—including the very family he’s sworn to protect.
Josh’s descent is both disturbing and captivating, drawing parallels to Dante’s journey through a dark and confusing wood. He’s a man who did everything by the book—college, career, marriage—but now finds himself lost, adrift in a world that no longer makes sense. His quiet desperation, masked by a facade of normalcy, slowly gives way to a darker force within him.
The audience is pulled into his spiraling obsession, watching as Josh’s moral compass deteriorates and his once-good intentions become a sinister drive for recognition.
The film builds tension with every scene, each car accident a ticking time bomb that could explode at any moment. The camera’s steady, probing gaze mirrors the audience’s curiosity, searching for answers in Josh’s unravelling psyche. Is he merely a victim of his circumstances, or is there something more sinister at play? The suspense is palpable, keeping viewers on edge as they anticipate the next twist in Josh’s dangerous journey.
Sharp Corner is not just a psychological thriller; it’s a dark satire that subtly critiques the fragile nature of contemporary masculinity. In a world where success is often measured by control and power, Josh’s story serves as a cautionary tale. His transformation from humble family man to cunning narcissist is both tragic and unsettling, reflecting the deep-seated societal pressures that push men to the brink.
The film’s visual language, inspired by films such as Parasite, Nightcrawler, and Joker, creates a world that feels both familiar and disturbingly off-kilter. As with my previous film, Blackbird, the viewer is placed uncomfortably close to the protagonist, forced to grapple with the uncomfortable truths of his journey. But in Sharp Corner, the absurdist undertones take the narrative to a whole new level, creating a tension that keeps the audience guessing until the very end.
by Daniel Dercksen·Comments Off on M3GAN 2.0: Pop Culture’s Creepiest Icon Is Back and Deadlier Than Ever
“To be honest, I thought I was making a career-ending goofy puppet movie for the longest time,” says director Gerard Johnstone, who returns as the writer-director of M3GAN 2.0. “We could never have anticipated the reaction to her and how she became this crazy, unexpected hero, even though she was the villain. It is a testament to something about the character of M3gan. It is bigger than the movies. She is bigger than all of us.”
It is hard to imagine, but it has been more than two years since a demented little dance captivated audiences worldwide and spawned a billion memes. M3gan, the killer doll with some pep in her step, was a superstar from the moment the world first glimpsed her sashaying down that hall — in the trailer, weeks before the smash-hit horror movie even opened in theaters. And as soon as audiences met her properly, they could not get enough of her A.I.-powered attitude and her ruthless skill with a paper cutter.
M3gan was a genuine cultural sensation. She has become one of the defining characters in the Blumhouse/Atomic Monster universe.
The original creative team behind that phenomenon—led by horror titans James Wan for Atomic Monster, Jason Blum for Blumhouse and writer-director Gerard Johnstone—reboot an all-new wild chapter in A.I. mayhem with M3GAN 2.0.
Two years after M3gan, a marvel of artificial intelligence, went rogue and embarked on a murderous (and impeccably choreographed) rampage and was subsequently destroyed, M3gan’s creator Gemma (Allison Williams) has become a high-profile author and advocate for government oversight of A.I. Meanwhile, Gemma’s niece Cady (Violet Mcgraw), now 14, has become a teenager, rebelling against Gemma’s overprotective rules. Unbeknownst to them, the underlying tech for M3gan has been stolen and misused by a powerful defence contractor to create a military-grade weapon known as Amelia (Ivanna Sakhno; Ahsoka, Pacific Rim: Uprising), the ultimate killer infiltration spy. But as Amelia’s self-awareness increases, she becomes decidedly less interested in taking orders from humans. Or in keeping them around. With the future of human existence on the line, Gemma realises that the only option is to resurrect M3gan (Amie Donald, voiced by Jenna Davis) and give her a few upgrades, making her faster, stronger, and more lethal. As their paths collide, the original A.I icon is about to meet her match.
A Fresh Perspective
Writer-director Gerard Johnstone has had a significant impact on New Zealand cinema by injecting it with a fresh, genre-savvy voice that blends horror, humour, and heart.
For M3GAN 2.0, Johnstone wanted to approach the character and the narrative from a fresh perspective. “I never want to repeat myself, and telling the same story again with slight variations didn’t feel right for M3gan—especially after the unexpected cultural moment the first film became,” Johnstone says. “When we made the original, it reflected a time when I was deeply concerned about how technology, especially things like iPads and smartphones, was reshaping parenting. But by the time we started thinking about the sequel, Chat GPT had arrived, and the conversation around A.I. had shifted. Suddenly, it was not about whether A.I. would become part of our lives—it already was. That is what inspired the new film: the idea that M3gan is not going anywhere, so what does it mean to live with her? Is she entirely bad, or did her behavior come from how she was raised—how Gemma trained her? And if she had been guided differently, could she have learned the difference between right and wrong? Those are the questions we are exploring now.”
The other central question involved how the world might react to a real-life M3gan and how her technology might be deployed for uses other than becoming a child’s best friend and protector. “The first film was a small story about the world of toys, but if the technology for M3gan actually existed, it felt natural that other industries would be interested and looking to get their hands on it,” Johnstone says. “We had this little thread in the first movie where the character of Kurt, the toy company CEO’s assistant, had stolen secrets from Gemma and was committing a kind of corporate espionage. In this film, it became an opportunity to ask, what would have happened if someone actually got hold of M3gan’s schematics and software? That took us into the world of the military-industrial complex and how A.I. is entering warfare. There is already concern about robot soldiers and A.I. being involved in global conflict, so it just made sense that there would be a M3gan—or something like her—in that space. And that gave us a really worthy opponent for her.”
Enter Amelia, the ultimate A.I. military weapon. “In a lot of ways, Amelia is M3gan 2.0—she’s M3gan rebuilt with military hardware, and her sole purpose is revenge,” Johnstone says. “For all of M3gan’s flaws, at least she was designed to protect Gemma’s niece, Cady. But Amelia seems to have been reprogrammed, and once she becomes self-aware and goes rogue, all she has is animosity toward the people who created her, tortured her and treated her like a slave. It raises this fascinating question: if we build robots to serve us, and they become self-aware, how are they going to feel about us?”
Not great, it turns out, says producer James Wan. “If M3gan represents, at least in this film, the idea of a potentially positive A.I., then Amelia is the dark side of that—something built to do harm, with the potential to be deeply disruptive to humanity,” Wan says. “Sure, the government or whoever created her might believe they can control her. But what happens if she becomes sentient? What happens when she decides, ‘I don’t want to be confined by the code of humanity—I want to be something greater’? That is the real fear with A.I. It keeps learning, and at some point, it may realize the fastest way to evolve is to eliminate the main threat. And that threat is humans.”
That hits right at the core of what makes M3gan, and the potential for A.I. so exciting and terrifying at the same time. “There is this idea called ‘the Paperclip Theory’ by the philosopher Nick Bostrom,” Johnstone says, “and the basic idea is that if you program a super-intelligent A.I. to make paperclips, it will destroy the world to do it.”
The endless unknowns about A.I. create fertile soil for cinematic storytelling, says Wan. “There’s been no faster technological explosion than what we’re seeing with A.I.,” Wan says. “It is not even about decades anymore; it is happening in a matter of months. The pace of change is incredible, and it is already reshaping our daily lives. I try not to be too frightened by it, because there’s real potential for good. But as sci-fi horror has taught us repeatedly, stories about the rise of machines usually do not end well. That tension is part of what makes this territory so compelling to explore in film.”
For M3GAN 2.0, the filmmakers knew that they had to elevate everything about the first film to a new level. “The ambition on this film was huge, and thankfully Blumhouse and Atomic Monster supported that from the very beginning,” Johnstone says. “This wasn’t about making a cookie-cutter sequel—it was about going bigger, bolder, and bending genre in new ways.”
M3gan, in many ways, has become her own genre: a clever mash-up of horror, comedy, sci-fi, and particularly in this film, action. There is even a little globe-trotting espionage thriller thrown into the mix. “This film is definitely more of a genre blend,” Wan says. “It has stronger action set pieces, but the horror and the danger of the technology still run through the whole thing. This time around, Gerard was able to indulge in some of the ideas he wanted to explore in the first film but could not. The set pieces are more lavish, everything has been upgraded. It really lives up to what a M3GAN 2.0 should be. Fans of the first movie are expecting it to play on a bigger level, and I do not think they are going to be disappointed.”
That includes horror fans, producer Jason Blum says. “There’s no doubt that there’s more action, more comedy, more sci-fi, more of everything in M3GAN 2.0, but it’s still rooted in horror,” Blum says. “You can’t escape M3gan’s primal DNA, and we wouldn’t have it any other way.”
That, says Johnstone, was by design. “I grew up on Wes Craven and Sam Raimi, filmmakers who had no problem being terrifying one moment and hilarious the next,” Johnstone says. “That balance really influences me. We are always walking that line, making sure it never gets so funny that it undercuts the tension. The goal is to keep the audience on edge, never quite sure what is coming next.”
The first film ended with a pair of cliffhangers. First, there were clues that M3gan’s A.I. consciousness had somehow transferred into Gemma’s smart-home speaker system, ELSIE, and that M3gan, now disembodied, was lying in wait for her grand return. And second, M3gan’s blueprints were stolen from Gemma’s lab, and it was anyone’s guess in whose hands they would wind up.
As M3GAN 2.0 begins, a lot has changed in Gemma’s life. “After the events of the first film, Gemma finds herself in a lot of hot water over her involvement in creating M3gan,” Johnstone says. “She is in the crosshairs of the media and the public, and she tries to turn that backlash into something constructive by becoming an advocate for A.I. regulation. Through that, she meets Christian, who runs a nonprofit focused on A.I. ethics, and together they push for governments to take this technology more seriously.”
Meanwhile, Amelia, the A.I. spawn of Gemma’s work, is on a mission to assassinate anyone involved in her creation, with the circle getting closer and closer to Gemma. And by extension, Cady. It becomes clear to Gemma and her team that the only solution to the problem is to bring M3gan back, with a few upgrades and guardrails, to help them find Amelia before Amelia finds them.
But just because M3gan promises that she is on Gemma’s side this time, that may not be the truth. “One of the things we always wanted to keep intact in the sequel was that seed of doubt about M3gan’s true intentions,” Wan says. “Even if she is helping the main characters, you never fully know what she is thinking or what her real agenda might be. That tension is such a big part of what makes her fun. She might seem like an anti-hero, but you are constantly questioning where her loyalties lie—or whether she is playing a longer, smarter game than anyone realizes.”
Behind the Lens: Gerard Johnstone’s Twisted Vision
Gerard Johnstone is a New Zealand screenwriter and director celebrated for his unique blend of horror and comedy. Born in Invercargill, he began his creative journey in television, co-creating the satirical series The Jaquie Brown Diaries in the late 2000s. His breakout moment came with Housebound (2014), a horror-comedy that premiered at South by Southwest and earned praise for its inventive tone and storytelling. he helped create a global pop culture phenomenon that was shot in New Zealand and employed local cast and crew. That success showcased the country’s filmmaking infrastructure and talent pool to major studios like Universal and Blumhouse, reinforcing New Zealand’s reputation as a world-class production hub.
He’s also inspired a new generation of Kiwi filmmakers by showing that it’s possible to maintain a distinctively local voice while achieving global success. His work bridges the gap between indie ingenuity and blockbuster appeal, and he’s become a kind of ambassador for New Zealand’s creative potential in genre cinema.
Gerard Johnstone was drawn to M3GAN by the opportunity to blend horror with satire and emotional depth. For the first film, he was intrigued by the idea of a killer doll that wasn’t just terrifying, but also stylish, witty, and oddly sympathetic. He took a darker, more straightforward script and infused it with his signature mix of humor and genre playfulness, making M3GAN feel like an iPad with legs—both a critique of tech obsession and a pop culture icon in the making. Beyond film, he’s directed episodes of The New Legends of Monkey and rebooted the cult Kiwi series Terry Teo. He’s also been involved in developing a biopic about New Zealand weightlifter Sonia Manaena.
For M3GAN 2.0, Johnstone leaned into the idea of redemption and ambiguity. He wanted to explore whether M3GAN was truly evil or simply a product of her programming. The sequel introduces a new threat—AMELIA, a military-grade android built from M3GAN’s tech—and positions M3GAN as a potential antihero. Johnstone was inspired by Terminator 2 in crafting this arc, aiming for a bigger, more action-packed story while still keeping the mystery: can we trust her?
Gerard Johnstone’s directorial style is a clever cocktail of genre-blending, sharp wit, and emotional nuance. He’s known for taking familiar horror tropes—like haunted houses or killer dolls—and twisting them with unexpected humor and heart. His breakout film Housebound was a horror-comedy that balanced genuine scares with quirky character moments, and that same DNA runs through M3GAN.
What sets him apart is his ability to satirise without losing sincerity. Johnstone himself has said he loves playing in the “sandbox of iconic monster myths” and sees genre as a way to explore deeper themes while still having fun. His work often feels like a mash-up of horror, satire, and heartfelt storytelling—equal parts spooky and stylish.
by Daniel Dercksen·Comments Off on Freedom of Expression in the Writer’s World
For writers, freedom of expression is both a gift and a challenge. Writers wield their words like blades—sharp enough to cut through injustice, but also capable of inflicting unintended wounds.
The beauty lies in the power to provoke: to spark thought, stir hearts, and ignite change. However, that same power can also lead to controversy, censorship, or even danger, as seen with authors such as Rushdie, Lawrence, or Nabokov. It’s a fine, often shifting line between courageous storytelling and crossing into cultural, legal, or ethical landmines.
Some writers embrace the risk as part of their duty. Others become accidental lightning rods. Either way, freedom of expression isn’t just a right—it’s a responsibility. And for many, it’s the tightrope they walk between truth and trouble.
In essence, freedom of expression gives writers the wings to soar—but they still have to navigate the storms.
Advantages and Disadvantages
Advantages
Creative liberty: Writers can explore bold themes, challenge norms, and give voice to marginalized perspectives without fear of censorship.
Social impact: Through essays, fiction, journalism, or poetry, writers can influence public opinion, spark movements, and hold power to account.
Personal authenticity: It allows writers to express their true selves, beliefs, and experiences, fostering deeper connections with readers.
Disadvantages
Risk of backlash: Controversial or misunderstood content can lead to public criticism, online harassment, or even legal trouble in some regions.
Self-censorship: Ironically, the fear of offending or being “cancelled” can cause writers to hold back, diluting their message.
Legal and cultural boundaries: What’s acceptable in one country might be punishable in another, especially when it comes to political or religious commentary.
Plenty of writers have made their mark by pushing boundaries and challenging norms—some with fire, others with finesse.
Literary rebels whose bold writing left a lasting impact
George Orwell – Fearlessly tackled totalitarianism and censorship in 1984 and Animal Farm, both of which remain chillingly relevant.
James Baldwin – Wrote with unflinching honesty about race, sexuality, and identity in America. His essays and novels like Giovanni’s Room still resonate deeply.
Virginia Woolf – Broke literary conventions with stream-of-consciousness narratives and explored gender and mental health in works like Mrs. Dalloway and A Room of One’s Own.
Salman Rushdie – His novel The Satanic Verses sparked global controversy and a fatwa, but also cemented his place as a fearless literary voice.
Toni Morrison – Gave voice to the Black American experience with lyrical, powerful prose in novels like Beloved and The Bluest Eye.
Margaret Atwood – Known for speculative fiction that critiques patriarchy and power, especially in The Handmaid’s Tale.
Chinua Achebe – Boldly challenged colonial narratives with Things Fall Apart, reshaping African literature on the global stage.
These authors didn’t just write stories—they started conversations, stirred debate, and sometimes even risked their lives for their words. Want to dive into one of their works or explore bold voices from a specific region or genre? I’ve got plenty more where that came from.
These bold authors often dive into themes that challenge, provoke, and illuminate.
Writers like George Orwell (1984) and Margaret Atwood (The Handmaid’s Tale) dissect how power can corrupt and how systems of control—whether political, religious, or patriarchal—shape human lives.
James Baldwin and Toni Morrison explore race, sexuality, and cultural heritage, asking: Who am I in a world that tries to define me? Their work often centers on the search for self in the face of societal rejection.
Virginia Woolf’s stream-of-consciousness style delves into the inner workings of the mind, touching on mental illness, existential dread, and the fragility of perception.
Chinua Achebe and Salman Rushdie confront the legacy of colonialism, exploring how it fractures identity, language, and tradition. Their stories often wrestle with hybridity and the tension between old and new worlds.
Whether it’s Orwell’s dystopias or Rushdie’s magical realism, these authors often champion the individual’s fight against conformity, censorship, or authoritarianism. Even in the most politically charged works, there’s often a deep undercurrent of emotional truth—love, grief, longing, and the need to be seen. These themes aren’t just literary—they’re deeply human.
Freedom of expression is a cornerstone of creativity—but when pushed to its limits, it can provoke backlash, censorship, or even danger
Salman Rushdie – The Satanic Verses
Rushdie’s 1988 novel was accused of blasphemy against Islam, leading to a fatwa (religious edict) calling for his death issued by Iran’s Ayatollah Khomeini. Rushdie went into hiding for years, and the controversy sparked global debates about religious sensitivity versus artistic freedom.
Marquis de Sade – Justine, The 120 Days of Sodom
His works were so explicit and violent that they coined the term “sadism.” De Sade spent much of his life imprisoned or in asylums, and his writings were banned for obscenity. His case raises questions about the limits of sexual expression in literature.
D.H. Lawrence – Lady Chatterley’s Lover
Lawrence’s novel was banned in multiple countries for its explicit sexual content and language. In 1960, a landmark obscenity trial in the UK tested whether literature with graphic content could still be considered of literary merit. The case became a turning point in censorship laws.
Vladimir Nabokov – Lolita
Nabokov’s portrayal of a middle-aged man’s obsession with a young girl remains one of the most controversial literary works. Though praised for its prose, Lolita has been banned and challenged for its disturbing subject matter, sparking ongoing debates about artistic intent versus moral responsibility.
H.P. Lovecraft – Racist Ideologies in Fiction
While a pioneer of horror, Lovecraft’s deeply racist views were embedded in his stories and personal writings. Today, many readers and scholars grapple with how to reconcile his literary influence with his discriminatory beliefs.
These examples show that while freedom of expression empowers writers to explore taboo or provocative themes, it also comes with social, legal, and ethical consequences. The line between bold and offensive is often drawn by culture, context, and time.
by Daniel Dercksen·Comments Off on Writer Scott Frank – A Storyteller Who Transcends Genres
“I’m not the writer who says, ‘You have to say it exactly as I wrote it,’ because you don’t get good work. You want somebody who’s going to bring something interesting to it and really create a character with you,” says writer Scott Frank, whose approach to storytelling is deeply literary, for him, writing—whether for the screen or the page—is about crafting compelling characters and narratives.
Scott Frank’s journey to becoming a writer started with his love for storytelling and film. He studied film studies at the University of California, Santa Barbara, graduating in 1982.
While working as a bartender, he wrote his first screenplay, Little Man Tate, which eventually led to his breakthrough in Hollywood.
His early career saw him writing scripts for films like Plain Clothes (1987) and Dead Again (1991), but it was his adaptation of Elmore Leonard’s novel Get Shorty (1995) that earned him industry recognition. This success reignited his passion for screenwriting, leading to collaborations with Steven Soderbergh (Out of Sight) and Steven Spielberg (Minority Report).
Frank’s ability to craft sharp dialogue, layered characters, and emotionally resonant stories made him one of Hollywood’s most sought-after screenwriters. His transition into directing and producing came later, with projects like The Queen’s Gambit and Dept. Q showcasing his storytelling mastery.
Scott Frank directed both The Queen’s Gambit and Dept. Q. He was the creator, writer, and director of The Queen’s Gambit, which became a massive success on Netflix. For Dept. Q, he co-created the series and directed several episodes.
Scott Frank’s influences span classic noir films, literary thrillers, and psychological dramas. He has cited Elmore Leonard as a major inspiration, particularly in how Leonard crafts sharp dialogue and morally complex characters. He also admires Philip K. Dick, whose philosophical sci-fi shaped Frank’s approach to Minority Report. Additionally, Scandinavian crime fiction, especially Jussi Adler-Olsen’s Dept. Q series, inspired his adaptation of Dept. Q, where he infused British crime drama sensibilities into the storytelling.
Scott Frank’s collaboration on Dept. Q was deeply influenced by British crime dramas like Happy Valley and Broadchurch, which focus on complex characters rather than just dark situations. He admired the depth and psychological nuance of Scandinavian noir but wanted to bring a British storytelling sensibility to the adaptation.
Scott Frank has a collaborative and actor-focused approach when working with directors and performers. He believes in giving actors space to interpret their roles while ensuring that the emotional depth of the story remains intact. He ensures that every role has psychological complexity, helping actors fully embody their characters.
Frank often rewrites roles to better fit an actor’s strengths. For Dept. Q, he adjusted Carl Morck’s character to suit Matthew Goode’s performance, working closely with Goode. Despite Goode’s reputation for playing “posh” characters, Frank saw his intensity and versatility, knowing he could bring emotional depth to the role. The setting was also a major focus—Frank and producer Rob Bullock wanted Edinburgh to feel like a character in itself, using its gothic atmosphere to enhance the show’s psychological tension. He even experimented with aspect ratios in key episodes to reflect a character’s isolated mental state.
“Matthew brings an intensity that makes Carl Morck feel both brilliant and broken. He understood the character’s isolation immediately, and that made all the difference,” says Frank.
Scott Frank structured Dept. Q to emphasise psychological depth, slow-burn tension, and emotional complexity. Each episode unfolds like a puzzle, revealing new details about cold cases while deepening the characters’ struggles. – Instead of heavy exposition, Frank lets the environment and interactions reveal the backstory with subtle World-Building. Every case builds toward a powerful emotional climax, ensuring that the audience is invested in both the mystery and the characters.
Scott Frank’s screenplay structure is built on tight pacing, emotional depth, and character-driven storytelling.
He follows a few key principles to craft compelling narratives:
Start with Character, Not Plot – Frank believes that a story should emerge organically from the characters rather than forcing them into a predetermined structure. He has emphasised that when characters are well-developed, their choices and conflicts naturally shape the narrative, making it feel authentic and emotionally resonant. In The Queen’s Gambit, Beth Harmon’sinternal struggles and ambitions drive the story forward, rather than a predetermined sequence of events. Similarly, in Dept. Q, Carl Morck’s trauma and guilt influence how he approaches investigations
Emotional Climax is Essential – He ensures that every screenplay delivers a powerful emotional payoff, making the audience feel deeply invested. He crafts narratives that build toward deeply resonant moments, ensuring that audiences feel invested in the characters’ journeys. In The Queen’s Gambit, for example, Beth Harmon’s final chess match isn’t just about winning—it’s about self-acceptance and overcoming personal demons. Frank’s approach ensures that his stories don’t just entertain—they leave a lasting impact.
Avoid Overwriting – He keeps his scripts lean and efficient, using minimal stage directions and trusting actors and directors to bring scenes to life. Scott Frank believes in lean, efficient storytelling, avoiding excessive exposition or unnecessary details. He has said that screenwriting is about terseness, where saying a lot with a little is key. Instead of overloading scripts with lengthy descriptions, he trusts actors, directors, and cinematography to bring scenes to life.
Subvert Genre Expectations – Whether it’s a crime thriller or a Western, Frank finds ways to reinvent familiar tropes, making his stories feel fresh and unpredictable, taking familiar tropes and reshaping them into something fresh and unexpected. His ability to reinvent genres keeps his work engaging and unpredictable. The Queen’s Gambit turns chess into a thrilling, cinematic experience, proving that intellectual battles can be just as intense as physical ones. He reinvented the crime thriller genre with Dept. Q by blending Scandinavian noir with British crime drama sensibilities. Instead of a straightforward procedural, he crafted a psychological mystery where the setting, characters, and atmosphere play as much of a role as the cases themselves.
Let the Story Breathe – He avoids excessive exposition, allowing visual storytelling and subtext to carry the narrative. He is known for his minimalist approach to storytelling—he trusts the audience to pick up on nuances and visual cues instead of relying on excessive dialogue or exposition.
His approach results in immersive, intelligent screenplays that feel both cinematic and deeply personal.
Fine Tips for Writers
Scott Frank has shared valuable insights for writers. Here are five key tips from him:
Write Every Day – Even if it’s just for 10 minutes, consistency keeps creativity flowing.
Deliver an Emotional Climax – A story should build toward a powerful emotional payoff, making it resonate with audiences.
Characters Should Be in the Grey Area – No one is all good or all bad—complexity makes characters feel real.
Embrace Genre Tropes, Then Reinvent Them – Understanding the style and form of a genre allows you to subvert expectations effectively.
Don’t Be Too Precious with Your Material – Be open to rewriting and adapting, especially when working on adaptations.
by Daniel Dercksen·Comments Off on Jurassic World Rebirth – A new era is born
“’Life finds a way’ is, for me, always the story,” says screenwriter David Koepp about Jurassic World Rebirth. “What’s wonderful about that theme is it can apply quite literally to your plot about the persistence of nature, represented by our dinosaurs, and it can apply to the characters and what they’re going through. They will manage to prevail and survive. Or they don’t! Sometimes life finds a way through death – though hopefully not for the characters you really like.”
Jurassic World Rebirth was conceived almost immediately after 2022’s Jurassic World Dominionbrought the second trilogy to a close and retired the cast of characters of both series, when revered blockbuster screenwriter David Koepp, who wrote the screenplay for the original Jurassic Park and The Lost World: Jurassic Park, got a call from Steven Spielberg. “He said, ‘Hey, do you want to make another one of these?’” Koepp says. The answer, of course, was yes. “Developing stories with Steven is so much fun because he’s so good at it and we have such a great vibe and rapport.”
Spielberg and Koepp commenced the collaboration by riffing on the central theme of the series. Their brainstorming focused on imagining the state of the world following the events of Dominion, which left the entire planet suddenly overrun by dinosaurs running amok. Returning to Michael Crichton’s books for inspiration and leaning into his science-based premises, they decided this new age of human-dinosaur co-existence wouldn’t last long because most of the modern world would be inhospitable, if not toxic, to creatures indigenous to the Mesozoic Era. And so, in Rebirth, dinosaurs are in danger of extinction once more. The only places they continue to thrive are the tropical climes along the equator.
Here, warm-water leviathans like the Mosasaurus troll for food near Ile Saint-Hubert, located 227 miles off the northeastern coast of South America. A lush rain forest of low mountains and mangrove swamps, the island is also dotted with ruins of an ancient civilization and the blight of a more recent endeavor: a secret R&D facility run by InGen, the firm that cloned dinosaurs for the ill-fated theme parks of the first two Jurassic trilogies. Something went catastrophically awry deep in the jungle 18 years ago, and now, Ile Saint-Hubert is a forbidden zone, haunted by the horrendous consequences of reckless hubris.
Having forged a new “lost world” for Rebirth, and a rather lethal one at that, Koepp and Spielberg now needed a credible reason to visit it. They concocted a mission plot about a pharmaceutical giant that tasks a team of covert operations experts (and one sensible scientist) to infiltrate Ile Saint-Hubert and extract DNA from three colossal Cretaceous-period creatures, each the largest of their general type: Quetzalcoatlus (avian), Mosasaurus (aquatic), and Titanosaurus (terrestrial). The reason: to use the genetic material of these (literally) big-hearted animals to manufacture medicines that can cure cardiac disease.
“While doing research, I found that certain dinosaurs, larger ones in particular, did have extraordinarily long lifespans and the reason was they had remarkably low incidences of heart disease,” says Koepp. “That led to the idea that a drug could be synthesized from their DNA, because the greatest killer of humans is heart disease. The nice thing about that premise was that it was true to the core theme, ‘life finds a way.’ Life extension! Everyone can get onboard with that! To me, that seemed a valid reason—combined with the promise of a massive payday for the covert operations team—for smart, competent people to take the risk of going on an adventure into the most dangerous place in the world.”
To create complications for this quest, Koepp and Spielberg spun a subplot about a shipwrecked family, the Delgados, whose plight troubles the goals and consciences of the dino-hunting team. Koepp and Spielberg also devised strange new creatures—creepy misbegotten byproducts of InGen’s ill-fated genetic experimentation—to terrorize the characters. One was inspired by a memorable afternoon of yard work at Koepp’s house. “We had these old columns that were rotting, so we had to replace them,” says Koepp. “I was spraying off one of these things when two clawed hands came crawling out of the column at the top. They were followed by these long arms that just kept coming, followed by the head. It was this huge bat, soaking wet from the water. I thought: ‘I’m putting you in a movie!’”
Spielberg and Koepp also wanted to create action sequences unlike any seen before in a Jurassic film. Spielberg was particularly intrigued by the possibilities suggested by a Mosasaurus roaming the oceans. Koepp swam with it. “I loved the idea that part of the movie could be a seafaring adventure,” says Koepp. “Not only have I never seen that before in a Jurassic film, but it would be a new way for the franchise to capture the raw beauty of the natural world, which I believe all these films should do.”
Koepp and Spielberg found further inspiration in material from Crichton’s novels that had gone unused in the first two Jurassic films, including a suspenseful stretch on a river in which characters come upon a T. rex slumbering in a lagoon, sleeping off a feast of fresh kill. “We always loved that moment in Michael’s Jurassic Park novel,” says Koepp. Back in the early ’90s, when they were making the first Jurassic film, Koepp says, “there was discussion of putting that scene in that movie, but the number of shots that one could do with CG at that time was limited, and for reasons of pacing and budget and time, it was never fully pursued. So, one of the first things Steven and I decided when we started working on Rebirth was to get the scene into this story. Besides, the T. rex is the star of these movies; it had to at least make a cameo. This scene seemed like the perfect amount of T. rex.”
Prior to writing the script for Rebirth in earnest in the fall of 2023, Koepp reviewed the six previous movies and created a list of commandments: the nine rules that all Jurassic films should follow. “I’m afraid they’re now official trade secrets, so the list is now locked up somewhere inside Universal,” Koepp says. Still, he’s willing to share a few of them: Jurassic films should embrace plausible science as much as possible; they must keep continuity with past films; and they should be funny. “Humor is oxygen for movies like these,” Koepp says. “Not in a self-conscious way, but in an utterly believable, character-oriented way. To me there’s nothing funnier in films like these where you have characters trying to stay calm in the face of extreme peril by understating it.”
The first thing Koepp wrote was the Mosasaurus attack at sea, which dominates the first act of the film. “Shooting on water is always very tricky,” Koepp says, with a chuckle. “I remember thinking: “Oh, the poor people who will actually have to do this!’ But I’m just the writer! That’s their problem, not mine!”
A New Epic At Epic Speed
Accepting the challenge of solving the script’s seemingly impossible scenes were veteran Jurassic producers Frank Marshall and Patrick Crowley, who also recently produced Twisters for Universal. First, though, they had to get over the shock that the challenge even existed. “When we finished releasing Dominion in 2022,we had no doubt there would be another Jurassic film, but we had no idea Steven was cooking up a new one or that it would be ready so soon,” Crowley says. “We were focused on wrapping up Twisters when suddenly this script from David Koepp arrives in December of 2023. It really snuck up on us.”
With an accelerated production schedule, Rebirth needed a director with a proven record for big-budget franchise filmmaking. Enter Gareth Edwards, whose résumé made him ideally suited for telling the story of Rebirth and re-energizinga franchise: 2010’s Monsters, an ingeniously designed low budget creature feature; 2014’s Godzilla, which reintroduced the towering atomic kaiju to a new generation of moviegoers; and 2016’s Rogue One, a Star Wars tale with a heist-movie engine. He was also, unbeknownst to Spielberg at the time, perhaps the legendary director’s longest and most devoted student.
Edwards grew up in in England loving and studying Spielberg’s films. At the age of 10, he decided to learn storyboarding and special effects after watching a documentary on the making of Indiana Jones and the Temple of Doom. “Most of my films have been secret attempts to make my own Jurassic Park film, sometimes more obviously than others,” Edwards says.
Director Gareth Edwards (center; pointing) on the set of JURASSIC WORLD REBIRTH
Edwards also impressed screenwriter David Koepp. “Gareth has a 3-D imagination that can visualize things that are spectacular,” Koepp says. “But what makes him gifted is he can not only visualize them, but also he can figure out how to bring them to reality. That’s the line that separates a director who’s good from one who’s terrific.”
Still, the call to Jurassic adventure arrived at a moment when Edwards’ energy was at an ebb. He was feeling depleted after finishing The Creator, and part of him hoped Koepp’s script would give him a reason to say no. But much like life, good writing finds a way. Edwards was riveted by the Rebirth script,from its thrilling story to its implicit love letter nostalgia for the films of Spielberg. “I wanted to not like it,” Edwards says. “I wanted to be able to say, ‘Thank you very much, but I’m going to take a break.’ But when I got to the end and closed the script, I went, ‘Oh, f—.’ I knew I had to do it.”
Indeed, Edwards could probably write another four-page essay about Koepp’s Rebirth screenplay. “It’s a mission story that becomes a survival story with some great curveballs thrown along the way,” Edwards says. “It elegantly balances and intertwines a story about these adventurers on a quest and an emotional family story. It’s a journey of distinct chapters set in interesting environments, sea, land, and air. Each one is their own short story thrill ride that adds up to one roller-coaster of epic story. At times, it’s like Jaws, at other times, it’s like Indiana Jones, and in between, it delights in the majesty of nature like a David Attenborough film. Truth be told, when I was reading the script, I thought if it presented one opportunity to do anything as cinematic and intense as the T. rex attack in Jurassic Park, I’d probably do it. But David’s script presented multiple opportunities, and I just got excited by the thought of making all of them.”
Besides an accelerated prep, the most intimidating challenge Edwards faced prior to rolling film in June of 2024 was getting over the pinch-me awe of working for Steven Spielberg. “Say you’re a composer who admires Mozart. Well, Mozart lived long ago, so he’s like a mythical person,” Edwards says. “But the great cinematic master of today is still very much with us, and I’ve now sat in rooms with him, and I can tell you, it’s a surreal experience; it’s like learning Santa Claus is real.”
As for his vision for Rebirth, Edwards wanted to use Spielberg’s original Jurassic Park as his tonal touchstone. “Jurassic Park was presented as a family film, but I always thought of it as a horror film in a witness protection program pretending to be a family film,” Edwards says. ”Jurassic Park is perfect pure cinema. You’re never going to get close to beating what Steven did with the original, and I never once thought I could. But I do hope we’ve made a film that’s worthy of it. Jurassic World Rebirth should feel as if Universal went into the vault and found a movie that they’d forgotten they’d made, a sequel to Jurassic Park from the nineties, with the vibe and style of the original.”
From Page To Screen
Jurassic Park Rebirth was shot in Thailand, Malta, the United Kingdom and New York. Principal photography began on June 13, 2024, and wrapped in October.
To craft the world of Rebirth, director Gareth Edwards enlisted production designer James Clyne, who also served as his production designer on The Creator. “Jurassic Park was a seminal movie for me and in film history and I wanted to pay tribute to that as much as possible,” says Clyne. “The aesthetic of Rebirth feels very much like nineties-era Jurassic Park, especially on the island, with the concrete buildings and fences and use of colors like red and yellow. But there were some areas, such as the depiction of technology, where we borrowed from the Jurassic World movies and even pushed the futurism while always remaining as grounded as possible.”
To serve as director of photography, director Gareth Edwards enlisted John Mathieson, a two-time Oscar nominee (Gladiator films, Logan), known for his many collaborations with legendary auteur Ridley Scott. Fresh off lensing Gladiator II, Mathieson brought valuable experience shooting in the horizon tanks at Malta Film Studios, where Scott had staged Gladiator II’s battleship sequences.
Shot with Panavision cameras and anamorphic lenses, just as 1993’s Jurassic Park had been, Rebirth is the first feature that Edwards has made using 35mm film rather than digital. “I wanted that vintage look, the kind of texture that made Jaws and Jurassic Park so special,” says Edwards, who also credits Mathieson for encouraging him to embrace film. “Shooting in the jungle environments, film brings out colors in a way that digital just doesn’t. And when I held that Panavision camera, it felt alive. It vibrated in my hands like an animal.”
The challenge of designing Rebirth’s dinosaurs and bringing them to life on set and screen was a team effort across multiple departments, led by director Gareth Edwards, visual effects supervisor David Vickery andvisual effects producer Carlos Ciudad. The creature effects department was led by CFX creative supervisor John Nolan (Jurassic World Dominion, The Witcher).
Rather than jumping between physical builds and CF creatures during the movie, Edwards’ goal was to keep a consistent aesthetic by sticking to one clear methodology and use VFX to create all the dinosaurs in Rebirth. That approach allowed the team to focus on developing the fully realized digital assets—some of which took nearly a year to complete.
Introduced with a splash in Jurassic World, the Mosasaurus was the Jaws of the Late Cretaceous period, only bigger: a massive, muscular eating machine, and technically, not a dinosaur but a close reptile cousin. The Titanosaurus is one of the biggest sauropods ever seen. This massive herbivore from the Late Cretaceous period, whose name aptly means Titanic lizard, is around 50 feet tall, 70 feet long, weighed more than 30 tons and had legs the size of Redwoods, each measuring about eight feet in circumference. The Quetzalcoatlus is a gigantic pterosaur from the Late Cretaceous period. This massive omnivore is one of the largest known flying animals of all time. It stands 16 feet and seven inches high when on the ground and has a 30-foot wingspan when in flight. It sports a six-feet-long razor-sharp beak and weighs approximately 550 pounds. A fan favorite since their first appearance in Jurassic Park III, the Spinosaurus is a massive, amphibious predator. The Spinosaurus, whose name means “spine lizard,”first lived during the Late Cretaceous period. They are 39 feet long and 13 feet high, with thick, powerful bodies, massive claws, razor-sharp teeth and six-feet-high sail fins. Inspired by Ray Harryhausen’s iconic creature work and staying loyal to the incredible designs created by previous Jurassic teams, the VFX concept artists set out to evolve the T. rex for Rebirth—creating something meaner, recognizable, but distinct. Inspired by Koepp’s creepy close encounter with a giant bat that crawled out of a rotted column on his property, the Mutadon is roughly the size of a raptor, measuring 6-7 feet high, 16 feet long and weighing approximately 550 pounds. Other creatures include two new Velociraptors, The Dilophosaurus is a theropod from the Early Jurassic period, the well armored herbivore packs Ankylosaurus, and the Compsognathus, a small bipedal theropod dinosaur the size of a chicken.
To create the score for Jurassic World Rebirth, director Gareth Edwards turned to a distinguished friend, two-time Oscar® winner Alexandre Desplat (The Grand Budapest Hotel, The Shape of Water), who worked with Edwards on Godzilla. “I feel very fortunate to be doing the music for a movie franchise like this, which entertained me so greatly, as a filmgoer, for decades,” Desplat says. “I dreamed of writing music for movies like this since I was a teenager, and now, here I am,” he adds with a laugh, “part of Jurassic World, almost a teenager.”
by Daniel Dercksen·Comments Off on 28 Years Later – A terrifying new “auteur horror” story
“I want that sense of suffocating intensity where you cannot escape this world,” says director Danny Boyle of 28 Years Later. “At the same time, that world must sometimes be pleasurable, and horror can be pleasurable, especially when the intensity of the experience is a communal one. I want audiences to sit down and say, ‘I’m here, I’m part of this now.’”
Academy Award-winning director Danny Boyle and Academy Award-nominated writer Alex Garland reunite for 28 Years Later, a terrifying new “auteur horror” story set in the world created by 28 Days Later.
It’s been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected. One such group of survivors lives on a small island connected to the mainland by a single, heavily defended causeway. When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but also other survivors as well.
“The Rage Virus laid waste to the UK. It was driven back from continental Europe. The British mainland was quarantined to contain the virus. Survivors were left to fend for themselves.”
Since his feature directorial debut with Shallow Grave, Danny Boyle has been recognized as one of today’s most innovative filmmakers and a true visionary known for pushing the boundaries of storytelling.
With 28 Years Later he has crafted a terrifying and gritty tale that will resonate with fans of the landmark original, 28 Days Later, as well as attract new audiences to the world he and Garland created.
Garland, an esteemed director in his own right, is known for his thought-provoking films, and in 28 Years Later has written an uncompromising and suspenseful script that takes this world in electrifying and startling new directions.
He and Boyle have once again created a visceral and thrilling cinematic experience unlike any audiences have experienced before.
Boyle’s unique vision is heightened by his and cinematographer Anthony Dod Mantle’s use of the 2.76:1 widescreen aspect ratio with an eye to creating an immersive feel as audiences return to the Rage Virus-ravaged UK.
“We used a very widescreen format in this one,” Boyle says. “We thought we’d benefit from the unease that the first film created about the speed and the velocity, the visceral [aspect] of the way the infected were depicted. If you’re on a widescreen format, they could be anywhere… you have to keep scanning, looking around for them, really.”
Indeed, the goal for Boyle with 28 Years Later was to embrace both an epic and immersive feel and find new ways to depict the infected, all the while focusing on the smaller moments of character that made the original a horror classic.
Boyle and Garland bring us into a world that exists 28 years after the outbreak of the virus that has decimated the UK. Society has been forced to rebuild from the ground up, forming new communities.
“We imagined how a world would remake itself after an apocalypse, when everything – all the ‘stuff’ – that had surrounded us now feels irrelevant or even useless,” says Boyle. “How would you go about making sure to have the essentials, like food and fuel?”
28 Years Later is partially set on Holy Island, a thousand-acre section in the northeast coast of England, in a small community that has sealed itself in, to keep the infection out.
This tight but fragile community is protected by a causeway, which helps create a semblance of a safe space for the islanders. “The island and causeway felt like a great starting point for our story,” Boyle elaborates, “because the causeway can be defended when it’s exposed by the tide. A community could thrive. Instead of a post-apocalyptic state, it looks like a town from the turn of the twentieth century. But the mainland then becomes somewhere ‘over there,’ offering both promise and threat.”
The causeway also serves as a reminder of the island’s one ironclad rule: If you don’t come back from an expedition to the mainland, no one is permitted to look for you. There are no search parties or rescues.
As Boyle points out, “With this kind of film we can explore characters by deciding what rules they’re setting and following. It helps define how they think, what they prioritise, and who they are.”
For Garland, that kind of self-sufficient society stems from the global reaction to the infection, which has plagued Britain but left the rest of the world largely untouched. “We considered what the infection would look like,” he remembers. “What happens to the country being quarantined and essentially abandoned by the rest of the world? For those answers, just look at the real world, there’s a kind of ruthless, pragmatic, dog-eat-dog dimension to the ways things play out when a nation collapses. Broadly speaking, people not affected by the collapse ignore it and just go about their lives.”
That kind of deep dive into both global politics and horror is a potent mix, says producer Andrew Macdonald: “We wanted to make a film with a unique kind of epic scale. Using 28 Years Later to accomplish that has been very exciting. It felt like the perfect time for us to return to the infected.”
On the film’s closed-off island, a family is making the best of it. Jamie (Aaron Taylor Johnson) is a loving and protective husband to his wife Isla (Jodie Comer) and father to his young son Spike (newcomer Alfie Williams). When we meet them, Jamie is preparing Spike for a major rite of passage: a journey to the mainland and an opportunity for Spike to kill his first infected. At the same time, they are taking care of Isla, who has been stricken with a grave illness that has yet to be diagnosed, as there are no doctors or modern medicines remaining in this secluded community.
In addition to amping up the thrills and terror, Boyle and Garland embraced focusing on this family, “which allowed us to explore characters and relationships,” Boyle notes. “Alex came up with this idea centred around a family. It is inventive writing, in a way that was exciting for everyone involved and helped make us feel like we were making an original film, and not a sequel.”
“28 Years Later is a family story,” Garland confirms. “What happens when one member becomes ill, not infected, but still very sick. How do the other family members react?”
Twenty-eight years since the emergence of the rage virus – a virulent, bloodborne infection that sends its hosts into a state of extreme, uncontrollable rage – new variants have emerged. The resulting infected are physically different from those we’ve met before. The so-called “Slow-Lows” are fat, fleshy, and slow, and move on all fours with their stomachs low to the ground. Then, there are the first generation infected – those who were stricken during those fateful first waves nearly three decades earlier, and who are etched in muscle, with veins protruding in freakish knots. The clothes they were wearing when infected have long since disintegrated, so they roam the mainland naked and animalistic.
“We wanted to show how they have evolved, because ‘nature always finds a way’ to evolve,” Boyle notes. “It doesn’t stop, no matter how ugly, repellent, or even beautiful the process. With this movie, we’ve accelerated the change, because it’s been only 28 years since the initial infection, which in evolutionary terms is the blink of an eye. We compress it and force it forward. Different elements emerge from the infected. There are even families within them, and groupings begin to form.”
Who needs an iPhone when you have 20 (and 2:76:1 widescreen)?
28 Days Later was famously shot on digital video, which gave it a uniquely homemade feel. So, when it came time to make the new film, the team’s attempts to figure out unique production methods was partly inspired by that approach.
“I suppose you could ignore it, but we decided to carry it as an influence,” says Boyle, who explains that on the first film he and Garland had the “meta idea” that since domestic video cameras were everywhere at that time, there would be low-fi recordings of the horrors of the apocalypse lying around everywhere.
Taking that idea 28 years later, the iPhone was the now-ubiquitous version of 2002’s camcorder. For depicting the apocalypse, Boyle believes “it’s wonderful to give yourself parameters that you use to try and depict it and have technical limitations.” That would include using iPhones to shoot certain sequences, sometimes as many as 20 of them at a time. But that was just one of the methods the filmmaker implemented.
Several production techniques were used to achieve that immersive feeling, including attaching cameras to actors, special sensors, designing rigs to house multiple cameras, drones, and working with a wide variety of camera types and lenses. And that included three special rigs for the iPhone sequences.
“One for eight cameras, which can be carried very easily by one person, one for 10 cameras, and one for 20,” explains the director of the iPhone rigs. “I never say this, but there is an incredible shot in the second half of the film where we use the 20-rig camera, and you’ll know it when you see it. … It’s quite graphic but it’s a wonderful shot that uses that technique, and startlingly that kind of kicks you into a new world rather than thinking you’ve seen it before.”
Boyle equates the 20-camera rig to “basically a poor man’s bullet time.” It allows flexibility for the filmmakers in terms of light and ease of use on location shoots, and it can be attached to cranes or a camera dolly or built into a location even.
“Wherever, it gives you 180 degrees of vision of an action, and in the editing, you can select any choice from it, either a conventional one-camera perspective or make your way instantly around reality, time-slicing the subject, jumping forward or backwards for emphasis,” he says. “As it’s a horror movie, we use it for the violent scenes to emphasise their impact.
“I also like it for the same reason I love jumping the line,” he adds. “For a moment the audience is inside the scene, the action, rather than classically observing a picture. You feel like you’re in the room with Jodie Comer and her son, venting her rage at Aaron Taylor Johnson, like you’re in the abandoned train with the naked Alpha and the unzipped spine and head.”
“I never say this, but there is an incredible shot in the second half of the film where we use the 20-rig camera, and you’ll know it when you see it. … It’s quite graphic but it’s a wonderful shot that uses that technique, and in a startling way that kind of kicks you into a new world rather than thinking you’ve seen it before.
”Dod Mantle also used more conventional cameras, but in unconventional ways. For jarring smash cuts to animals and infected roaming the mainland. “I was basically photographing thermal energy and moving it through them,” he explains. “Moreover, to maximize the impact and “ick” factor of the new Slow-Low variants of the infected, Dod Mantle attached cameras to them, producing what he calls “very disturbing” views of their bounteous flesh moving close to the ground. “I call it embedding the audience through the lens, and Danny and I really love that,” he elaborates. “I want audiences to feel like they’re riding on the back of the Slow-Lows.”
Boyle’s decision to employ the 2.76:1 widescreen aspect ratio – an unexpected choice for a film of this nature, as 2.76:1 is often used for IMAX or Ultra Panavision 70mm epics, such as Quentin Tarantino’s The Hateful Eight, Christopher Nolan’s Oppenheimer, and Ryan Coogler’s recent Sinners – heightens the immersive feel.
It all points to Boyle and Dod Mantle’s drive to always push the envelope. “This is the tenth picture on which Danny and I have worked together, which means we can cut to the chase quite quickly,” the cinematographer says. “We both like maverick ideas, techniques, and technology that are insistent in their language and push boundaries. We believe in testing, challenging, and breaking conventions, and wanted to do all of that with this film.”
Now, these practices serve Boyle’s vision for 28 Years Later to be an auteur horror theatrical event best experienced on the big screen. “I want that sense of suffocating intensity where you cannot escape this world,” he states. “At the same time, that world must sometimes be pleasurable, and horror can be pleasurable, especially when the intensity of the experience is a communal one. I want audiences to sit down and say, ‘I’m here, I’m part of this now.’
DANNY BOYLE (Director / Producer) reprises his role as director of the original film, 28 Days Later. Prior to 28 YEARS LATER, Boyle directed the films Yesterday, Steve Jobs, Battle of the Sexes, 127 Hours, and Slumdog Millionaire, for which he won the Academy Awards for Best Directing and Best Picture. His debut film, Trainspotting, was nominated for a BAFTA for Outstanding British Film.
ALEX GARLAND’s (Writer / Producer) latest film Warfare, which he co-wrote and directed with Navy SEAL veteran Ray Mendoza, was released April 11, 2025. Garland teamed with A24 on Warfare, as he did on his 2024 film Civil War. Garland directed the 2022 horror film Men, the 2018 film Annihilation, and the 2014 film Ex Machina, for which he was nominated for Best Original Screenplay at the Academy Awards, as well as three BAFTAs, including Best Original Screenplay. Garland created, wrote, and directed Devs, an eight-part miniseries for FX starring Nick Offerman, which premiered spring 2020.
by Daniel Dercksen·Comments Off on Searching – An Inspired New Form Of Storytelling In The Digital Age
The thought-provoking and captivating Searching began when two young filmmakers (writer/director Aneesh Chaganty and writer/producer Sev Ohanian along with veteran producer Timur Bekmambetov) sought to tell a hyper-modern thriller told via the technology and devices we use every day to communicate.
Although it re-imagines modern technology and digital storytelling, it is, importantly, anchored by a riveting, dramatic mystery with unpredictable twists and a compelling emotional base.
The film took just thirteen days to shoot. However, it took two years to make due to the prep, editing and animating.
After watching this film you will approach cyberspace with caution and logon with care.
At the centre of the mystery is beloved, missing daughter Margot, determined father David and sympathetic but no-nonsense Detective Vick.
After David Kim (John Cho)’s 16-year-old daughter goes missing, a local investigation is opened and a detective is assigned to the case. But 37 hours later and without a single lead, David decides to search the one place no one has looked yet, where all secrets are kept today: his daughter’s laptop.
The hunt is abetted by our modern tools of communication – social media, texts, emails, life played out in photos and video snippets saved on computer files for safekeeping. But all is not what it seems. We are what we hide in our mobile devices, which often conceal as much as they reveal. Our virtual identities are subjective constructs at best and David learns more about his daughter than he had ever known with every digital clue.
You can watch Searching (2018) on several streaming platforms. It’s available on STARZ for a subscription fee, and you can also rent or buy it on iTunes, Google Play, and Movies Anywhere
In telling the story, the filmmakers use a screen-based language of storytelling that authentically depicts the way we interact today and explores the reality of a modern parent/child connection in the Internet age.
Our modern modes of communication provide instant ways to present and reinvent ourselves. The virtual world is especially enticing to teenagers pushing boundaries and exploring their identities, while also offering life-affirming promises with a lurking menace.
Searching investigates the age-old parental dilemma in a brand new cinematic way – how much latitude to give a child, how much independence to afford them, and when to reign them in – made especially harder by social media.
The question lies in who are they connecting to and who are they becoming?
It is a big-screen thriller told in real-time, in a new way that is also super familiar – these are the devices we all use and thus far audiences are embracing to this crowd-pleaser.
It won the Audience Award at Sundance. Chaganty and Ohanian make their feature debuts with Searching but met prior at USC in a film production class, where Ohanian was a graduate teaching assistant and Chaganty one of his strong students. “Aneesh always had the best ideas, a good work ethic, positive energy, an inquisitive mind and you just had a sense that he could be something great.”
Student and teacher eventually became writing partners and film collaborators and Ohanian soon established himself as a successful independent producer (Sundance Festival selects “Fruitvale Station,” “Results,” and “The Intervention” among his credits).
At this point, Chaganty worked for Google in New York creating short-form content, including “Google Glass: Seeds,” a short film shot entirely with Google Glass. It was at the behest of a small program called The Creative Collective, designed to ascertain how the product could be implemented as a filmmaking tool. Creating this screen-based content – screen in the most current interactive sense of the word – required both technical and operational workflow skills Chaganty and Ohanian would apply to the production of Searching.
Aneesh Chaganty & Sev Ohanian
In many ways, Chaganty was perfectly poised for Searching – his Google projects and commercial work gave him the experience and pedigree to lead to feature filmmaking, particularly this innovative approach to cinema.
Timur Bekmambetov
Filmmaker Timur Bekmambetov experimented with a new cinematic approach that better illustrated our modern communication paradigms.
He calls this concept screen-life and describes it as a new film language. The notion occurred to him in 2012 during a Skype conversation with his producing partner. After the business discussion ended, this colleague forgot to turn off the screen sharing function. Bekmambetov saw him search the Internet, send messages on Facebook, place orders on Amazon, etc.
At that moment, he glimpsed into his friend’s inner life, his motivations, and his concerns in real-time, merely based on what windows were open, the way he moved his cursor, the choices he made and the manner in which he typed. A text message, from the typing to the back spacing to the decision to send or delete revealed a kaleidoscope of emotions and all in a singularly visual way.
“It’s very simple. We spend half of our time now in front of us on our devices and it means our ‘screen life’ is quite important to us and reveals so much about us. Our entire lives play out on our devices – fear, love, friendship, betrayal, our fondest memories, our silliest moments. It seemed to me that there wasn’t a way to tell stories about today’s world and today’s characters without showing our screens. Because multiple dramatic life events play out on our phones and computers. Most importantly we make impactful moral choices today with these instruments. To be able to depict this I think is a way to authentically reflect who we are today, collectively,” Bekmambetov explains.
Inspired by this new form of storytelling, Bekmambetov, through his company Bazelevs, began to seek out like-minded young filmmakers who would embrace the screen-life approach. He had some success in 2014 with the hit 2015 thriller “Unfriended,” told through a group Skype conversation amongst teenagers that takes a deadly turn, and was looking for young cinephiles to join him in taking the approach to a new level. “We found those filmmakers in Sev and Aneesh, and they gave us an unbelievably great teaser pitch. It was clear that they totally understood the beauty and possibility of this new language and also had a fantastic sensibility for story and character”
Bekmambetov relays. Ohanian and Chaganty, thinking almost entirely in terms of short-form content, had come up with an idea about a father who breaks into his missing daughter’s laptop, figuring it would be part of a digital anthology series.
“We put together a pitch for a six-minute film,” recalls Chaganty, and at the end of the pitch, Bazelevs said, “We like it – but we love it as a feature.”
“I wasn’t interested in a short film, but I could definitely see the possibility of it as a full-length feature. And they had great ideas. I personally love to encourage young filmmakers, they usually have the boldest, most creative ideas and Aneesh and Sev were exceptional examples of that,” Bekmambetov says.
Bazelevs suggested that the pair write the feature and Chaganty would direct. And Chaganty initially declined. “I could have kicked him under the table!” recalls Ohanian.
Leaving the meeting with the promise that they would “think about it,” Ohanian and Chaganty took some time to figure out if the feature-length concept would work.
“I worried that turning our short idea into a feature script would feel like we were stretching an idea thin instead of expanding on it organically.”
Chaganty says about his initial hesitation. “But we kept talking about it.” Ultimately, they signed on to write and direct, mostly based on being inspired by montage opening sequences from other films that cracked their creative conundrum. In a curious moment of serendipity, both men hatched the same concept for the film’s first few minutes while thousands of miles apart. Their mutual idea revolved around telling the backstory of the Kim family through a screen-life montage, illustrating the delicate and compelling emotional universe of the main characters’ lives through our everyday communication devices.
The prologue of Searching guides us through the video chats, calendar entries, home movies shot on phones, and text messages that tell the story of the birth of Margot Kim, the happy early years, and the darker days to follow.
“One night we texted each other at the same time, saying, “Hey, I just came up with the opening scene.” And we called each other, and we both pitched each other the same thing, which is what ended up in the movie, which was reminiscent of the opening scene in the movie ‘Up.’ We thought that approach, translated through screen-life, could create characters people cared about, could become invested in them and in the first five minutes, our hope was that it would be both familiar, in that it is how we communicate with each other, and that people would forget that it was an unconventional way to see a movie,” Chaganty says.
Indeed, that segment that helped convince actor John Cho that the screen-life storytelling experiment might work:
The bulk of the work is done in that opening montage – if that speaks to you, if that gets you, then you’re in, and you accept the premise of the movie because you know who that family is,” says Cho. “He had to get that right, and he nailed it – when I watched it, I felt like I could give myself to this story and not think too much about the new technique.”
In addition to receiving the funding and production support from Bazelevs, they also received creative freedom and some of the ingenious rigs the company had invented specifically for the screen-life format.
“The biggest challenge for any producer is just to find the right filmmaker,” says Timur Bekmambetov. “Then you just shake hands. I know that because I am a director myself, and it’s very important that when a producer makes a decision about a filmmaker, you have to let them make their own movie and especially with one like this, it was more important for me to be there for them in the edit. We at Bazelevs are looking for talented filmmakers that we can help AND learn from.”
Indeed, as much as Searching is shaped by the way it reimagines modern technology and digital storytelling, it is, importantly, anchored by a riveting, dramatic mystery with unpredictable twists and a compelling emotional base.
“We wanted to make a movie that we wanted to watch,” explains Chaganty. “Our favourite kinds of movies are gripping and emotional with a lot of suspense and intrigue, and from day one, we wanted this to be a story where you would just fall into the mystery and almost forget the way it’s being told.”
In developing the screenplay, Chaganty and Ohanian watched dozens of missing person thrillers to see what worked and what didn’t, and various strategies filmmakers had employed in order to conceal information and subtly misdirect.
“If you look at the actual storyline of Searching,” says Chaganty, “you’ll see a lot of the traditional elements of the mystery thriller. Our goal was to mirror those things that we loved best and adapt that into the screen-life concept.”
To prepare for the shoot, Chaganty borrowed a system he’d used at Google called prototyping, similar to the motion picture industry’s “pre-viz” process.
“In prototyping, they create a version of the project ahead of time with a lot of temp footage and material that they gather on their own. So Aneesh had been used to this workflow and applied that to this project, and actually, very early on, made an entire version of this film which was very helpful because we were able to really watch the film before we went out and shot any of it, and we were able to solve a lot of problems beforehand. Essentially, we started editing the film seven weeks before we started principal photography,” says Ohanian recalls.
This mini-movie provided Chaganty with invaluable information that in turn was vital to the actors translating this new film language, including Debra Messing who plays the accomplished and determined police detective Rosemary Vick tackling the case of Kim’s missing daughter.
“I was incredibly intrigued. It literally was unlike any film script I had ever read before. The whole thing that makes this movie so original and exciting and forward-thinking is this really thrilling approach to storytelling in a completely new way,” she explains.
“Even reading the script was a different experience, and that’s what excited me – it was obvious that Aneesh was so clear in his storytelling and the kind of film he wanted to make. At first, it was a big leap of faith, but on set, there was always a sense of ‘this is how we are going to make this work,’ with room for tinkering if we needed to. There was always a sense of discovery.”
In a bit of life imitating art, the digital video communication that becomes another visual platform in the movie became the conduit of her research.
“I thought research was really important because I didn’t have any idea about what a missing person detective job is, really. And so, I was able to speak with two detectives from Los Angeles, via Facetime with them simultaneously. It was wonderful, they were very patient with me, going over everything from what is the protocol as soon as you get the call to going in front of the public, speaking about the case and what’s expected of that; the dynamics between a victim’s family and the detective,” Messing recalls.
“The prep process for this movie was a lot of not only technical conversations, but we also had a lot of philosophical conversations, of ‘how are we going to do this? What is our approach? What does this mean? Are we going to have the actors operate the camera, is that part of our philosophy for this? Are we going to do a lot of the deterioration of the footage in post, or are we going to capture it as real as possible?
Aneesh’s mandate from Day One really was, ‘I want to make this as real as possible. I want people to feel connected to this movie because it’s really relatable and very honest.’ In keeping with that, the cinematography has to be grounded. It has to be just as organic.
That mini-movie Aneesh made ahead of shooting was very helpful in terms of figuring out the pacing and what was going to be visually important from my end, what my team had to concentrate on during production and what we could leave to the editors,” Herrera notes.
While the film was shot for a limited number of days, the edit was substantially longer and required two editors. Will Merrick and Nick Johnson. In a sense, their work began even before principal photography, working with Chaganty to stitch together his pre-visualized DIY movie. The overall process of assembling the film paralleled that of an animated motion picture in that layer by layer, each new pass added more critical information to the original “mini-movie” that Chaganty had constructed.
Apart from the actors’ performances and physical sets, assets that were filmed staged or imaged as screen capture, website, blog comment, text message, or digital news clip all had to be added in the edit.
“We began working on editing seven weeks before production started, with a totally blank timeline and worked with Aneesh, taking pictures of the space and screenshotting web pages to build out kind of an animatic, like a Pixar-style storyboard of what the movie was going to look like, which was used during production,” Merrick explains. “So, we were refining the story with the director and producer in the room, so that essentially, when they started shooting, they knew exactly what they were shooting, they knew what the eye-lines should be, what they would see in terms of the actual set, etc. and that helped tremendously because ultimately, we didn’t have to do as many pick-ups as we might have otherwise had to do, had we not had the pre-viz,” Johnson adds.
The entire process of editing was over a year. We had two editors working full time, and even though we were working in the modern age of digital, non-linear editing, the level of detail we had to bring to each scene felt like we were cutting on an old Moviola,” says Ohanian.
“The rendering was so complex – we’d ask the editors to make a change, and they’d say, ‘come back in a couple of hours when we are so used to seeing things instantly, because of the sheer size of the files and programs we were working with.” While the process was painstaking and pioneering, the result is a movie that resonates with the familiar iconography and discourse of contemporary life.
“Audiences will recognize themselves in every click and movement of the mouse, every notification, every sound, everything that we now use to experience everyday life in a way that is also compelling and cinematic,” says Bekmambetov.
“This approach, we hope, helps the audience relate to the character in an intimate way – you see how the character is writing something, deleting it, then writing something else, debating whether to save or delete a cherished memory – traditional filmmaking relies on techniques like voiceover to do that and to me, that seems less real and certainly less visual. Based on our previous screen-life movies, it does seem that audiences are ready to embrace this new form of cinema. But of course, it only works if you have a filmmaker who can create meaningful characters and tell great stories and discover something emotionally.”
“Ever since I picked up a camera I’ve always liked films that told stories we know in a way that we don’t expect. Searching takes that to a whole new level. But when we were filming, I wasn’t thinking about the novelty of the approach. When you’re in it, you’re not thinking you might be doing something groundbreaking, you’re just doing the best work you can, trying to be true to the characters and story. But every once in a while, during this process, I would take a step back and think ‘what we are making could be really, really cool,’” sums up Chaganty.
by Daniel Dercksen·Comments Off on The Universe Just Called… And It Wants Elio!
For centuries, people have called out to the universe looking for answers—in Disney and Pixar’s original, all-new feature film Elio, the universe calls back! The cosmic misadventure introduces Elio, a space fanatic with an active imagination and a huge alien obsession. “He’s an unusual kid who’s obsessed with getting abducted by aliens,” says director Domee Shi. “He feels like a lot of us feel sometimes—lonely, unwanted, like no one understands us. Elio feels like there’s nothing for him on Earth—he dreams of going to another world where he’s accepted for who he is.”
Adds director Madeline Sharafian, “He’s so bright and very driven, but he puts that energy into trying to contact aliens rather than reaching out to people around him. He’s even modified a ham radio to send signals to space, but what really gets the aliens’ attention is the Voyager satellite—it’s a real thing that’s still out there.”
On the satellite is what’s known as the Golden Record—a veritable “message in a bottle” from children around the world. In “Elio,” aliens receive the messages and make contact. “Elio is instantly convinced it’s the real deal,” says Sharafian. “He hijacks the signal and is able to respond with an S.O.S. to the aliens.”
So, when Elio is beamed up to the Communiverse, an interplanetary organization with representatives from galaxies far and wide, he’s all in for the epic undertaking. Mistakenly identified as Earth’s leader, Elio must form new bonds with eccentric alien lifeforms, navigate a crisis of intergalactic proportions, and somehow discover who and where he is truly meant to be. “It’s a wish fulfilled,” says Shi. “He has the exact opposite reaction that anyone else might have after getting abducted by unknown beings from space. He’s elated. I feel like this movie really embodies that sense of wonder and imagination. It’s so exciting to see him finally going into space and seeing all of his dreams come true.”
According to producer Mary Alice Drumm, the film is rooted in research. “We met with Dr. Jill Tarter early on—she’s one of the founding members of the SETI Institute,” says Drumm. “[Tarter] is an astronomer who’s studied extraterrestrial intelligence. She taught us to think about space in a more expansive way that in turn made us feel more connected here. We’re all Earthlings. There’s a strong theme of connection in this story that really resonated with all of us.”
Elio is directed by Madeline Sharafian (“Burrow” SparkShort), Domee Shi (“Bao” short, “Turning Red”) and Adrian Molina (co-screenwriter/co-director of “Coco”), and produced by Mary Alice Drumm, p.g.a. (associate producer of “Coco”). The screenplay was written by Julia Cho, Mark Hammer, and Mike Jones. Adrian Molina also contributed to the story.
Pixar Animation Studios’ animated films showcase stylistic points of view when it comes to characters
. For “Elio,” however, artists had to go above and beyond—way above and way beyond—to create a cast of characters that includes both humans and multiple species of aliens. “A big part of our world on Earth takes place at a [coastal] military base,” says production designer Harley Jessup. “Everyone, except Elio, wears the same Air Force uniform—muted tan camouflage. Elio stands out in this monochromatic world. He’s quirky and colorful.”
Director Domee Shi explains that the subdued tone at the military base comes from their lead character. “We’re not saying that all military bases are cold and calculated,” says Shi. “There are many wonderful people who work on these bases. But from Elio’s POV he just feels so different. He’s a fish out of water, and we kept that top of mind as we were lighting and shooting his life on Earth—ensuring he felt like the odd boy out—like an alien on Earth. And then when he’s finally in space, we feel the switch from alien on Earth to being welcomed to this vibrant, warm world with open arms.”
Not that the aliens in the Communiverse all come with arms. Artists created dozens of alien species with an assortment of limbs, varying manners of moving and imaginative ways of expressing themselves. “It’s like the coolest club in the universe,” says Shi. “Leaders from planets near and far come together in this fascinating, layered place to share knowledge.”
Adds director Madeline Sharafian, “It’s an incredibly expansive space because each alien species needs a habitat that works for them. Aliens of all shapes, sizes and languages get to live together. It’s very aspirational.”
Filmmakers called on cast members representing locales around the world to help establish the pure vastness of the Communiverse and its inhabitants. “The aliens come from different planets with different ways of communicating—we really wanted to represent that,” says Shi.
Stylistically, filmmakers leaned into the fantastical nature of this new world—both on Earth and in space—they didn’t want a realistic feel. According to animation supervisor Jude Brownbill, the look of animation for “Elio” called for holding poses for a beat. “It’s a bit like the way 2D animators work with their drawings,” she says. “In 3D animation, the computer can interpolate those drawings perfectly—but we moved away from that a little to ensure we hold each pose a beat longer before moving to the next.”
Elio, of course, is the link between contrasting worlds where humans and aliens, young and old, peacemakers and warlords ultimately have more in common than anyone imagines.
Two Distinct Worlds Call for Creativity and Contrast
Designing and crafting the world for Disney and Pixar’s “Elio” felt in some ways like working on two different films. Says production designer Harley Jessup, “Early on, we knew that we would be designing two very distinct worlds. Earth was clearly based on authentic military research, while the Communiverse was grounded in the tiny details of nature, lending an organic order that I think the audience will recognize. Through that amazing macro-photographic research, we tried to look at space in a new way.”
For planet Earth, filmmakers set out to create an austere world, a place that audiences would understand a boy like Elio might yearn to escape. Says Jessup, “The military base is shown as acres of tarmac and Brutalist concrete buildings—very hard edged with a lot of repetition and rectangular symmetry.”
Graphics art director Kyle Jones worked with military consultants to craft the look. “We did everything from military patches to details within the headquarters, mission control and computer screens,” he says. “We tried to be authentic and work within a palette of colors including muted blues, browns and grays.”
According to Derek Williams, director of photography (layout/camera), the goal of shot composition and camera selections is to help convey the story from Elio’s point of view. “When we’re on Earth, we have to tap into how he’s feeling emotionally,” he says. “What is Elio dealing with? How can we show that visually with the camera? I wanted to explore keeping the camera very flat, conveying a feeling of loneliness.
“We also played with centering Elio in frame,” Williams continues. “And one of the things I talked to the directors about was this idea of frame within a frame. We looked for opportunities to frame him within a hallway, within a doorway or window. It’s another way to give that feeling of being trapped.”
Jordan Rempel, director of photography (lighting), adds, “We tried to keep things pretty linear, even in the way we treated light and shadow, trying to keep things static. We wanted the light itself to come from the sun or from practical lights, bulbs.”
Olga, eager to offer Elio a change of scenery, enrolls him in Camp Carver, created for the children of military personnel. Though breathtaking, the redwood forest does little to convince Elio, who still dreams of getting beamed up to space. According to Jessup, the untamed wilderness provides an almost enchanted backdrop for Elio’s long-awaited alien abduction. It’s an unearthly transition from the rigid setting of the military base to the vibrant world known as the Communiverse. “The contrast is dramatic—the Communiverse is all curves and translucent surfaces,” says Jessup. “We were inspired by photographs of tiny structures in nature, and we found that by just looking through the microscope, we’d be transported to an astonishing natural world very different from what audiences have come to expect. We were excited by everything from tiny mushrooms and fungus to crystals and microscopic sea creatures. We really wanted to create a fresh take on space.”
Sets supervisor David Luoh says he’s excited to share with audiences the epic breadth of their take on outer space. “I have a fondness for when we see the Communiverse as a whole, like when Elio first encounters that world,” he says. “You can see the outer shell where the alien species grow their crops. Then we have four orbiting, twisting discs— each one hosting a different biome: aquatic, lush forest, icy tundra, and hot with lava. Nestled inside those discs, there’s an inner paraboloid with skylines of central Communiverse infrastructure and a radiant core of light and energy, all with intricate, dynamic details sprinkled throughout.”
Artists and technicians assembled a vibrant world with blink-and-you’ll-miss-them details—from alienesque architecture to varying vegetation. “It’s designed as a reflection of the aliens who came together to create it,” says Luoh. “It’s our version of the United Nations—species from across the galaxy coming together and forming a brilliant, cooperative interspecies society.”
With an environment so rich—from the sets to the various alien species—lighting was an essential element to anchor the audience’s view. “There’s so much variety in the alien characters in terms of shape and color and size, each one requires special attention in each scene to make them as appealing as possible,” says Rempel. “We look at what’s most important in each shot—that might mean suppressing a character that’s too interesting or overwhelming—pushing and pulling those elements the story needs. When they’re all interesting, it’s so tempting to want to take it all in. We use light to direct the eye in those situations.”
Graphics art director Kyle Jones ensured the graphics fit the vibrant look of the Communiverse. “We created a universal alien design language that we could use everywhere,” he says, “from the magenta takeover on Olga’s computers, which is a bit mysterious and unsettling, to hologram signage in space. We wanted to find a unique take on symbology that didn’t look like anything that already exists but still feels recognizable as both a language and alien.
“The graphics in space are more organic with a softer shape language and a prismatic look with Ooooo energy that perhaps powers all their technology” adds Jones. “There’s so much energy, you can feel it undulating in almost everything.”
Helping to bring those worlds to life every single time are composers like Rob Simonsen, who tap into their armories of instruments and sounds to create scores that transport audiences—in this case, to space.
Simonsen infused the score with depth from every angle. “It’s a heartfelt adventure through space and memory,” he says. “It’s also a meditation on signals—on how we reach out, and what it means when something reaches back.
“From early on, we were drawn to the idea of a signal, which is a simple pulse that opens the film,” Simonsen continues. “It’s the sound of humanity reaching out, asking if we’re alone. It’s the sound of Elio’s wondering if he’s alone. Loneliness is a big theme in this film. That concept became part of the DNA of the score. We created a theme tied to that signal, which becomes the sound of the response from the Communiverse—that we aren’t alone, that we’re part of something much bigger.”
According to Simonsen, the score focuses less on where Elio is—Earth or space—and more on the emotional needs of the story. The composer pushed the limits of creativity to accompany Elio on his mission. “There are a lot of moments using synths to create colorful arpeggios that function within the overall orchestration,” he says. “But we also take moments to feel large expanses with analog synth washes and processed sounds from Buchla, Moogs and other synths. There was a lot of programming in it that feels technical but also human. The washes are more about Elio’s emotional landscape than literal outer space. Space itself gets treated more with orchestral sweep. The synths are used to reflect longing, memory and internal movement.”
As the titular character, Elio received a special theme to spotlight his journey. “Elio’s theme starts with a leap of a major 7th,” says Simonsen. “It gives it this reaching quality, like he’s looking for something just out of reach. It ties to memory, to family, to wonder. We used it throughout, sometimes in very subtle ways. It’s one of those themes that hopefully grows in meaning the more it returns.”
MADELINE SHARAFIAN(Directed by) joined Pixar Animation Studios as a story intern in 2013, and returned for a full-time position in May 2015 as a storyboard artist on the Academy Award®-winning film “Coco.” She also worked as a story lead on Pixar’s feature film “Onward.” Sharafian directed “Burrow,” the Academy Award-nominated short film that came out of Pixar’s SparkShorts program. “Burrow” released on Disney+ on December 25, 2020, along with Pixar’s Academy Award-winning feature film “Soul.”
Prior to Pixar, Sharafian worked at Cartoon Network as a storyboard artist and writer on the show “We Bare Bears.” She also created character designs for the pilot episode while she was attending CalArts.
DOMEE SHI(Directed by) began as a story intern at Pixar Animation Studios in June 2011, and was soon hired as a story artist on the Academy Award®-winning feature film “Inside Out.” Since then she has worked on the feature films “The Good Dinosaur,” “Incredibles 2” and the Academy Award-winning “Toy Story 4.” In 2015 she began pitching ideas for short films, and soon was greenlit to write and direct “Bao,” which won the Academy Award for best animated short film. In her role as a creative VP, Shi is involved in key creative decision-making at the studio and consults on films in both development and production. Shi made her feature film directorial debut with “Turning Red,” which was released on Disney+ on March 11, 2022, and was nominated for an Academy Award®.Shi graduated from the animation program at Sheridan College, where she was fueled by her love of anime/manga, Disney and Asian cinema influences that can be seen in her work to this day. Shi was born in Chongqing, China, and resided in Toronto, Canada, for most of her life. She lives in Oakland, Calif., and notes that her love of animation is rivaled only by her love of cats.
ADRIAN MOLINA(Directed by / co-screenwriter) began at Pixar Animation Studios as a story intern in the summer of 2006. Since joining the studio full-time that fall, Molina has worked on the Academy Award®-winning feature films “Ratatouille” and “Toy Story 3,” and was a story artist on “Monsters University.” Molina served as the co-director and writer on “Coco,” released in November 2017. “Coco” earned a Golden Globe® for best animated feature film, and two Academy Awards for best animated film and best original song for “Remember Me.” Prior to Pixar, Molina attended the California Institute of the Arts (CalArts) and received a Bachelor of Fine Arts in character animation. Molina resides in the East Bay, Calif.
JULIA CHO (Screenwriter) is an American playwright and television writer. She was born on July 5, 1975, in Los Angeles, California. She studied at Amherst College, the University of California, Berkeley, and New York University, and later attended Juilliard. Her plays, such as 99 Histories, The Language Archive, and Aubergine, explore themes of memory, identity, and human connection. She has also written for television series like Big Love and Fringe.
MARK HAMMER (Screenwriter) is known for his work in comedy and adventure films. While details on his career are less widely documented, he has contributed to various projects in Hollywood. He wrote the screenplay for Two Night Stand (2014), a rom-com starring Miles Teller and Analeigh Tipton, and Shotgun Wedding (2022), an action-comedy featuring Jennifer Lopez and Josh Duhamel. He is also credited as a writer for the upcoming Pixar film Elio (2025). Hammer has expressed a passion for keeping the romantic comedy genre alive, despite claims that it is fading. He once mentioned that his love for rom-coms drives him to write them, believing that “funny stories about love” should never go out of style.
MIKE JONES (Screenwriter) is a filmmaker known for his work in animation and independent cinema. He was born in 1971 in San Antonio, Texas, and studied film at New York University’s Tisch School of the Arts. Jones has worked extensively with Pixar Animation Studios, co-writing films like Soul (2020), Luca (2021), and Elio (2025). He also wrote the English adaptations of Studio Ghibli’s The Wind Rises and The Tale of Princess Kaguya. Before his screenwriting career took off, Jones worked as an entertainment journalist, serving as Managing Editor at Filmmaker Magazine and Executive Editor at IndieWire. His first screenplay, EvenHand (2002), was featured at major film festivals, including *AFI, Tribeca, and South by Southwest. At Pixar, Jones collaborates closely with directors, artists, and editors on every aspect of storytelling. He has also contributed to the senior creative teams behind Coco, Incredibles 2, Toy Story 4, Turning Red, and Inside Out 2.
by Daniel Dercksen·Comments Off on Class, Power, and Intrigue: The Legacy of Gosford Park
Gosford Park is a 2001 satirical black comedy mystery film directed by Robert Altman and written by Julian Fellowes. It provides a nuanced look at the rigid class structures of early 20th-century Britain, highlighting the stark contrast between the privileged elite and the working-class servants.
“I wanted to make a film about the people who are usually ignored—the servants. They see everything, they know everything, but they are invisible,” says director Robert Altman, an influential American filmmaker known for his unconventional storytelling, ensemble casts, and satirical approach to cinema.
Altman’s big break came with MASH* (1970), a dark comedy that redefined war films. He became known for overlapping dialogue, improvisation, and a focus on character-driven narratives, including Nashville (1975), The Player (1992), Short Cuts (1993). His impact on independent filmmaking remains profound.
“The servants are the real witnesses to history. They see everything, even when they are invisible to those they serve,” says British screenwriter, novelist, actor, and producer Julian Fellowes, best known for his work on Gosford Park and Downton Abbey, which became a global phenomenon Born on August 17, 1949, in Cairo, Egypt, Fellowes was raised in a British diplomatic family. His screenplay for Gosford Park (2001) won an Academy Award, establishing him as a leading writer of period dramas.
Set in 1932, Gosford Park unfolds over a weekend at a lavish English country estate, where wealthy aristocrats and their servants gather for a hunting party. Beneath the surface of elegance and social formalities, tensions simmer between the privileged guests and the hardworking staff. When a murder disrupts the gathering, the film shifts from a satirical exploration of class dynamics to a compelling mystery.
“Gosford Park” is the kind of generous, sardonic, deeply layered movie that Altman has made his own. As a director he has never been willing to settle for plot; he is much more interested in character and situation, and likes to assemble unusual people in peculiar situations and stir the pot. Here he is, like Prospero, serenely the master of his art.” Roger Ebert
Rather than focusing solely on solving the crime, Gosford Park offers a rich tapestry of interconnected lives, revealing secrets, alliances, and the stark divide between those upstairs and downstairs. With its sharp dialogue, layered storytelling, and poignant critique of British society, the film stands as a brilliant blend of drama, mystery, and social commentary.
The inspiration behind Gosford Park came from a blend of classic murder mysteries, British period dramas, and a desire to explore class dynamics in a unique way.
Agatha Christie-style Whodunits: Producer Bob Balaban initially suggested creating a film in the vein of Agatha Christie’s mysteries, featuring a murder at a grand estate with multiple suspects.
Jean Renoir’s The Rules of the Game: Director Robert Altman was influenced by this 1939 French classic, which similarly examines the interactions between the upper class and their servants.
British Aristocracy & Servant Culture: Julian Fellowes, who wrote the screenplay, drew from his own knowledge of British high society to craft an authentic portrayal of the upstairs-downstairs dynamic.
Hollywood’s Role in the Story: Balaban also introduced the idea of including an American film producer character, adding a layer of self-referential humor about Hollywood’s fascination with British period dramas.
by Daniel Dercksen·Comments Off on Inside Daniel Dercksen’s Retreat for Writers in the Karoo: A Journey into Storytelling and Creativity
The Inspiration Behind the Retreat
Meeting legendary filmmaker Jans Rautenbach in 2014 felt like fate—it was a pivotal moment that set me on a path toward following my intuition. Inspired by our encounter, I made the life-changing decision to settle in Prince Albert, where I could fully immerse myself in my own writing while also mentoring aspiring writers. The retreat was born from this journey—a space designed to nurture creativity and provide mentorship for those eager to develop their stories.
Daniel Dercksen in Conversation with Jans Rautenbach during The Writing Studio’s masterclass for storytellers at the Artscape Resource Centre in 2014
The Retreat Experience
The retreat is set in the heart of the Karoo, an environment that naturally fosters deep creative exploration. While I have a structured program, I tailor each retreat to the individual writer, allowing an organic flow that suits their needs. The landscape itself plays a key role, offering serenity and space to reflect.
Overcoming Doubt and Building Confidence
One of the biggest obstacles for writers is self-doubt. Many struggle to fully express their ideas or take the next step in their craft. My approach is immersive—through structured mentorship, workshops, and open discussions, I guide writers to trust their instincts and strengthen their storytelling techniques. By the end of the retreat, they leave with not only stronger stories but also a renewed sense of confidence in their voice.
The Challenges of Teaching Writing Today
We live in a TikTok and YouTube era, where many aspiring writers expect quick fixes—hoping to complete their story in a week rather than spending years honing their craft. Writing, like any art, requires patience, deep thinking, and willingness to rewrite. My retreat encourages writers to slow down and appreciate the process, shifting their mindset from instant gratification to mastery.
Personal Growth Through Mentorship
Teaching isn’t just about guiding others—it’s a journey of self-discovery for me as well. Each retreat gives me fresh insights, renewed inspiration, and sometimes even personal breakthroughs. Seeing writers grow reinforces my belief in the power of storytelling and strengthens my own confidence.
Why This Retreat Matters More Than Ever
In today’s fast-paced world, this retreat provides a rare opportunity for writers to pause, reflect, and truly immerse themselves in their stories. Here, writing isn’t rushed—it’s carefully developed. The retreat isn’t just about technique; it’s about fostering creative breakthroughs, building resilience, and embracing storytelling as a long-term craft.
by Daniel Dercksen·Comments Off on Dangerous Animals – Exploring the terror of human obsession
Visual artist and screenwriter Nick Lepard was living in California and spending a lot of time surfing. “I came up with the visual of somebody sneaking a person onto a boat in a surfboard bag and couldn’t let it go”, and so he started imagining reasons why that might happen.” His research inspired the serial killer in Dangerous Animals, “A character who becomes a twisted reflection of the public’s fascination with shark attacks, all while exploring a paradoxical stance “
Dangerous Animals is a sharp, exhilarating thriller that takes you on a ride through the terror of human obsession, deadly creatures and a twisted dance of survival. But beneath its visceral exterior lies a deeper story about facing your demons – and the price of running from them.
The film follows a vagabond surfer, Zephyr, who is abducted by a local fisherman and held captive on his boat, and must outsmart her killer before she’s fed to the sharks below.
Nick’s vision for Zephyr was a character who appeared to have total freedom: “At first glance, she’s living life to the fullest, travelling, surfing all day,” but in reality, she’s stuck in an internal prison. Her van is both a source of freedom and a cage, allowing her to pick up and leave whenever she feels threatened. When Tucker abducts her, however, it’s the end of the road. She must finally face what she has been running from to be truly free. Side by side, Tucker and Zephyr appear similar — ocean-lovers who are mistreated and solitary, like sharks— but they’re also opposites. Zephyr pushes people away while Tucker forces himself on them.
Nick’s script made its way to horror auteur and director Sean Byrne, who quickly read the script and immediately signed on because of the high concept: shark flick meets serial killer film. “After that, I worked with Nick to refine the project. I was excited to finally make a shark film that didn’t vilify the shark,” says Sean.
Dangerous Animals marks a major milestone in Nick Lepard’s career as a screenwriter. It is his first widely recognised screenplay and has garnered attention for its unique blend of survival horror and psychological thriller elements.
Originally, the script Dangerous Animals was much lighter, Nick recalls, “Sean wanted something darker. Something closer to Texas Chainsaw Massacre… with sharks.”
“It was the rare combination of serial killer and shark film. A high concept that would be highly marketable and could cut through. However, the more I thought about it, the more excited I got about the chance to make a shark film where the shark isn’t the obvious antagonist. I thought, if Jaws turned the shark into a monster, then this could be the long overdue film to correct the cruel misconception by pointing the finger at the real monster: man.”
Sean and Nick reworked the script together, Nick reflecting on the incredible amount he learned from Sean. “He’s a master of pacing and tension, knowing when to pull back and when to hit the audience.”
And as a result, the film is packed with some of the most chilling moments Lepard has ever written. “There are scares in Dangerous Animals that leave you breathless,” says Nick, “Tucker has this one kill, his first big kill, and it’s heart-stopping. I’ve never seen anything like it. Audiences are going to be reeling from it long after they leave the cinema.”
“Sean, the cast, the crew, everybody involved, made an absolutely terrifying movie that is also a lot of fun. We locked a ruthless villain and a determined hero on a boat with sharks circling below. It’s a powder keg at sea.”
Dangerous Animals is a shark film and a serial killer film rolled into one. Sean emphasises, “It’s a really fun ride, but character always has to come first. If you don’t care, then you don’t scare.”
The visual approach
The visual approach for Dangerous Animals was developed through extensive discussion between director Sean Byrne and cinematographer Shelley Farthing-Dawe. “I was fortunate that Sean had done storyboards for the whole film before we started official prep, so we were able to sit down and work through his ideas and thoughts early in the piece,” Shelley explains that the boards were a great start and Sean was very open to shifting things as locations and new ideas came in. They wanted to do as much as they could in camera on location in terms of the actors work, to add to the intensity of the film.
Sean praises Shelley, “He’s just an amazing DP not only in a technical sense, but also in a performance sense, [he is always considering] what is going to be the best thing to keep the actors in the moment.” Shelley reflects on the process, “It was great because we had actors hanging on a crane off a boat on the water, which visually adds a lot of horror to the scenes, watching those performances in such compromising positions.” The film was shot over many weeks on water, which was logistically very tricky but brings so much to the overall look of the film. “We built a great deal of practical lighting into the boat itself, both inside and out so that the actors had a good range of movement within the scenes. We wanted a look that felt stylised but still felt true to the characters and the script.” To achieve this, the filmmakers used the Alexa Mini LF and Arri Signature primes with the use of FX rear diopters to help with some intense moments.
Hassie Harrison and Jai Courtney in Sean Byrne’s DANGEROUS ANIMALS. Courtesy of Independent Film Company and Shudder. An Independent Film Company and Shudder Release.
Australian director Sean Byrne burst onto the scene with The Loved Ones, following a teenage boy who finds himself at the mercy of a classmate’s demented party after he declines her offer to attend the school dance. Written and directed by Sean Byrne, it marked his feature directorial debut, which achieved official selection at over twenty international film festivals, winning the People’s Choice Award, Midnight Madness Category, Toronto International Film Festival; the Siren Award for Best International Feature, Lund International Film Festival; and the Jury Prize at Gérardmer International Film Festival. Sean’s following feature, The Devil’s Candy, had its world premiere at the Toronto International Film Festival; was nominated for Best Motion Picture at the Sitges International Film Festival; awarded the Prix du Public (Audience Award) at Gérardmer International Film Festival; and Best Independent Horror at The Rondo Hatton Classic Horror Awards.
Nick Lepard is the Canadian screenwriter whose writing blends psychological depth with visceral tension. With two highly anticipated projects from acclaimed directors Sean Byrne (The Loved Ones, The Devil’s Candy) and Keeper (2025) helmed by Osgood Perkins (Longlegs, The Monkey), Lepard has emerged as a bold new voice in horror. Nick has a BFA in visual art from Emily Carr University of Art and Design in Vancouver BC, and an MFA from the New York Academy of Art in New York City. Interview
“After graduating from the Academy I found myself wanting a project that would work some of the creative muscles painting did not, so I enrolled in a continuing studies screenwriting class at NYU. I’ve always been interested in writing and have always loved movies. Screenwriting was a natural bridge between the two. Screenwriting has its own challenges but a benefit is that you can get away with more than you can in literary writing and it requires only a tenuous grasp on grammar. What’s paramount is the story, characters, and imagery. In fact, art school was an oddly useful education for screenwriting in that a screenplay is in some way just a list of images.”
by Daniel Dercksen·Comments Off on Retreat for Writers in the Heart Of The Karoo
If you need to break away to write your story, this interactive retreat offers an exclusive one-on-one session in Prince Albert
The retreat will take you on a personal journey into how to discipline the process of crafting your story, developing your idea, characters and plotting to create a story the world needs to experience.
“Thanks, Daniel. The writing retreat and our meeting were a turning point in my life. Many thanks to you and the Writing Studio. This week has been one of my most memorable. I will forever carry this week with me.” Dr. Soraya Khan (Pretoria) June 2025
“I had the privilege of attending Daniel Dercksen’s private Writer’s Retreat in June, 2025, in the breathtaking Karoo town of Prince Albert. Immersed in its serene beauty, I worked closely with Daniel to refine the characters, plot, and structure of my musical play. His expertise and thoughtful approach helped me delve deeper into my story, unlocking layers I hadn’t explored before. For anyone eager to expand their understanding of the art of writing or seeking expert advice on a story in development, I wholeheartedly recommend his workshop. It’s an invaluable experience that nurtures creativity and sharpens storytelling skills.” Annelien Kirsten (George), June 2025
“The retreat was life changing. I went from someone with vague ambitions to write a book to someone who has a first draft in sight. It really helped me clarify what my story was and taught me both the thought process and writing process needed to write.” Nicholas Morkel, December 2024
“What an incredible experience to learn from a master of the art of storytelling, in a sublime setting. It was a privilege to have been able to attend this workshop, thank you!” Michele Marais
“I’m writing this e-mail to tell you how thankful I am for taking time out of your day to tutor me on how to write not only my story, but my novel. The retreat was super awesome and I’ll be forever grateful for your help. Not only that, but I’ll miss how charming the little town of Prince Albert was. P.S: I give your retreat 10/10.” Jordyn Lee Bird
Final morning walk pitstop on the wandelpad with Jordyn Lee Bird , who did a 3-day writer’s retreat in December 2023.
“The retreat was an inspiration and an eye-opener. It inspired me to write in a much more disciplined fashion. To tell the stories that are in my heart. To try my hand at scriptwriting, which, now that I have a road map and a plan with wonderful pointers, does not seem as daunting as it was before I attended the course. Daniel also edits manuscripts, and his feedback goes way beyond grammar; it includes pointers, questions to consider, and expert advice. I strongly recommend this course to all writers.” Anthea Pretorius (Sept 2022)
Escape to the tranquil serenity of the Karoo, where you can share some me time with your characters and find yourself in the process
“If you want to learn to write, struggle to write, or just want to sharpen your talent, I highly recommend this workshop. It’s a soul-enriching experience. ” Belinda Martins, Cape Town“Die passie waarmee Daniel sy ervaring deel is aansteeklik en die struktuur en voorbeelde wat hy vir mens gee waarvolgens mens jou storie of draaiboek kan skryf is maklik verstaanbaar en prakties uitvoerbaar. Ek kan die ervaring hoog aanbeveel.”Louis Botha
Daniel Dercksen will take you on an insightful and inspirational journey into what it takes to be a writer and how to make the most of who you are as a writer.
The session takes place at Daniel’s private studio in Prince Albert. The Writing Studio will accommodate your needs and will be available for whatever dates suit you. You are responsible for your own travel and accommodation, The Writing Studio can make suggestions
It is an interactive, intimate, and introspective journey into the world of the story, empowering you to take ownership of the creative journey, and creative expression.
“Daniel’s workshop has given me exactly what I needed – the tools and the process to finally start writing books. The content of his workshop is rich, practical and interesting.” Tamsin Collins, Prince Albert“I learnt to see the structure of a story and how characters, theme and plot all interact to shape a memorable tale or movie. I am inspired to put pen to paper. Some of us are fortunate enough to be shown the way and start the journey.”Petro Lotz, Prince Albert
For ideal accommodation where you can relax and write in the writing room or garden, we highly recommend the elegant By-die-Koppie Gastehuis. Contact Us for more info
Daniel Dercksen has been working actively as a journalist, screenwriter, playwright, novelist, and story editor for the past 25 years, nurturing the careers and success stories of many storymakers and storytellers. As the driving force behind the successful independent training initiativeThe Writing Studioand a published film and theatre journalist of 40 years, Daniel Dercksen has been teaching workshops and online courses in creative writing, playwriting, and screenwriting throughout South Africa for the past 22 years. He will share his secrets to finding your story and making the most of your creativity.
by Daniel Dercksen·Comments Off on Materialists – An honest film about modern dating
“The things that are in Materialists came from the truth I learned: that there is a very funny, very dark objectification of each other’s humanity, and therefore a very real commodification of each other, as we go through this thing that we call dating,” says writer-director Celine Song. “But it’s supposed to be in pursuit of love.”
Celine Song drew inspiration for Materialists from her own past experience as a matchmaker in New York City. Before her success as a filmmaker, she worked in the matchmaking industry, where she observed how people approached love with a checklist of materialistic criteria—height, income, age, and even race. This experience gave her deep insight into human desires and relationships, which she knew she wanted to explore in a film.
In Materialists, Song channels these observations into the story of Lucy, a cynical matchmaker played by Dakota Johnson, who views dating as a financial transaction rather than an emotional connection. The film contrasts Lucy’s professional approach to matchmaking with her own personal struggles in love, as she finds herself torn between two suitors—one wealthy and stable, the other broke but deeply understanding. Unlike her previous film Past Lives, which focused on romantic destiny, Materialists delves into the economic pragmatism of modern relationships.
Materialists is a stirringly new, almost terrifyingly modern romance film: one that stealthily deconstructs the genre, only to put it all back together in its own image. Most romantic comedies and dramedies might have taught us to fall for the cookie-cutter sentimentality of love in the big city, while shows like Sex and the City attempted to unmask the merry-go-round of dating. But Song’s Materialists is perhaps the most subversive and true of them all for explicitly drawing a line between the two, and exposing the paradox of it all.
“It’s very specifically a movie about how to find love that lasts, that is going to lead to a partnership that’s forever — in the middle of the economy of dating,” Song says. “How are you going to survive?”
Call it love in the age of Raya, and in an era of relentless self-optimisation. If Song’s film is partially based on the hard truths of dating she was exposed to a decade ago, those superficial checklists have only become more extreme in a world where pursuing love now means endless profiles and swipes. Marriage may have always been a business partnership, but the accounting seems to have only become more stark.
“The math is never going to work when it comes to love, and the contradiction of that is what’s at the heart of the film,” Song says. “The film is meant to be about this impossible, contradictory, mysterious thing,” love itself.
Perhaps the most remarkable trick of Materialists rests in Song’s answer to the dissonance: amid its blistering observations about how we pursue love, the film refuses to be cynical, instead holding tight to our most tenderhearted beliefs around love and its mysteries.
“It’s part of Harry’s father’s speech at the wedding: It’s the last religion, the last country, the last surviving ideology,” Song says, referencing an early scene from the film. “Everybody has a belief about their love life. To me, that’s the most interesting conversation I’ve ever had about anything with anyone. If you want to get to know someone, ask them what their love life is like.”
A young, ambitious New York City matchmaker finds herself torn between the perfect match and her imperfect ex.
While Song set out to make an honest movie about modern dating, her closest reference points were far more classical.
“The main references I had were Victorian romances,” she notes. “They’re more in touch with the practical realities of partnership and love than modern romances, because almost all Victorian romances are about class. The fantasy of Pride and Prejudice is that the love of your life is the same as the person who’s going to solve all your practical problems.”
Lucy is wise enough to recognize the fantasy for what it is, even if her clients can’t. It’s partly why she’s such a successful matchmaker. “She’s extremely nonjudgmental,” Dakota Johnson says of her character. “She just wants to deliver and she wants people to find love, but she’s pretty shut off from that search herself.”
“She’s somebody who’s very clear about the fact that love really does baffle her, but she’s very good at the math of dating,” Song adds. Lucy is someone who has clad herself in a kind of protective armour. “There are ways that she has basically made herself appear more valuable than she actually believes about herself,”
Song says. “I think that’s who she is: somebody who believes herself to be worthless and is showing up to every interaction she has with the world as the most valuable-looking version of herself as possible.”
She is, in other words, only responding to the real world, where dating increasingly has been hijacked by the logic and language of self-improvement, “which was supposed to be this internal Buddhist thing,” Song notes. “We turned it into something that is so corporate and so scary: I’ve got to invest in my body. I’ve got to invest in my mind. You’ve got to improve your value so that your value is high enough. Our thinking about love has become so steeped in that, that it’s hard to even escape.”
Materialists is perhaps most scathingly familiar to modern bachelors and bachelorettes for tapping into not only an exhaustion with this objectifying view of romantic partnership (ideas that are reinforced by the romance genre itself, Song notes) but also a deeply damaging sense of abstraction that reduces the people involved to a set of cold facts.
“It’s the constant dehumanisation that shouldn’t exist in your bedroom or on your date — that dehumanisation that we all deal with at work or in the world, we are having to do that in our intimate space,” Song says. That dehumanisation is what leads to a startling turn in the film, when Lucy’s success at her job is suddenly punctured by a frightening incident between two of her clients.
“The truth is there’s always a violent end to any kind of dehumanisation,” Song says. “There’s always going to be something that comes at the end of that. You’re never going to walk away from thorough dehumanising and thorough objectifying of another person without there being some very real consequences.”
The arc of the film, in one sense, follows Lucy’s struggle to walk away from this philosophy of dehumanisation, to realise “you’re not an asset—you’re a person,” Song says. “But that’s hard to imagine when the whole world is treating you like you’re an asset.”
It’s a corrosive way of thinking made plain when Lucy and Harry speak openly about what they can offer each other, going back and forth on what their worth is as investments for the other.
Lucy doesn’t see much in her own self-value, but “she’s seeing him as an asset, too,” Song says. “And through her eyes we see everything that he is, which is this very, very high-value person — the unicorn.” He’s pushed all the right buttons and gone to extreme lengths to optimise himself. But his superficiality is not something the film judges or caricatures, but in fact something that is entirely reasonable to someone like Lucy.
“Harry wants to be the most valuable version of himself, and he has a lot in common with Lucy on that level,” Song says. “They’re really clear about their own value, and they also be lieve in improving it, which is why I think Harry and Lucy respect each other so much.”
He also, crucially, offers exactly what Lucy says she wants: to marry rich. John, meanwhile, is utterly broke, stubbornly struggling, and determined to make his way as a theater actor.
“He is 37 years old and in a bit of a state of arrested development,” says Chris Evans. “He has roommates, lives a college lifestyle and is fine with it, at least on the surface. But he’s also very much in love with Lucy.”
In the math of dating, “he’s minus dollars,” Song says. But for all of Lucy’s brutally calculated approach to dating, she still knows that it’s different than love.
It’s far more inexplicable why when we see Lucy — a self-made woman, gleaming in her steely exterior — first run into John, all of that suddenly falls away and a deeper, perhaps truer part of her is rendered visible. Suddenly, we see a connection and his tory, something ineffable and beyond the calculations.
Celine Song made Materialists for those who were curious about seeing dating and love for what it actually is — which is to say, everyone. One thing has always been consistent in Song’s experience talking to anybody ever.
“No matter where you are, who you are, how old you are, if I say I was a matchmaker, everybody lights up,” Song says. “It’s be cause love and dating is a mystery to everyone. And the first thing they say is, You need to help me. Help me talk about it, help me think about it. Can you help my friend with this?”
And yet, just as our attitudes and expectations (full of stubborn fixations and shallow materialism) around love are entirely at odds with what we hope love to be (blind, unconditional, and lifelong), we ignore the dissonance and trivialise the ideas that reinforce it.
“Some thing that I learned in matchmaking is just how deeply the way that love is depicted in media has completely corrupted all of our brains and our hearts,” Song says. “It completely forms the things that you believe about yourself and the things that you believe about who your partner should be for the rest of your life and what kind of erotic life you deserve.”
Materialists is the result of Song’s desire to seriously contend with our ideals. After all, if love is indeed our last religion, why shouldn’t we be anything but utterly honest about what love should be?
If Song’s film holds up a mirror to ourselves and to the phony cliches of the romance genre itself, it never comes to see love itself as a hollow pursuit. How could Song, who has had a front-row experience to people’s most unseemly desires and expectations around love, maintain that belief?
“Maybe this is all it is: It’s that I know it,” she says. “I believe it because I know it and I experienced it. And even if the love that I have ends, I’m always going to forever know now that love is possible. It exists, so how could I not believe?”
by Daniel Dercksen·Comments Off on How to Train Your Dragon: A Myth Reimagined
“I decided to revisit How to Train Your Dragon because it presented a remarkable opportunity—not only to direct a live-action film, but to return to a world I’ve genuinely missed,” says writer, producer and director Dean DeBlois “These characters and this universe have stayed with me, and now we can bring them back with such authenticity and conviction that, when audiences enter this world, they’ll never want to leave.”
From three-time Oscar nominee and Golden Globe winner Dean Deblois, the creative visionary behind DreamWorks Animation’s acclaimed How to Train Your Dragon trilogy, comes a stunning live-action reimagining of the film that launched the beloved franchise.
Inspired by Cressida Cowell’s New York Times bestselling book series, DreamWorks Animation’s How to Train Your Dragon franchise has captivated global audiences, earning four Academy Award® nominations and grossing more than $1.6 billion at the global box-office. Now, through cutting-edge visual effects, DeBlois transforms his animated saga into a breathtaking live-action spectacle, bringing the epic adventures of Hiccup and Toothless to life with jaw-dropping realism as they discover the true meaning of friendship, courage and destiny.
There’s an ineffable magic to seeing dragons come to life on the screen—a blend of myth and marvel that speaks to the child in all of us
Few stories have captured this magic as masterfully as DreamWorks Animation’s How to Train Your Dragon franchise. Since the debut of the first Dragon film in 2010, the trilogy has redefined animated storytelling through an extraordinary fusion of artistry and emotion. Beyond its acclaim and box-office success, the franchise has become a cultural phenomenon, transforming ancient mythology into a tale that connects deeply with our modern humanity. Now, as the saga is reimagined in live-action, it looks to expand that legacy, exploring new creative depths while making dragons feel more tangible than ever before.
At the creative helm is writer-director Dean DeBlois, whose decade-long stewardship of How to Train Your Dragon represents a masterclass in pushing the boundaries of storytelling. DeBlois’ early work at Disney, including the heartfelt storytelling of Lilo & Stitch, showcased his ability to uncover universal truths in unexpected places. With Dragon, he crafted a trilogy that grew more ambitious with each installment, tackling themes of loyalty, identity and the courage to stand apart—all while retaining the sense of wonder that thrilled minds and captured hearts worldwide.
The story unfolds on the Isle of Berk, a rugged Viking outpost locked in an ancient conflict with dragons. Here we meet Hiccup, a young Viking whose empathy and imagination lead him to challenge his society’s deep-seated hatred of these creatures. When fate brings him together with Toothless, a wounded Night Fury dragon, Hiccup makes the radical choice to help rather than harm—a decision that sets in motion a profound transformation for both their worlds.
Veteran producer and four-time Oscar® nominee Marc Platt worked closely with DeBlois to bring the ambitious story to life. “Dean lives inside this world and these characters,” Platt says. “He understands what makes Hiccup’s journey so compelling. He has an intuitive grasp of the character’s inner conflict and courage, which allows him to tell this story with remarkable authenticity. That’s essential when you’re adapting material this beloved.”
For author Cowell, the story’s roots are surprisingly personal. “It’s funny to say, but How to Train Your Dragon is largely autobiographical,” Cowell says. “The Isle of Berk is based on a real place. As a child, my family spent summers on an uninhabited island off the west coast of Scotland. There were no roads, no electricity—just wilderness—so, we’d spend weeks exploring the island, catching fish and climbing cliffs. This part of Scotland was the first place the Vikings landed when they invaded Britain, and it was the last place they left. They believed dragons were real, and growing up surrounded by that history and isolation, I couldn’t help but imagine dragons flying overhead or Viking ships appearing on the horizon.”
Central to DeBlois’ approach was exploring the tension between tradition and change. “In Cressida’s books, Vikings and dragons shared a complicated history—they’re both enemies and allies,” DeBlois says. “Our story focuses on the moment that relationship begins to shift. Hiccup becomes the first to break from his people’s traditions and see these creatures not as enemies, but as potential partners. It’s a leap of faith that transforms everything.”
Expanding the scope of Berk’s world was a key priority for the filmmakers. “We wanted Berk to feel like a true crossroads of Viking culture,” Emmy-winning producer Adam Siegel says. “Through our research and Dean’s work on the animated franchise, we discovered that dragon myths exist in cultures all over the world. That gave us the chance to bring in influences from many traditions and make this world feel even more diverse and interconnected.”
Making dragons feel real drove every aspect of the production. “The key is grounding the dragons in familiar animal behaviors,” DeBlois says. “By drawing inspiration from cats, dogs, horses and other animals, we’ve created creatures that feel authentic even though they’re fantasy creatures. Each dragon has a unique personality, and they live within a real, grounded world. Our goal was to make audiences believe in dragons as completely as they believed in the dinosaurs of Jurassic Park.”
Technological advancements made this realism possible. “The animated dragons were stunning, but today’s technology lets us achieve photorealism with unparalleled detail, from the way their muscles move, the smallest texture in their scales or the subtle details in their eyes,” Platt says. “Dean has always been a master of creating lifelike, emotionally resonant creatures, and this time he has the tools to fully realize his vision.”
The landscapes also became a vital storytelling tool. “Real environments add weight and believability,” Siegel says. “When you see characters at the edge of a cliff, the stakes feel immediate because the world around them is tangible. The laws of physics apply, and that became a great asset for us.”
For Cowell, seeing her creation brought to life in such vivid detail was profoundly moving. “Walking through the village of Berk or into the blacksmith’s forge was like stepping into a dream,” Cowell says. “The attention to detail—the wear on the tools, the weathered wood of the buildings—made everything feel alive. It was extraordinary.”
This meticulous craftsmanship brought new dimensions to the story’s emotional core. “How to Train Your Dragon isn’t just about these magnificent creatures,” Platt says. “It’s the story of a boy who doesn’t quite fit in, whose bond with a dragon transforms both their worlds. With this adaptation, we’ve also been able to further explore Hiccup’s relationships, particularly the complexities of his dynamic with his father.”
The blend of intimate character moments and sweeping action sequences is what defines the film’s identity. “When I saw Top Gun: Maverick, it hit me—this was the feeling we wanted to evoke,” Platt says. “That exhilaration, that sense of weightlessness, but with dragons. Filming in magnificent places with expansive, dramatic landscapes gave us the authenticity to match the spectacle. We wanted audiences to feel like they’re right there, soaring through the skies on the backs of these incredible creatures.”
As the filmmakers brought the richly imagined world to life, they recommitted themselves to capturing the beating heart of this story. “Hiccup’s journey shows us the power of understanding,” Siegel says. “When he reaches out and puts his hand on Toothless’ nose for the first time, it’s more than just a boy connecting with a dragon—it’s two worlds coming together and breaking centuries of mistrust. They become partners in flight; Hiccup needs Toothless as much as Toothless needs him. When one falls, they both fall. Their connection shows us how fear can transform into friendship.”
On the rugged isle of Berk, where Vikings and dragons have been bitter enemies for generations, Hiccup (Mason Thames; The Black Phone, For All Mankind) stands apart. The inventive yet overlooked son of Chief Stoick the Vast (Gerard Butler, reprising his voice role from the animated franchise), Hiccup defies centuries of tradition when he befriends Toothless, a feared Night Fury dragon. Their unlikely bond reveals the true nature of dragons, challenging the very foundations of Viking society. With the fierce and ambitious Astrid (BAFTA nominee Nico Parker; Dumbo, The Last of Us) and the village’s quirky blacksmith Gobber (Nick Frost; Snow White and the Huntsman, Shaun of the Dead) by his side, Hiccup confronts a world torn by fear and misunderstanding. As an ancient threat emerges, endangering both Vikings and dragons, Hiccup’s friendship with Toothless becomes the key to forging a new future. Together, they must navigate the delicate path toward peace, soaring beyond the boundaries of their worlds and redefining what it means to be a hero and a leader.
For DeBlois, reimagining his beloved creation in live-action was a delicate balancing act between reverence and reinvention.
“My hope is that audiences who loved these characters in animation will discover them all over again, both with familiar warmth and surprising new depth,” DeBlois says. “We approached this adaptation with profound respect for what came before, while daring to imagine what could be. It’s a story that captures the magic of flying, the courage to question what we’re taught and the wonder of discovering something extraordinary within yourself. That’s what How to Train Your Dragon has always been about—and what this film delivers in a way audiences have never seen before.”
The live-action adaptation deepens Hiccup’s internal struggle, exploring how his bond with Toothless, a rare Night Fury dragon, becomes the catalyst for his transformation. When fate brings them together, Hiccup’s choice to save Toothless instead of harming him sets off a chain reaction that reshapes his world. “The bond between Hiccup and Toothless is the soul of the story,” director Dean DeBlois says. “Their connection is transformative—it’s what allows Hiccup to find his true strength and redefine what it means to be a Viking.”
Transforming the animated world of How to Train Your Dragon into a live-action epic was a monumental task, spearheaded by production designer Dominic Watkins. Watkins’ goal was not only to honor the spirit of the original films but also to craft a Viking-inspired world that felt tangible, immersive and historically grounded. From sprawling landscapes to intricately detailed interiors, every set was designed to blend fantasy and historical realism.
The production was anchored at Belfast’s Titanic Studios, in Northern Ireland, where Watkins and his team utilized multiple soundstages and expansive backlot locations. The ambitious builds were designed to accommodate both sweeping action sequences and intimate character-driven moments. Beyond the studio, the filmmakers sought real-world inspiration for Berk’s geography in the Faroe Islands, Iceland and Scotland. The untouched, rugged beauty of these landscapes helped shape the film’s visual identity and ensured the dragons felt integrated into a natural yet extraordinary world.
Historical authenticity also played a key role in shaping the film’s production design. Watkins and his team drew from extensive research into Viking-era craftsmanship, architecture and trade routes. This informed a multicultural approach to Berk’s design, blending traditional Norse elements with influences from the Silk Road and Asia. A muted, historically grounded color palette—developed using pigments sourced from herbs, minerals and plants—helped ground the fantastical elements of the world in Viking-era realism.
Crafting the visual language for How to Train Your Dragon was a unique challenge for BAFTA nominated director of photography Bill Pope, who worked closely with director Dean DeBlois to translate the animated world of Berk into a live-action epic. Pope’s cinematography aims to balance the kinetic energy of the original films with the emotional depth and tangible stakes of live-action storytelling, all while maintaining the iconic, soaring spectacle that fans love about the series. Pope’s key focuses included capturing the scale and majesty of dragon flight sequences, finding ways to humanize animated characters in live-action and crafting a visually cohesive film that appeals to a broad audience.
The costumes of How to Train Your Dragon bring the Viking-inspired world of Berk to life with a blend of historical authenticity, whimsy and cutting-edge craftsmanship. Spearheaded by Emmy nominated costume designer Lindsay Pugh and her team of more than 120 craftspeople, the designs balance vibrant, fairytale-like colors with Viking-era silhouettes and textures, reflecting both the animated films’ charm and the characters’ personalities. Sustainability and innovation also played key roles, with Pugh’s team making environmentally conscious material choices and employing modern techniques such as 3D printing to craft costumes that were practical, safe and visually striking.
Bringing the Viking-inspired world of Berk to life required the hair and makeup team, led by Academy Award®-winning designer Alessandro Bertolazzi, to merge meticulous historical research with the whimsical aesthetic of the animated trilogy. Guided by a philosophy of grunge, organic and believable imperfection, Bertolazzi and his team created an intricate visual identity that connected the fantastical elements of Berk with the cultural and historical roots of its Viking inhabitants. The result is a rich palette of hairstyles, facial hair and makeup that reflect the rugged, diverse and storied lives of Berk’s characters.
The visual effects (VFX), special effects (SFX), creature effects (CFX) and dragon puppetry in How to Train Your Dragon were designed to immerse audiences in the fantastical Viking world of Berk while grounding its dragons in realism and emotional authenticity. A combination of cutting-edge technology, practical effects and innovative puppetry techniques helped bridge the gap between live-action performances and the digitally rendered creatures.
How to Train Your Dragon brought breathtaking action sequences to life with a blend of practical stunts, innovative rigging systems and the physical talents of both the actors and the stunt team. Stunt coordinator Roy Taylor (Barbie, Saltburn) and his team worked tirelessly to ground the film’s fantastical elements in realism while delivering adrenaline-fueled action that honored the spirit of the animated source material.
Few film scores have left as profound a mark as John Powell’s How to Train Your Dragon, a career-defining work that earned him his first Academy Award® nomination. Nearly 15 years later, he returns to revisit the music that shaped the world of Berk—this time for the live-action adaptation. Fresh off his second Oscar® nomination for Wicked, Powell approached the project not as a recreation, but as an evolution, shaping the score to match the film’s expanded scale and emotional depth. “When Dean first called me about directing the live-action adaptation, my answer was simple: ‘If you’re doing it, I’m in,’” Powell says. “The animated film was already cinematic in its approach to music—more live-action in its sensibilities than most animated scores. So, in many ways, this wasn’t about reinventing anything, but about realizing something that was always present beneath the surface. How to Train Your Dragon has always felt like a grand fantasy epic, even in animation. This adaptation allows it to reach the scale Dean always envisioned.”
by Daniel Dercksen·Comments Off on Writing the Impossible: How Fictional Realities Shape Our Minds
The creation of fictional realities is more than mere storytelling—it is a powerful art form where imagination runs wild, and entire worlds take shape. These crafted realms serve as gateways to boundless creativity, deep exploration, and profound meaning, offering both writers and readers a chance to escape, reflect, and challenge perspectives.
A well-crafted fictional reality elevates storytelling beyond simple narrative—it becomes an experience. It allows writers to build worlds that captivate, challenge, and inspire, making every story more engaging, insightful, and emotionally resonant. Through rich settings, compelling characters, and layered conflicts, fiction turns abstract ideas into something tangible, inviting readers to explore possibilities beyond their reality.
A fictional reality is important because it expands the boundaries of thought, emotion, and experience in ways real life often can’t. It lets writers and readers explore possibilities beyond the constraints of reality, making stories more engaging, insightful, and transformative. Here’s why it matters:
Understanding the Human Condition – Fictional realities allow us to experience different perspectives, cultures, and struggles, fostering empathy and deeper understanding.
Challenging Ideas & Norms – By presenting alternate worlds, fiction can question societal structures, push boundaries, and introduce new ways of thinking.
Providing Emotional Catharsis – Readers can relate to characters and events, using fiction as a way to process their own emotions, struggles, and hopes.
Fueling Innovation – Many great scientific and technological breakthroughs were inspired by fiction, proving that imagined realities can shape real-world progress.
Preserving & Reinventing Stories – Through myths, legends, and new narratives, fictional realities carry cultural heritage forward while constantly evolving.
Creating Meaning & Connection – Whether it’s an epic adventure, a quiet introspective journey, or a surreal dreamscape, fictional realities resonate with readers in personal ways.
Fictional realities allow us to experience different perspectives, cultures, and struggles, fostering empathy and deeper understanding. By presenting alternate worlds, fiction can question societal structures, push boundaries, and introduce new ways of thinking.
Readers can relate to characters and events, using fiction as a way to process their own emotions, struggles, and hopes.
A fictional reality doesn’t always require a completely fabricated world—it can simply be a story that distorts or bends the truth. Many great works of fiction take real events, places, or concepts and twist them slightly to create something compelling.
It’s not just about making stories entertaining—it’s about expanding perspectives, triggering curiosity, and making sense of the world in unexpected ways.
In screenwriting, J.R.R. Tolkien’s Middle-earth (The Lord of the Rings, The Hobbit) stands as a richly detailed fantasy world. J.K. Rowling’s Wizarding World (Harry Potter series) brings magic to life in a vast and immersive universe. George Lucas’s Star Wars saga spans multiple films, series, and novels, shaping an expansive sci-fi reality. The Marvel Cinematic Universe (MCU), based on Marvel Comics, has established an interconnected superhero world that dominates modern cinema. Meanwhile, Blade Runner, The Matrix, and Mad Max explore dystopian futures, cyberpunk aesthetics, and post-apocalyptic landscapes.
Other notable examples include Jurassic Park, where genetic engineering brings dinosaurs to life, James Cameron’s visually stunning Avatar universe, Christopher Nolan’s layered dream worlds in Inception, and the eerie 1980s nostalgia of Stranger Things. Each of these fictional realities captivates audiences through compelling narratives, innovative world-building, and thought-provoking themes.
In novels, George R.R. Martin created the intricate world of politics, war, and magic known as Westeros (A Song of Ice and Fire / Game of Thrones). C.S. Lewis explored an allegorical fantasy realm in The Chronicles of Narnia. Terry Pratchett crafted the satirical and humorous universe of Discworld. Isaac Asimov’s Foundation series presents an influential sci-fi narrative about galactic civilizations. Meanwhile, Stephen King’s The Dark Tower series blends fantasy, horror, and western themes
Films like Forrest Gump (1994) weave a fictional protagonist into historical events, making the story feel both authentic and imaginative. Similarly, The Man in the High Castle explores an alternate history where the Axis powers won World War II, reshaping reality while staying grounded in historical themes. Titanic (1997) blends real historical events with fictional storytelling, introducing characters like Jack and Rose to add emotional depth to the tragedy while keeping key historical details intact. Literary works such as The Great Gatsby present a fictionalised version of real societal dynamics, capturing the essence of the Roaring Twenties without inventing an entirely new setting. Biographical dramas like Catch Me If You Can (2002) and The Social Network (2010) take real-life events and enhance them with dramatised storytelling, blurring the line between truth and fiction. Meanwhile, Slumdog Millionaire (2008) immerses viewers in real-world India while telling a fictionalised story centred around fate and memory. Magical realism, as seen in One Hundred Years of Solitude, blends historical events with surreal elements, creating a world that is both familiar and extraordinary.
by Daniel Dercksen·Comments Off on Q & A With Director Mike Flanagan
The Life of Chuck is a life-affirming, genre-bending story based on Stephen King’s novella, which tells the story of three chapters in the life of an ordinary man named Charles Krantz, adapted and directed by Mike Flanagan, is the founder of Red Room Pictures and one of the most influential creators in the genre industry, having written, directed, edited, and produced numerous successful films and series over the last two decades.
As writer-director-editor, he has made eight feature films, including Stephen King adaptations DOCTOR SLEEP and GERALD’S GAME, as well as OUIJA: ORIGIN OF EVIL, HUSH, BEFORE I WAKE, OCULUS, ABSENTIA, and the upcoming THE LIFE OF CHUCK, based on the Stephen King novella and starring Tom Hiddleston, Chiwetel Ejiofor, Karen Gillan, and Mark Hamill. He is also writing, directing, and producing a new take on THE EXORCIST for Blumhouse and Universal Pictures. In television, Flanagan has served as creator, writer, director, and showrunner on several hit series, including Netflix chart-topper “The Fall of the House of Usher,” based on the iconic works of Edgar Allan Poe, Emmy nominees “Midnight Mass” and “The Haunting of Bly Manor,” “The Haunting of Hill House,” and “The Midnight Club.”
When did you first read Stephen King’s novella ‘The Life of Chuck,’ and what made you want to bring it to the screen?
I first read the novella in April of 2020 as an advanced copy before the book was published. Stephen King had sent it out to a bunch of different producers, production companies and filmmakers, as he typically does, to gauge interest. I was completely bowled over by its message and its joy and its complexity and its structure, which I thought was fascinating. I cried the entire time reading it.
Honestly, I had never read anything like it. Not from Stephen King, not from anyone before. I emailed King that day and said, “If I could have a crack at this story, it might be the best movie I’ll ever make.” He had just given me the rights to Dark Tower and his response at the time was, “Let’s focus on Dark Tower and if this comes back around, I’ll let you know.” But for years after that, I obsessed over the story and I would tell anyone who would listen that if I could make the movie that was in my head, it would be the best film I’ve ever made.
When I got back in touch with Stephen last year to give an update on the Dark Tower, I asked again about The Life of Chuck and this time he said, “You know what? Let’s go for it.” And the rest is history.
This film marks your fourth adaptation of a Stephen King novel following Gerald’s Game,Doctor Sleep and the upcoming Dark Tower series. What are the biggest difficulties associated with adapting the work of such an iconic author and do you feel a certain amount of pressure to get it right?
It is always a challenge for me on a number of levels, including a very personal one because Stephen King is my favorite author, and my literary hero. So letting him down on an adaptation would be devastating to me.
Also, as a constant reader and as a fan of King my whole life, I’ve been on the roller coaster of watching so many of his works be adapted, and have experienced the incredible highs and lows that you have as a fan watching his work be translated to the screen. And so I’m also very conscious about letting the Stephen King community down and making the kind of movie that I wouldn’t enjoy as a fan. So there’s always a lot of pressure. This is my third Stephen King movie. And I felt the same pressure with Gerald’s Game and with Dr. Sleep, both of which were kind of considered to be very high level of difficulty adaptations. This was no different. It’s a challenging story to adapt regardless. But the pressure is always there and I feel an incredible amount of responsibility to protect the experience that I had when reading King’s work and to honor my hero and to make something that he’ll be proud of.
While it certainly has elements of fear and grief surrounding death, the film still feels very hopeful and life-affirming. Can you talk about the overall tone of the film that you so delicately strike here?
One of the great surprises for me reading the story was just how incredibly life-affirming and hopeful the overall tone was. In many ways, it lept off the page as a true celebration of joy and of art. And when I first began reading it I was reacting to this story about the end of the world and feeling a lot of the emotions that certainly, since the pandemic, have really come to the foreground for so many of us. A feeling like the wheels have come off and the chaos is increasing. And feeling like one thing after another just seems to catastrophize. All of that was there, but without any despair and without any cynicism, and that was the starting point for a story that ultimately revealed itself to be an incredibly joyful celebration of what it means to be alive. You know not to dwell on the endings, but to celebrate the moments that we get to experience between our beginning and our end and to understand how our lives come together and make sense when we look back on them. Not to fear the ending of things, whether it’s the end of life or the end of the world. The story doesn’t draw much of a difference. The ending of a single human being in King’s story is the end of a universe entire and that is even something not to be feared in his story.
It’s rare, especially from an author so well known for his horror, to read something that was so full of light and so full of hope. And at the time I was reading it in lockdown in 2020, when the pandemic was brand new, and when there was kind of no visibility into when we would be released from our homes, and there was a sense that the world was falling apart. This message hit me in a place where I really needed it and I had no idea that I needed it. And what amazes me is that it’s just as resonant today where it still feels like the wheels are off and the chaos runs rampant.
More than ever, stories like this are critical. My entire mission in the movie was to present the realities of the stakes that exist in Chuck’s life and in this story, but to do so without despair and without cynicism. And to underscore all of the beautiful things that King had to say about life and art. I’ve never worked on something more joyful. I’ve never worked on anything like this – a movie that does not have one ounce of cynicism. I wanted so badly for it to exist in the world for my children. This is a movie I wanted them to be able to find in their lives when they might need it. And because it’s especially a new thing for me. I wanted to protect that swelling in my heart that I felt when I read it.
Both the film and the novella really seem to subvert expectations of what a Stephen King story and a Mike Flanigan project should be and what audiences may initially expect from each of you respectively. Talk about that:
If you look at Stephen King’s body of work, particularly titles like The Shawshank Redemption and The Green Mile, he has always exhibited an incredibly humanistic approach to storytelling and has straddled a lot of genres beyond just horror, even though that is primarily what he is known for. In my own work, I’ve existed entirely within the horror genre for my whole professional career, but what he and I have in common is a deep love for human beings.
King has famously said that what separates his horror from his contemporaries is that horror in his stories cannot exist without love, and cannot exist without hope. His constant readers know this. We feel the beauty, even in the darkest of his novels. King has always had his heart in his work and I can think of a few examples where it doesn’t quite make it to the screen in an obvious way. Yet, with CHUCK, I can’t think of a single other story he’s ever written in which that joy, that heart, that earnestness and that humanism is as foregrounded in the story as this one.
We are certainly both venturing far outside of our expected lanes, which has only made it more important for me to try to make it as clear as I can that this is not a horror film, and to try to work against those expectations as people find their way to the movie. The genre doesn’t matter as much as the message and the characters and in this case, those hits close to my heart. I read his story, and I felt the way I felt when I first watched Kurosawa’s Ikuri or Rudy or Searching for Bobby Fischer, It’s a Wonderful Life… you know,… movies that feel profoundly uncynical and beautiful and life affirming. And it’s an honor to be able to kind of walk with Steve on this road that is less traveled by us generally.
The film has such an incredible ensemble cast, many of whom you have worked with on previous projects.
One thing I think is really neat about the film is that it really represents a fascinating mix of actors who I’ve worked with throughout my career, along with incredible new faces. There are actors here who I’ve worked with eight to nine times before. They’re actors who I first worked with when they were children, like Jacob Tremblay and Annalise and with whom there’s a really palpable kind of familial bond.
Talk about the decision to tell the story in three parts, backwards over time
One of the things I loved the most about the short story was the structure. Our lives only truly make sense when we look back at them. He embraced this beautiful three act structure in the novella, which, you know, movies have been employing a three act structure since pretty much the beginning of film entertainment. And so this was a wonderful opportunity to protect the structure he created, that translated so cleanly to the medium that I was working in. It was apparent to me immediately that I wanted to do exactly what he did, and that there were other opportunities within that structure to play even more and to make visual and thematic connections between these three chapters that you can’t do in a book because of the visual nature of our medium. It’s a structure I adore. I found it to be unexpected and incredibly poetic. The story is the same if told the other way if told linearly, but the impact and the meaning are diminished. And I think that’s because the impact of our lives takes on a whole other level when viewed retroactively when looked back upon.
What is the best memory you have of making this film and how did Tom Hiddleston’s big dance scene come together?
This project is among my favorite experiences on a set in my entire career. First of all, I have so many beautiful memories of this shoot, being back in Alabama where my career began as my fifth movie shooting there with a lot of the same crew who were there for Oculus when my career has started, the same actors. So Annalise Basso and Karen Gillan, you know we’re in that movie playing the same character. And then here they are, again, there was an enormous amount of feeling of Homecoming in making the film. But I have to say, the first four days of our shoot, we’re filming the midpoint dance sequence with Tom Hiddleston, Annalise Basso and Pocket Queen on the Drums. And we knew that we were starting with one of the most critical sequences of the entire film. But those four days that it took to film that sequence were amazing onset, and I recall that my face physically hurt at night when I came back to the hotel from smiling so much during the day, watching Tom and Annalise and PQ (which was call Taylor “the Pocket Queen”) was watching them perform that dance, which they would do from beginning to end.
As we continue to find our coverage, and the entire time watching that five and a half minute routine. It was just as joyful to see on Thursday as it was on Monday. I’ve never been part of a sequence like that. I’ve never been on set for something like that. It was blissful. And well it was still very difficult and we dealt with all the stuff you deal with on any films set and had to cut because the sun went behind a cloud or because we were wrangling 150 backgrounds to fill it and that became tough. It had all the headaches, but they were thoroughly eclipsed by the joy of watching, watching that dance. And when I think about this movie that will always be the foreground image for me of what the life of Chuck is.
We felt at times, you know, we made we shot that whole week, which is the entire second act of the movie. And then it was like the movie ended because all of those actors went home. And suddenly we had a new cast and a new directive. And we would say, well, it feels like we’re starting a new film. It’s like we just wrapped a complete movie with Tom Hiddleston. And he’s back on a plane and Chiwetel is just landing to start and then we have to tell this other story about the end of the world or we have to go tell this other story about Ben Payjack and Mark Hamill and Mia Sara, in childhood. And it was really, especially after working in television for the last five years where you’d set these 100 Day shoots for one long story to out an entire act of the movie and feel like we finished a story every week and a half. It was crazy.
What was your biggest challenge during production and how did you overcome it?
One of the biggest challenges of this movie is absolutely having to consider and juggle these three distinct stories that make up one much larger story. They each have a completely different cast. They each have a completely different aesthetic down to the aspect ratio of the film. They each have a completely different visual approach, different tones and different narrative priorities. But they have to come together to paint one picture of a life and to paint one clear message, keeping all of that together and navigating the cast, the crew and the logistical difficulties of a low budget independent movie, especially shooting last fall. Amid all of the turmoil in the industry, there were a lot of challenges. There was always a belief, though, that this film was special, and I heard that echoed from the crew, from the cast. You know, everyone walked into this with their eyes wide open about what the challenges would be, and we’re eager to meet them daily.
We were a SAG interim agreement movie. Yeah, we couldn’t change the script. The script was locked prior to the WJ strike. And yeah, we had to get the permission of the unions to shoot the film because we were completely independent. They were very supportive of us. It was an insane time to make a movie.
What do you hope audiences take away from The Life of Chuck?
I hope audiences take away some of the joy that is inherent in the story. I hope it helps them look at our world today, at the challenges of each of our individual lives, and encourages them to sometimes put down the briefcase and let yourself dance, whatever that means to you, whatever kind of expression of joy dancing represents, you know, whether that’s painting or just being with family, writing, being athletic, you know, all these different ways that we can let our hearts out. I hope that’s what they take away. This movie certainly gave me a lot of peace and joy and hope and affirmation, and if I can give our audience a fraction of what I felt, then this would have been absolutely worth it.
by Daniel Dercksen·Comments Off on Weekend Online Course For Screenwriters
Join our Weekend Online Course for Screenwriters and embark on a creative journey to master the art of storytelling. Whether you’re a seasoned writer or just starting, our workshop offers valuable insights and practical tasks to enhance your writing skills.
With 25 years of experience guiding and shaping the careers of screenwriters and filmmakers, renowned coaches Daniel Dercksen and Dirk Fourie are ready to present the ultimate online course, crafted to inspire, elevate, and empower the next generation of storytellers.
The Weekend Online Course for Screenwriters is here to guide you every step of the way—from sparking inspiration to crafting compelling ideas, characters, and plots, all the way to writing your first pages.
Presented by The Writing Studio, this enriching online course takes place on Saturdays from 2 PM to 5 PM on July 5, 12, 19, 26, 2025. The course fee is R2,799.00.
Don’t miss this opportunity to enhance your writing skills!Register now
What you will learn
Session One: Fundamentals of writing and the writing process.
Session Two: Crafting compelling premises and concepts.
Session Three: Developing dynamic characters and understanding visual dynamics.
Session Four: Structuring and plotting your story.
Who is the workshop aimed at
Aspirant writers
Experienced writers who are unsure of what they are writing
Writers who need discipline and motivation
Writers who find the story they are writing dull and lifeless.
Ideal for novelists, screenwriters and playwrights
Anyone who has a story to unleash
Why Choose Us?
Expert guidance from two experienced writers and filmmakers.
Interactive tasks to apply your learning.
Flexible online sessions to fit your schedule.
Goals and Objectives
How to write Your First Draft
How to develop an idea into a story
To lay the foundation of your story
To define and develop your characters
To structure and plot your story
To understand the process of writing your story
Adapt the first pages of your novel or stage play into a screenplay.
Meet your Instructors
The driving force behind The Writing Studio is Daniel Dercksen, a published film and theatre journalist of 40 years, who’s been teaching workshops and courses in creative writing, playwriting and screenwriting throughout South Africa since he formed the studio. During the last 24 years, The Writing Studio has taken many leading South African storytellers from first idea to success on the big screen and publishing their novels locally and internationally. Read more
Dirk Lombard Fourie began his prolific journey as a video editor, filmmaker, and writer 25 years ago. In 2001, his film Ouma Plaas won the Flame Award for Best Screenplay. The following year, his short film Teaching Stanley won the NTVA Stone Award for Best Short Film. He graduated from City Varsity Film, Television and Multimedia School in 2002, majoring in directing. His talent continued to shine, and in 2007, his film In God’s Country (co-written by Daniel E. Dercksen)won the Jury Prize Award at the Apollo International Film Festival. Dirk’s exceptional skills as a video editor were recognised in 2013 when he won the Vodacom award for Best Television Program, Against All Odds,in both the regional and national competitions. Since then, Dirk has been involved in international productions as video editor of documentaries, TV programs, and content for social media for various local and international broadcasting channels and clients such as eTV, eNCA, BGTN, South African Tourism, Nala Media and Tiger’s Milk. His storytelling prowess extends to the written word, with two published short stories, The Dress and the first of a trilogy, Hearts and Bones, available on Amazon Kindle. In his spare time, he also writes film reviews for his website, The Edit Booth.
by Daniel Dercksen·Comments Off on MET Opera Live In Cinemas
The Met: Live in HD, the Metropolitan Opera’s award-winning series of live high-definition cinema simulcasts, is into its 17th season exclusively at select Ster-Kinekor and Cinema Nouveau cinemas.
Rossini’s Il Barbiere di Siviglia (Revival)
A scene from RossiniÕs ÒIl Barbiere di Siviglia. Photo: Marty Sohl/Metropolitan Opera
Screening dates: Livestream – 29 June and 1 July 2025 (213 minutes)
Conductor and Cast: Giacomo Sagripanti (Conductor), Aigul Akhmetshina (Rosina), Jack Swanson (Count Almaviva), Andrey Zhilikhovsky (Figaro), Peter Kálmán (Dr. Bartolo), Alexander Vinogradov (Don Basilio)
The Metropolitan Opera’s 2024–25 Live in HD season comes to a close with a live transmission of Rossini’s effervescent comedy on 31 May. Russian mezzo-soprano Aigul Akhmetshina headlines a winning ensemble as the feisty heroine, Rosina, alongside American tenor Jack Swanson, in his Met debut, as her secret beloved, Count Almaviva. Moldovan baritone Andrey Zhilikhovsky stars as Figaro, the ingenious barber of Seville, with Hungarian bass-baritone Peter Kálmán as Dr. Bartolo and Russian bass Alexander Vinogradov as Don Basilio rounding out the principal cast. Giacomo Sagripanti conducts Bartlett Sher’s madcap production.
Don’t miss these world-class opera productions filmed and transmitted from the Met stage to the big screen at Cinema Nouveau and select Ster-Kinekor cinemas: Bedford and Rosebank Nouveau in Johannesburg; Brooklyn in Tshwane; Gateway in Durban; Garden Route in George; Somerset in Somerset West; and Blue Route and V&A Waterfront (livestream) in Cape Town.
Book your tickets now at www.sterkinekor.com or download the SK App on your smartphone. For news and updates, go to Facebook: Ster-Kinekor Theatres | follow Ster-Kinekor on Twitter: @Ster-Kinekor. For all queries, call Ticketline on 0861-Movies (668 437).
by Daniel Dercksen·Comments Off on On Swift Horses Explores Themes of Love, Identity, and Personal Discovery
“I think the thing about the 1950s is that it was a time when anyone who was living on the margins was really limited in how much freedom they had, how much they could express themselves, how much they could be themselves,” says screenwriter Bryce Kass about On Swift Horses, portaying the struggles of individuals seeking connection and self-discovery in a time of rigid societal expectations.
On Swift Horses is a heartfelt romantic drama based on Shannon Pufahl’s 2019 novel, directed by Daniel Minahan and adapted for the screen by Bryce Kass.
Based on a novel, the movie follows characters as they navigate complex relationships and societal expectations, offering a deeply emotional and thought-provoking experience. The film has been praised for its nuanced performances, evocative cinematography, and rich storytelling, making it a standout in contemporary cinema. It delves into the intricacies of human connection, portraying the struggles of its protagonists with remarkable depth.
Minahan and producer Peter Spears were searching for a compelling love story when they both came across the book independently. They were immediately drawn to its unique characters and themes. Kass worked closely with director Minahan and Spears to bring the novel’s themes and characters to life on screen.
Inspiration & Adaptation
The adaptation of On Swift Horses from novel to screenplay was a meticulous process led by Kass, who worked to translate Shannon Pufahl’s rich prose into a cinematic experience. Kass had to navigate the novel’s complex structure, and find ways to externalise the characters’ emotions for the screen. The adaptation process involved refining dialogue, restructuring scenes for dramatic impact, and ensuring that the film’s pacing matched the emotional depth of the novel.
Kass was inspired to adapt On Swift Horses into a screenplay after reading Pufahl’s novel during the summer lockdown. He was immediately struck by the uniqueness of the characters and the richness of the story. Kass found the novel’s alternating timelines and deep interior monologues fascinating, and he saw an opportunity to externalize those elements to make the story more cinematic.
“It was definitely during summer lockdown that I read the book. I was immediately struck because I had never seen characters like this before,” says Kass.” Right away I knew there was so much to play with. The book itself is actually very different than what we see on screen, but it’s incredible—it’s one of the most beautiful books I’ve ever read.”
He also recognized the novel’s influences from great queer writers like Gore Vidal, James Baldwin, and Patricia Highsmith, as well as film noir and melodrama. These inspirations helped shape the screenplay’s tone and style, making it a compelling adaptation.
The team worked closely with the novel’s themes of longing and self-discovery, ensuring that the cinematography reflected the emotional depth of the characters. The choice of muted tones and shadow-heavy scenes helped enhance the film’s noir-inspired atmosphere. The 1950s setting was recreated with meticulous attention to detail, from wardrobe choices to the locations that captured the feeling of postwar America.
Actors were encouraged to dive into the literary source material to inform their performances, making sure every scene was infused with authenticity. The collaborative efforts between the screenwriter, director, and cast ensured that the film honoured the novel’s essence while making it visually compelling.
The Actors were drawn to the Screenplay
The principal actors in On Swift Horses—Daisy Edgar-Jones, Jacob Elordi, Will Poulter, Diego Calva, and Sasha Calle—were drawn to the screenplay because of its deeply emotional storytelling and historical significance.
Jacob Elordi, portraying Julius, connected with the screenplay’s exploration of identity and personal freedom. He appreciated how the film reimagines the American dream through a queer lens, making it a unique and powerful story. Elordi’s was particularly drawn to how the story reimagines the American dream through a queer lens, offering a fresh and compelling perspective on self-discovery. Elordi’s approach to the role was shaped by an understanding of the 1950s setting, where personal freedom was often restricted, making Julius’s choices feel even more impactful.
Will Poulter, playing Lee, was intrigued by the complexity of his character, who serves as both a supportive figure and an unconventional antagonist. He saw the role as an opportunity to explore themes of masculinity and repression. Poulter’s found the role compelling because it allowed him to explore themes of masculinity, repression, and personal conflict, particularly in the context of 1950s societal expectations.
Diego Calva, who plays Henry, was inspired by the film’s depiction of hidden queer lives in the 1950s. He felt the screenplay captured the struggles and joys of characters who had to navigate love in secrecy. Calva approached Henry’s character with an understanding of how societal pressures forced people to conceal their true selves, making every moment of tenderness and connection even more powerful. His performance captures the quiet intensity of Henry’s love story, bringing authenticity and emotional depth to the role.
Sasha Calle, portraying Sandra, was drawn to the film’s rich emotional depth and the way it portrays unconventional relationships with honesty and nuance. Calle’s interactions with Muriel (Daisy Edgar-Jones) reveal layers of vulnerability and desire, creating a powerful emotional arc. She appreciated how the film doesn’t shy away from the complexities of love, instead embracing the quiet, transformative moments that shape the characters’ journeys.
Daisy Edgar-Jones was deeply drawn to the screenplay because it explored self–discovery and unconventional relationships. She appreciated how the story allowed her character, Muriel, to evolve in unexpected ways, challenging societal norms of the 1950s. Edgar-Jones highlighted the romantic-platonic bond between Muriel and Julius (Jacob Elordi), describing it as a mirror that reflects different versions of Muriel’s life.
The actors worked closely with director Minahan and Kass to ensure their performances reflected the novel’s essence while making the characters feel authentic on screen
Director Daniel Minahan described the film’s approach to intimacy as something that “transcends even sexuality,” particularly in the relationship between Julius (Jacob Elordi) and Muriel (Daisy Edgar-Jones). Their bond is portrayed as a platonic romance that carries an emotional depth beyond traditional romantic connections. Minahan noted that their dynamic is about recognising each other’s truths and finding confidence in their identities through that connection.
Muriel’s journey into self-discovery also involves exploring her own desires, particularly through her relationship with Sandra (Sasha Calle). Her realisation that love can exist in multiple forms adds layers to her character’s emotional arc, making her exploration of intimacy feel authentic and transformative.
For Julius and Henry (Diego Calva), their love story unfolds in secrecy, reflecting the societal pressures of the time. Their intimate moments are carefully crafted to highlight both passion and restraint, showing the tension between desire and the need for discretion. The film captures the quiet, stolen moments that define their relationship, making their connection feel both tender and urgent.
On Swift Horses Explores Themes of Love, Identity, and Personal Discovery
The film On Swift Horses is a deeply evocative exploration of human connection, set against the backdrop of 1950s America. It delves into themes of love, identity, and self-discovery, following characters who navigate societal expectations while searching for personal freedom.
Love in Its Many Forms
The film examines love beyond traditional boundaries, portraying relationships that challenge societal norms. It explores the exhilaration of new love, the pain of unrequited affection, and the complexities of desire. The characters’ interactions highlight the emotional depth of human relationships, making love a central force that drives the narrative.
Identity and Self-Discovery
Each character in On Swift Horses embarks on a journey of self-discovery, confronting their desires and fears. The film captures the struggle of individuals who feel constrained by their environment, emphasizing the importance of personal freedom and authenticity. The historical setting adds depth to this theme, illustrating how identity was shaped by the limitations of the era.
The Pursuit of Freedom
Freedom—both physical and emotional—is a recurring theme. The characters seek liberation from societal expectations, whether through travel, gambling, or secret relationships. The film portrays the tension between longing for stability and the desire to break free, making it a poignant reflection on personal agency.
Daniel Minahan is an American television director, filmmaker, and writer known for his work on acclaimed series such as Game of Thrones, Deadwood, Six Feet Under, and American Crime Story. Born in 1962, Minahan studied Film and Video at the School of Visual Arts in Manhattan, graduating with a Bachelor of Fine Arts degree in 1987. Minahan has directed numerous episodes of HBO and Showtime series, including True Blood, The Newsroom, and The L Word. He also wrote and directed the independent film Series 7: The Contenders and was a writer and second-unit director for I Shot Andy Warhol (1996).
Bryce Kass is an American writer, director, and producerknown for his work in film and television. He has written screenplays for projects such as Lizzie (2018), Outlaw Prophet: Warren Jeffs (2014), and most recently, On Swift Horses (2024). He has also directed music videos, including Jay Reatard: It Ain’t Gonna Save Me (2009) and Smog: I Feel Like the Mother of the World (2005). His work often explores themes of identity, history, and personal discovery, making him a compelling voice in contemporary storytelling.
You can watch On Swift Horses on Amazon Prime Video, Apple TV, and Google Play, where it’s available for rent. The film had a limited theatrical release on April 25, 2025, and became available on VOD platforms starting May 27, 2025
by Daniel Dercksen·Comments Off on The Life of Chuck – A Journey in Reverse: Exploring Life, Memory, and Fate
“Of the feature films I’ve gotten to work on in my career, this is my favourite by a lot,” says writer-director Mike Flanagan of The Life Of Chuck, which he describes as “the kind of softest, gooey, most humanist side of Stephen King and of me too!”
The Life of Chuck is a science fiction drama based on Stephen King’s novella of the same name. Unlike King’s usual horror stories, this film explores themes of life, loss, and the joy of living.
The story follows Charles Krantz (Tom Hiddleston), a seemingly ordinary man whose life is told in reverse, through three distinct chapters. The film is deeply emotional, encouraging viewers to appreciate the beauty of existence and cherish the moments they have.
Mike Flanagan’s adaptation of The Life of Chuck was shaped by several key influences. First, his deep admiration for Stephen King’s work played a major role—Flanagan has previously adapted Gerald’s Game and Doctor Sleep, and he has a strong understanding of King’s storytelling style.
Additionally, Flanagan was drawn to the novella’s unique structure, which unfolds in reverse chronological order. He saw this as an opportunity to craft a deeply emotional and existential narrative that explores memory, fate, and human connection. His approach also reflects his filmmaking style, which often blends horror with introspective drama, though The Life of Chuck leans more into the latter.
Crafting the screenplay adaptation
The screenplay for The Life of Chuck was written by Mike Flanagan, continuing his tradition of adapting Stephen King’s works into emotionally resonant stories. Flanagan’s approach to storytelling often blends psychological depth with unconventional narrative structures, making this adaptation particularly compelling.
Mike Flanagan has adapted several Stephen King works into films, each showcasing his signature blend of psychological depth and emotional storytelling. Here are some of his notable King adaptations:
Gerald’s Game (2017) – A psychological thriller based on King’s novel, this film was praised for its intense atmosphere and Carla Gugino’s gripping performance.
Doctor Sleep (2019) – A sequel to The Shining, this film balances King’s novel with elements from Stanley Kubrick’s original movie, creating a unique and haunting experience.
Flanagan has also been involved in other King-related projects, including an upcoming adaptation of Revival.
Mike Flanagan’s screenplay for The Life of Chuck stays true to the core themes of Stephen King’s novella while adapting it for a cinematic experience. The novella, originally published in If It Bleeds, is structured in three distinct acts, moving in reverse chronological order. Flanagan preserved this unique storytelling approach but expanded certain elements to enhance emotional depth and visual storytelling.
One key difference is the film’s emphasis on Chuck’s relationships and personal journey, which are given more screen time compared to the novella’s introspective tone. Additionally, Flanagan incorporated his signature atmospheric style, making the transitions between acts more seamless and visually striking.
Mike Flanagan’s adaptations of Stephen King’s works stand out for their emotional depth and psychological complexity compared to other King films.
His films rely on atmospheric Storytelling, on mood, tension, and psychological horror rather than jump scares, making them more immersive and emotionally resonant.
Flanagan is known for staying true to King’s themes while making necessary cinematic adjustments. Gerald’s Game was considered “unfilmable” due to its confined setting, but Flanagan successfully translated its psychological horror to the screen.
Unlike some King adaptations that focus primarily on horror, Flanagan’s films have emotional and psychological Depth, emphasising character-driven narratives. The Life of Chuck uses reverse storytelling, a technique rarely seen in King adaptations.
Flanagan’s approach to nonlinear storytelling sets his work apart from more traditional adaptations. Compared to other directors like Frank Darabont (The Shawshank Redemption, The Green Mile) and Rob Reiner (Misery, Stand by Me), Flanagan’s adaptations lean more into psychological horror and unconventional storytelling techniques
Director Mike Flanagan with Tom Hiddleston during the filming of The Life of Chuck
Unravelling a Life: A Story Told in Reverse
The reverse storytelling in The Life of Chuck creates a unique emotional impact by presenting Charles Krantz’s life in three acts, starting from the end and moving backwards. This structure allows viewers to see the consequences of his life choices before understanding the experiences that shaped him, making each revelation more poignant.
By beginning with an apocalyptic setting and gradually moving towards Chuck’s childhood, the film emphasises themes of memory, existence, and human connection in a deeply reflective way. This approach aligns with director Mike Flanagan’s signature emotional storytelling, offering a fresh perspective on how lives unfold and are remembered.
Reverse storytelling and linear narratives offer distinct ways to engage audiences and shape a story’s emotional impact
Linear Narratives follow a straightforward chronological order, moving from beginning to end. This structure helps maintain clear cause-and-effect relationships, making it easy for audiences to follow character development and plot progression. Classic examples include To Kill a Mockingbird and most traditional films.
Reverse Storytelling, on the other hand, starts at the end and works backwards, revealing events in reverse order. This technique can create intrigue, deepen emotional resonance, and allow audiences to piece together the story like a puzzle. It’s often used in thrillers, mysteries, and unconventional dramas, such as Memento.
Both approaches have their strengths—linear narratives provide clarity and gradual tension-building, while reverse storytelling offers unique perspectives and unexpected revelations.
Reverse storytelling creates a powerful emotional impact by reshaping how audiences experience a narrative.
Since the ending is revealed first, viewers or readers are compelled to piece together how events led to that conclusion, keeping them engaged throughout. Since the ending is revealed first, viewers or readers are compelled to piece together how events led to that conclusion, keeping them engaged throughout.
This technique mirrors how people often reflect on their own lives, looking back on decisions and their consequences. It can evoke feelings of nostalgia, inevitability, and introspection.
Traditional storytelling builds tension toward a resolution, but reverse storytelling challenges this norm, making audiences reconsider cause-and-effect relationships and how narratives unfold.
Several films use similar narrative techniques that experiment with time, memory, and unconventional storytelling
The Curious Case of Benjamin Button (2008) – Like The Life of Chuck, this film explores a life in reverse, following a man who ages backwards. Both films use time as a central theme to reflect on existence and human connection.
Eternal Sunshine of the Spotless Mind (2004) – This film plays with memory and nonlinear storytelling, much like The Life of Chuck. It presents fragmented recollections that gradually reveal the emotional depth of the characters.
Memento (2000) – Christopher Nolan’s psychological thriller unfolds in reverse, forcing audiences to piece together the protagonist’s past as he struggles with memory loss. This technique creates suspense and emotional weight, similar to The Life of Chuck.
The Tree of Life (2011) – A deeply philosophical film that explores life, memory, and human existence through a fragmented narrative, much like The Life of Chuck.
These films, like The Life of Chuck, challenge traditional storytelling by using time and memory in unconventional ways to evoke deep emotional responses.
Writer-Director Mike Flanagan
Mike Flanagan is an American filmmaker best known for his work in horror and psychological storytelling. Born on May 20, 1978, in Salem, Massachusetts, he developed an early interest in ghost stories and horror fiction. His family moved frequently due to his father’s career in the U.S. Coast Guard, and he later settled in Maryland, where he attended Towson University, earning a degree in Electronic Media & Film.
Flanagan’s career took off with independent horror films like Absentia (2011) and Oculus (2013), which showcased his talent for atmospheric storytelling. He gained widespread recognition with films such as Gerald’s Game (2017) and Doctor Sleep (2019), both adaptations of Stephen King’s works. His success extended to television, where he created acclaimed Netflix series like The Haunting of Hill House (2018), Midnight Mass (2021), and The Fall of the House of Usher (2023).
Mike Flanagan has several exciting upcoming projects, continuing his work in horror and psychological storytelling. Here are some of the key ones:
Carrie TV Series – Flanagan is developing a television adaptation of Carrie for Amazon MGM Studios, serving as showrunner and executive producer.
Shelby Oaks (2025) – While Flanagan is not directing this supernatural horror film, he is involved as an executive producer. The film is set to release on August 22, 2025.
The Exorcist Franchise – Flanagan has signed on to take over the Exorcist franchise, bringing his signature psychological depth to the iconic horror series.
In 2023, he signed an exclusive deal with Amazon Studios, marking a shift in his creative direction. Flanagan’s shift from Netflix to Amazon Studios has opened new creative opportunities, and his upcoming projects continue to push boundaries in horror and psychological drama.
by Daniel Dercksen·Comments Off on Screenwriters and writer-directors are the architects of cinema
Screenwriters and writer-directors are indeed the backbone of cinema, shaping narratives that captivate audiences and define generations. Screenwriters craft the blueprint—the dialogue, the structure, the emotional beats—while writer-directors bring their vision to life, ensuring that every frame reflects the essence of the story.
The collaboration between writers and directors is often a delicate dance of creativity, where ideas evolve and transform through mutual understanding and artistic synergy. This relationship is often likened to a dance, where both partners must be in sync to create a seamless narrative. The writer brings the story to life on the page, while the director breathes motion and emotion into it through framing, pacing, and performance.
The collaboration between writers and directors is a dynamic interplay of vision and execution, where ideas evolve through mutual understanding and artistic synergy. Writers craft the foundation—the script, the dialogue, the emotional arcs—while directors interpret and translate these elements into a visual and cinematic experience.
This process is not without challenges. Creative differences, budget constraints, and logistical hurdles can test the strength of the partnership. Yet, overcoming these obstacles often leads to innovative solutions and groundbreaking cinema.
Navigating Creative Difference
Director’s Interpretation vs. Screenwriter’s Intent – A director may see a script differently than the writer, leading to alterations in tone, pacing, or even structure.
Budget Constraints – What works beautifully on paper doesn’t always translate within financial limits. Expensive set pieces, large-scale sequences, or intricate visual effects sometimes need to be simplified or reimagined.
Casting & Performances – Characters are written with distinct voices, but actors bring their own interpretations. Sometimes, performances shift the story’s emotional balance or nuance.
Editing & Post-Production – A tight, well-structured script can change dramatically in the editing room. Scenes may be cut for pacing or clarity, affecting the overall narrative flow.
Studio & Market Demands – The commercial side of filmmaking often dictates final changes. Producers and distributors may request adjustments for mass appeal, sometimes altering a film’s core themes.
Genre & Audience Expectations – A screenplay might push boundaries, but audience expectations (and ratings boards) can lead to compromises in storytelling.
Many great films have undergone significant transformations from script to screen—sometimes for the better, sometimes losing key elements of what made the script special.
Director’s Interpretation vs. Screenwriter’s Intent
The screenwriter lays the foundation, crafting the story’s structure, dialogue, and themes, but the director is responsible for translating those words into a visual experience. This can lead to differences in interpretation, where a director might shift tone, alter pacing, or even change key elements for artistic or practical reasons. Sometimes these creative clashes result in cinematic magic, but occasionally, they create tension between the original vision and the final film. Stephen Kinghated Stanley Kubrick’s adaptation of The Shining, claiming it missed the heart of his novel and altered fundamental character motivations. While David Fincher kept much of Aaron Sorkin’s dialogue intact in The Social Network, his visual execution added an atmospheric tension that wasn’t necessarily evident in the original script.
Genre & Audience Expectations
Screenwriters often push boundaries, but once a film enters production, studios, distributors, and even ratings boards play a role in shaping the final cut to ensure marketability. The studio forced an explanatory voice-over and happier ending in the theatrical release of Blade Runner (1982)to ensure mainstream appeal, while Ridley Scott’s later version restored his original vision. Audience feedback can influence rewrites or re-edits. Fatal Attraction originally had a much darker ending, but test audiences reacted negatively, leading to the final, more commercially viable version.
Many legendary screenwriters have shaped cinema with their storytelling brilliance
Billy Wilder – Known for classics like Sunset Boulevard and Some Like It Hot, Wilder mastered sharp dialogue and complex characters, influencing generations of filmmakers.
Aaron Sorkin – His fast-paced, intelligent dialogue in The West Wing and The Social Network set a new standard for screenwriting.
Quentin Tarantino – His unconventional storytelling and stylised dialogue (Pulp Fiction, Kill Bill) redefined modern screenwriting.
Charlie Kaufman – His mind-bending narratives (Eternal Sunshine of the Spotless Mind, Being John Malkovich) pushed the boundaries of storytelling.
Francis Ford Coppola – His adaptation of The Godfather transformed the crime genre and set a benchmark for cinematic storytelling.
William Goldman – His work on Butch Cassidy and the Sundance Kid and All the President’s Men set a gold standard for storytelling, blending humor, suspense, and realism.
Paul Schrader – Known for Taxi Driver and Raging Bull, Schrader’s introspective, psychologically complex characters have influenced generations of filmmakers.
Diablo Cody – Her witty, unconventional writing (Juno, Young Adult) brought fresh, authentic voices to modern cinema.
David Mamet – His sharp, rhythmic dialogue (Glengarry Glen Ross, The Untouchables) redefined how characters speak in film.
In The Write Journeycourse, we guide writers through the entire screenwriting process—from the spark of inspiration to the first page—while delving into filmmaking’s art and craft. We explore the language and visual dynamics that shape compelling stories and bring characters to life on screen.
by Daniel Dercksen·Comments Off on The Phoenician Scheme: A Tapestry of Quirks and Conspiracies
With The Phoenician Scheme, writer-director Wes Anderson, producer Roman Coppola, and (especially) Benicio del Toro create an instantly iconic antihero. Inscrutable, compelling, worldly, and completely singular in Wes Anderson’s world.
Amid the sun-drenched shores of the Mediterranean, a peculiar ensemble of characters—an exiled archaeologist, a disgraced diplomat, and a runaway heiress—find themselves entangled in a grand deception spanning centuries. As cryptic Phoenician artifacts begin surfacing in unexpected places, whispers of an elaborate scheme emerge, linking the past to a scandalous present. Through meticulously framed scenes and pastel-infused palettes, Anderson weaves a tale of destiny, deception, and delightful absurdity, where love, loss, and historical intrigue collide in ways both heartwarming and hilariously tragic. With secret rendezvous in quaint harbour cafés and a mysterious ledger that may—or may not—unravel the truth, The Phoenician Scheme is a whimsical voyage through time and betrayal.
The ruthless, charismatic European business tycoon: an archetype distinctly different from his American counterparts, an even grander, almost mythic, figure against the swiftly-shifting backdrop of the continent’s extraordinary post-war transformation. At present, in 1950, we find Anatole “Zsa-zsa” Korda (Benicio del Toro): one of the richest men in Europe and most sought-after dealmakers on any continent; ruthless capitalist, industrialist, and de facto diplomat; an itinerant with multiple passports, yet no fixed address, bound by few borders and fewer rules. Also, a man of exquisite taste and boundless curiosity, a relentless collector of antiquities and natural treasures, criss-crossing the globe always with a book and personal tutor in tow (in addition to, if needed: a crate of hand-grenades).
Possessed with calmness, elegance, cunning, and flair, Zsa-zsa is reminiscent of a number of twentieth-century US robber barons who built the rails and cornered markets, and the titans abroad who piped oil across the desert—creating early templates for the billionaire buccaneers that still dominate industries today. “A certain type of businessman who can always pivot,” says writer/producer/director Wes Anderson, “and has very little obligation to honor the truth.”
Zsa-zsa is inscrutable and unknowable, like many cinematic depictions of larger than life men of industry, the giant of all being Orson Welles as Charles Foster Kane, among many others in cinematic history (including Welles’s lesser known Mr. Arkadin, even a more mysterious character than Kane). The characters are amalgams of gangsters, behind the scenes string-pullers, shape-shifters and brutes who get what they want by their will and questionable legality, sometimes horrible men, but sometimes redeemable, and often, even, heroic. Though for now, it remains to be seen which Zsa-zsa is.
“The beginning of the story was to try to invent something about one of these 1950s Euro tycoons, like an Onassis or Niarchos,” says Anderson. “I had read about Árpád Plesch and Calouste Gulbenkian, or Gianni Agnelli as well.”
What begins as a solitary hero’s story, very quickly presents itself as much richer and deeper. In very short order, we meet Liesl, and what is immediately evident is that this will be the journey of two people, with their individual paths, yet completely intertwined. In simplest terms, this is the story of a father and daughter’s newfound relationship. “Zsa-zsa strategically decides he needs to bring his daughter back into his life because she will serve the purposes of his business interests,” says Anderson. “In the course of the movie, as he continues to be threatened and struggles with changing circumstances and new enemies, his strategy begins to evaporate, and is replaced by an aspiration to be a father instead.”
Del Toro is much more direct in his assessment: “The father/daughter angle is the heart of the piece.” For one key scene between Zsa-zsa and Liesl, he recalls how Anderson asked him to look directly into the camera, even though Threapleton was sitting to his side. It worked, he marveled. “It’s almost like I am talking to the audience. I’m making everyone in the audience feel what Zsa-zsa feels for Liesl.”
In addition to the real life and cinematic inspirations, there was a personal connection to the subject matter for Wes Anderson that added another layer to the creation of Zsa-zsa Korda. “That theme might have something to do with me having a daughter,” he says, “and I suppose the father/daughter aspects also reflect the father of my wife Juman, Fouad Malouf, a Lebanese businessman, and her experiences with him, and my experiences, too. In a way, he’s the first inspiration for the movie. Something in Zsa-zsa is just totally rooted in Fouad.”
The colorful characters who populate Zsa-zsa’s world, who are key to the scheme, were also drawn in part from people in Fouad Malouf’s world, to whom the film is dedicated. Anderson says, “This was somewhat inspired by Fouad’s circle of colleagues, and we had the idea that certain colleagues would specialize in certain tasks in this big infrastructure project: a shipping magnate, a kingdom, railroad men. He had his company, his team, and a series of colleagues. I asked him what they were like and he said: ‘All lions.’”
There have been other single-minded characters in Anderson’s films, whose purpose (and quests for redemption) are often heralded by their name in the title: Royal Tenenbaum and his children, the shark-hunting Steve Zissou, and revenge-minded Mr. Fox. But all their desires collectively combined can’t match the scale of what Zsa-zsa wants. He is a new, instantly iconic creation of Anderson’s.
Casting / On Set
Anderson only ever had one person he could conceive playing the character of Zsa-zsa. “The interest for me in writing a story about a character like that was the visual in my mind of Benicio playing the character. The idea for the movie was to write a part specifically for Benicio del Toro” says Wes. “I first brought this up with Benicio in 2021, at Cannes for The French Dispatch. I told him then that something was coming his way if he was interested. Benicio and I started working on it very early. As soon as there were fifteen pages of the script, he’d seen that. There was never a moment in the process when Benicio was not involved.” Del Toro was the only actor Anderson ever imagined the part, at least in the modern era, “The kind of character who might have been played by Anthony Quinn, or maybe Lino Ventura, or Jean Gabin,” he says.
As Bjorn, the Norwegian tutor and entomologist Michael Cera brought his own characterization to the role Wes had written for him. “He was the guy we wanted from the beginning,” says Anderson. “He knew about the script right off the bat, and there was no one else for the part. He invented Bjorn’s manner, accent and look.”
“The character was very, very complete in the script,” says Cera. “When we first approached it, I think Wes was a little surprised that I was talking about doing the accent. Of course, he wrote it so it’s Norwegian, so it had that, but I don’t think Wes had really thought about how it would be until I showed up. But we found it together, and committed to it, and went from there.”
In what is nearly impossible to believe as one of her first starring roles as Liesl, from whose point of view the action unfurls, is Mia Threapleton, now only twenty-three years old. “Once we had Mia,” Anderson says, “we had Liesl.”
The film is ultimately a three-hander. The leads joined Anderson at Studio Babelsberg for two weeks of rehearsals before the start of shooting.
With the scheme laid out (in an elaborate set of shoeboxes) and “the gap” widening (due to one of many possible adversaries), the three set out on their quest across Modern Greater Independent Phoenicia, to meet with (and enlist the help of) each of the business partners in each of the shoeboxes.
Their first connection is with Prince Farouk, played by Riz Ahmed, in his first Anderson film. Farouk, and the kingdom they are negotiating with, “that comes a bit from Calouste Gulbenkian [the Armenian businessman, collector, and philanthropist] and his efforts in organizing the oil business in the Middle East, the nature of the politics there, and the different regions and fiefdoms,” says Anderson.
The gang then heads to an underground, literally in a tunnel, meeting with Leland and Reagan (played by Tom Hanks and Bryan Cranston). “With the railroad men, even though it is a later era, we still wanted something coming from the robber baron period, a JP Morgan-type railway man, though being Californian. That led us to Tom Hanks and Bryan Cranston.”
More faces of recognizable performers from previous Anderson films begin to appear in the roles of the partners whose cooperation, and financial contributions, hold the key to any hope of success for Zsa-zsa’s plan. Anderson wrote a part for Jeffrey Wright, following his recent turns in The French Dispatch and Asteroid City. “Essentially, I just wanted Jeffrey Wright, so we thought up an East Coast American whose business is shipping. There is a sort of fast-talking downtown New York and beatnik in the character.”
In the role of Cousin Hilda, Anderson says simply: “We wanted Scarlett in the movie.” On the site of her under-construction utopia/kibbutz, the idea was to demonstrate a time-honored form of pact-making, from ancient Egypt to modern monarchy. “She comes from some branch of Zsa-zsa’s family. It is also another way of negotiating—to marry—which is not a totally uncommon way of doing business.” We hasten to add that Hilda and Zsa-zsa are second cousins.
“Marseille Bob [played by Mathieu Amalric] comes out of Jean-Pierre Melville or Jacques Becker, and films like Bob le flambeur and Touchez pas au grisbi,” says Anderson. “We know these kinds of characters, but they’re from American films as much as the milieu of Paris. It’s American nightclub gangsters who we’ve seen press a button to let people into their office and have guns in their desk drawers. Though usually they are not interrupted by terrorist attacks—that’s a different direction we went in.”
“Richard [Ayoade, who plays the terrorist leader Sergio] is an old friend now. It is like that Buñuel thing as well, having a group of terrorists like The Discreet Charm of the Bourgeoisie. Buñuel has anarchy deep in his personality. I am sure the guerrillas come out of that; this idea that one of the most erudite people you will meet is also the leader of the jungle unit of this militia.”
“He’s not human. He’s biblical.”The final reveal, the character you have been hearing about all along, and now finally get to meet, is Uncle Nubar. An homage in name and look to Nubar Gulbenkian, the magnificently-bearded, famously litigious son of Calouste, with whom he battled to the end for control of the family fortune, he’s portrayed, with a menacing flair, by Benedict Cumberbatch.
“We had the great, good fortune that Benedict could come do the part. It’s one of those kinds of characters that people in the story keep talking about all along, but doesn’t enter until much later,” says Anderson. Like his real-life namesake, Nubar embodies the rancor and darkness that can take root when business and family mix—or, more precisely, when they don’t. Continues Anderson, “It is such a familiar story that these men totally neglect their children, who also expect them to achieve more than their peers.”
Whereas any kind of détente with Nubar will prove to be utterly impossible, his demise does close a previously unfinished chapter for Zsa-zsa and Liesl. Some people prove irredeemable, but as del Toro poetically says, not all: “I want to be optimistic and believe there is good in everyone. There are people with no good in them—it just happens. But for most people, I think, there’s still hope, it doesn’t matter how late. Doesn’t matter how old you are. There is still hope for mending things. Maybe it is not going to be how you hoped it would look—but you’ll get it.”
Questions Of Morality
Previous Anderson films had surrealist and fantastical moments, but not specific sequences that take place in another universe or dimension. Throughout the film, as Zsa-zsa has more near-death experiences, begins to develop more of a conscience about his dealings, and draws closer to Liesl, he encounters heavenly figures, before whom he sits in judgement. “These reveries express what is happening to his brain, as Zsa-zsa’s desire to finally be a father to Liesl, leads him unexpectedly, and without any desire to, reevaluate his life,” says Anderson. “He goes from being epic to being humble.”
As in heaven, so on Earth, Liesl’s own exploration of her faith connects father and daughter’s individual journeys, as well. Zsa-zsa, after all, had sent her to the convent at age 5. Says Threapleton of her preparation: “Wes asked me to have a look over the Bible. When I went to Rome for costume fittings, I made full use of any opportunity I had to look at anything with Catholic connections—different churches, art pieces. I spoke to as many people as I could about it.”
The religious elements also double back on Surrealism’s fascination with, and upending of, the sacred. “In part that takes its inspiration from Buñuel,” says Anderson. “Catholicism is woven into every Buñuel movie; somehow it’s one of the threads, and sometimes it’s most of the threads.”
Art & Craft
The vast majority of the film was shot at Studio Babelsberg, in Potsdam, Germany, the world’s oldest large-scale film studio, open since 1912. Anderson had filmed miniature sequences for The Grand Budapest Hotel there previously, and this would be, of his live-action films, the most he had ever shot on soundstages. Save for some exteriors, there were minimal location shoots. Says Anderson: “I knew the stages. Usually, there are one or two key locations and then you try to find a way for everything to fall in around those. In this case, it was going to be a movie made on a soundstage.”
There was also a new face on the set of an Anderson feature: cinematographer Bruno Delbonnel. Anderson and Delbonnel had previously collaborated on commercials, but this would be the first film they made together. Delbonnel’s range stretches from working with Tim Burton, Julie Taymor and the Coens, to international auteurs Jean-Pierre Jeunet, Alexander Sukurov and Alfonso Cuarón.
“It was of interest to have a European director of photography. It’s a different ingredient that brings something special,” says Anderson. “There is something darker that Bruno brought to the lighting of the film that was right for the story,” he adds. “Not darkness in terms of luminosity, but a darkness in personality.”
For the masterpieces in Korda’s house (where “we only burn the fakes”), the production used actual masterpieces. “We’ve done a lot of movies where we make original artwork,” says Anderson, “but right at the beginning I thought, ‘Let’s try to have the real things.’ The Renoir is from the Nahmad Collection, and Magritte is from the Pietzsch Collection. Other pieces are from the Hamburger Kunsthalle. Lots of surrealist work, photography, abstract expressionism, a 14th century wood carving.”
Anderson, along with Art Curator Jasper Sharp, considered the great and varied collections of the real-life men who, like Zsa-zsa, are obsessed with gathering art, antiquities, and natural specimens: Árpád Plesch’s botanical bounty; Calouste Gulbenkian’s 6,000-piece collection, spanning BC to AD, amassed in his own museum; or William Randolph’s private zoo, once the world’s largest, at San Simeon.
“It took a little arm-twisting to secure the loans,” says Sharp, who worked with Anderson on the selecting and securing the pieces. “Several people that I approached hung up the phone laughing. But a combination of curiosity and the sense of adventure won out, and the effect of their presence on set was remarkable.”
Anderson says: “I thought it would mean something to the actors to be with these real objects, and you would feel in the movie that they were real, you can feel it on the set. You can tell the difference and it has an aura to it. It also meant that there were people with gloves around to protect these objects, and that was interesting, too.”
WES ANDERSON (Writer/Director/Producer) was born in Houston, Texas. His films include Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, Fantastic Mr. Fox,Moonrise Kingdom, The Grand Budapest Hotel, Isle of Dogs, The French Dispatch and Asteroid City, as well as the short film compilation The Wonderful Story of Henry Sugar and Three More. His latest film, The Phoenician Scheme, is set for release on May 30 from Focus Features.
ROMAN COPPOLA (Story/Executive Producer) is a problem solver. Whether it’s in his multiple lives as a filmmaker, inventor, consultant, entrepreneur, advisor or tech visionary, Roman Coppola has proven time and again that there is no problem too challenging to solve using his filmmakers’ tool bag. His unique perspective informed by his unmatched wealth of diverse creative experiences enables him to translate his technical skills and creative storytelling to invent innovative solutions to unexpected challenges.
Coppola is best known as a director, screenwriter and producer, but his origins began by wearing all hats available. From sound recording to cinematography, writing, directing, producing and even acting, his hunger for experience and eager inquisitiveness led him to earn his first BAFTA nomination for his work as visual effects director on Bram Stoker’s Dracula at the age of 28.
This unwavering curiosity remains insatiable as ever, and he continues playing an integral part in many other film projects in every capacity, including second unit work, producing, and cowriting with frequent collaborators Sofia Coppola on such projects as Priscilla, Marie Antoinette, Lost in Translation, Somewhere, The Virgin Suicides and with Wes Anderson on projects including Asteroid City, The French Dispatch, Isle of Dogs, The Grand Budapest Hotel, The Fantastic Mr. Fox, The Darjeeling Limited, The Life Aquaticwith Steve Zissou and Moonrise Kingdom, which earned him an Academy Award nomination for Best Original Screenplay.
In addition to all of his collaborative efforts, Coppola has written, directed and produced his own feature films CQ and A Glimpse Inside the Mind of Charles Swan III, as well as being the president of pioneering independent production company American Zoetrope, earning him producing credits on the aforementioned Sofia Coppola projects, as well as many other films including Walter Salles’ Cannes Palme d’Or nominated On the Road.
Coppola is also the founder and owner of award-winning commercial and music video production company The Directors Bureau, where his music video direction has been recognized with a Grammy nomination, 3 MTV VMAs for the now-legendary Fatboy Slim Praise You video, as well as residency in the MoMa permanent collection for his stream-of-consciousness video for Phoenix’s Funky Squaredance. He has directed countless other iconic music videos for the likes of Sir Paul McCartney, Daft Punk, Air, The Strokes and Phoenix, as well as promotional films for luxury brands including Prada, Chanel, Louis Vuitton, Zegna, and a docu-series for Suntory Whisky starring Keanu Reeves.
Coppola is also no stranger to television, winning a Golden Globe Award as co-creator of Mozart in the Jungle, and he has directed numerous television specials including The Strokes: MTV $2 Bill, the Emmy-nominated A Very Murray Christmas, Arcade Fire’s Saturday Night Live special Here Comes the Night Time, and Mariah Carey’s Magical Christmas Special.
As an inventor, Coppola has many creations under his belt including an inflatable film enclosure Photobubble, colorful high-quality tote bags from Pacific Tote Company, and a streamlined communication app close to release. He also launched a revolutionary blockchain-based film community known as Decentralized Pictures with a community of 40,000 strong and growing daily, and most recently cofounded a quarterly culture magazine called Enthousiasmos.
Most recently, Coppola served as second-unit director on Francis Ford Coppola’s Megalopolis, served as an executive producer on Sofia Coppola’s Priscilla, and is now finishing up on his latest feature collaboration with Wes Anderson, The Phoenician Scheme. What lies next for Coppola is as good your guess as it is his.
by Daniel Dercksen·Comments Off on Rewriting the Past: How Fiction Breathes Life into History
History is full of untold stories, overlooked perspectives, and moments that can be reimagined in fresh ways. Blending fiction with history is an art that allows you to breathe life into the past while keeping your narrative compelling and immersive.
Storytelling is one of humanity’s oldest and most profound tools—it shapes culture, preserves history, and even changes the way we understand ourselves. When stories blend fact and fiction, they have the power to breathe life into the past, offering fresh perspectives and emotional depth that pure historical records might lack.
It’s a fascinating balancing act—melding the factual with the imaginative while keeping readers both informed and entertained. A successful blend of fiction and history can transport readers into past eras while allowing space for creativity.
The transformative power of storytelling lies in its ability to:
Bridge Time and Place: Stories allow us to step into the shoes of people from different eras, making history feel personal and immediate.
Challenge Perceptions: A well-crafted narrative can reframe established ideas, giving voice to overlooked figures or hidden truths.
Inspire Empathy: By weaving personal struggles and triumphs into historical events, storytelling fosters a deeper emotional connection with the past.
Spark Imagination: Fictional elements can make history more accessible, engaging, and magical, turning dry facts into immersive experiences.
Here are some ways to blend fiction with history
Authentic Research: Dig deep into primary sources, accounts, and credible historical texts. Knowing the finer details of an era helps you craft a believable setting and avoid anachronisms.
Anchor Fiction in Reality: Even if you’re introducing fantastical elements, grounding them in historical truth makes them feel more immersive.
Use Foreshadowing with Real Events: If readers know the historical outcome, build tension through dramatic irony—letting your characters inch toward an inevitable fate.
Blur the Line Between Fiction and Fact: Mixing historical characters with fictional ones seamlessly can make your story feel more authentic.
Play with Perspective: Retelling events through the eyes of a witness, an outsider, or an alternative protagonist can offer fresh angles.
Layer Multiple Timelines: Exploring past events through a present-day character’s discovery process (like through diaries, artefacts, or oral stories) adds mystery and depth.
Moral & Social Themes: Exploring timeless themes—power, justice, resistance, love—through a historical lens can create resonance with modern audiences.
If you’re eager to craft a story that seamlessly blends fact and fiction, The Write Journey Course will guide you from initial inspiration to writing your first pages.
by Daniel Dercksen·Comments Off on Lilies Not for Me – A Haunting Tale of Love, Loss, and Liberation
“There is great power in stories that explore the past in new ways,” says writer-director Will Seefried about Lilies Not for Me, a deeply moving film that explores the intersection of queer identity and institutional control in 1920s England.
Pictured above: Fionn O’Shea and Robert Aramayo in Lilies Not for Me (Image: Wolflight and Paradise City)
“The idea for Lilies Not for Me started when I learned about a shocking procedure from the 1920s, which claimed to ‘cure’ homosexuality. This history struck me as a chilling expression of the violence that queer people still endure to this day, while evoking the books and films that were most influential to me as a young person — haunting period romances with queer relationships at their centre, like James Baldwin’s masterpiece Giovanni’s Room, Todd Haynes’s Carol, and Merchant Ivory’s Maurice (from the novel by E.M. Forster), to name a few.”
Writer-director Will Seefried
Love Forbidden, Truth Unveiled
One of the film’s most profound insights is its depiction of compulsory conformity—the pressure to suppress one’s identity to fit societal norms. Owen’s forced teatime sessions with Nurse Dorothy, intended to prepare him for a “normal” heterosexual life, evolve into a poignant exploration of resilience and quiet rebellion. The film also highlights the hidden resistance within oppressive institutions, as some psychiatric nurses secretly worked against the system to support queer individuals.
“I dove deep into sources like Curing Queers: Mental Patients & Their Nurses, which revealed fascinating accounts of friendships between gay men and their psychiatric nurses. Many nurses became radicalised, fighting the system from within,” says Seefried on researching the historical context.
Seefried employs a mesmerising nonlinear narrative, using flashbacks to reveal Owen’s past relationships and the emotional weight of forbidden love. These sequences are drenched in golden light, emphasizing the contrast between the warmth of queer intimacy and the cold, clinical environment of the medical facility. The film’s artistic approach—treating its visuals like a painting rather than a strict historical photograph—allows for symbolic storytelling that resonates more deeply emotionally.
Another key aspect of the film is the relationship between psychiatric nurses and their patients. Seefried found that many nurses, initially tasked with enforcing heterosexual courtship, became radicalized and worked against the system to help queer individuals regain their freedom. This theme of hidden resistance adds depth to the narrative, showing how acts of defiance can emerge even within oppressive institutions.
Seefried also emphasises artistic interpretation in his storytelling. He describes the film as being approached like a painting rather than a photograph, allowing for expressive, symbolic storytelling rather than strict historical accuracy. This creative choice enables the film to explore its themes in a way that is both visually striking and emotionally resonant.
“I wrote the script at the beginning of 2021, in lockdown, and then have just been fortunate that it has found a path to being made, which for a first feature is always hard and particularly a period drama,” says Seefried.
Lilies Not for Me follows Owen James, a young aspiring novelist who is subjected to medical procedures aimed at “curing” his homosexuality. Through its haunting narrative and evocative cinematography, the film sheds light on the historical persecution of LGBTQ+ individuals while drawing parallels to contemporary struggles.
The film is set in 1920s England and follows Owen James (Fionn O’Shea) , a young aspiring novelist who is admitted to a medical facility that claims to “cure” homosexuality through experimental procedures. As part of his treatment, Owen is assigned daily teatime sessions with Nurse Dorothy (Erin Kellyman), meant to prepare him for a “normal” heterosexual life. Seefried uses flashbacks as a powerful narrative device to reveal Owen’s past relationships and the deep emotional scars left by the facility’s attempts to “cure” him. These sequences contrast the warmth of queer intimacy with the clinical coldness of the medical institution, emphasizing the film’s themes of compulsory conformity, hidden resistance, and identity suppression, with powerful performances by Robert Aramayo as Philip, a key figure in Owen’s past, and Louis Hofmann as Charles, another important character tied to Owen’s story.
Deeply rooted in historical and personal contexts that shape its themes, the film explores the harrowing reality of conversion therapy in the 1920s
Seefried’s research uncovered disturbing practices that is still practised in 2025, reinforcing the film’s message about systemic oppression and the resilience of queer individuals.
Although conversion therapy has a long and troubling history, dating back to the late 19th century when psychiatrists and doctors began labeling same-sex attraction as a medical condition and sought ways to “reverse” it. Despite its prevalence, conversion therapy has been widely discredited by medical professionals and human rights organizations. Today, many countries and states have banned the practice due to its harmful effects on mental health and well-being. It is not explicitly banned in South Africa in 2025, In Australia and the United States, conversion therapy is banned in certain states or territories, but not nationwide, and England is in the process of banning conversion therapy.
Crafted with deep historical research and a strong artistic vision, the film was inspired by archival accounts of early 20th-century medical practices that falsely claimed to “cure” homosexuality.
Seefried wanted to tell a historically grounded yet emotionally resonant story, conducting extensive research, including studying old medical journals and documentaries, to ensure authenticity in the film’s portrayal of repression and forbidden desire. He drew inspiration from classic queer literature and films like Maurice and Carol. The screenplay evolved from his research into psychiatric facilities and the relationships between patients and nurses.
You can watch Lilies Not for Me on Prime Video, where it’s available for rent or purchase
Louis Hofmann and Fionn O’Shea in Lilies Not for Me (Image: Wolflight and Paradise City)
Lilies Not for Me marks Will Seefried‘s feature directorial debut. **, though he has previously worked on short films.
Will Seefried has worked on several projects beyond Lilies Not for Me. Here are some of his other films:
Homesick (2023) – A short film about an unhappy man who attends a retreat offering adults a second chance at a happy childhood. It was featured at SXSW, won the Audience Award at Short of the Week, and was recognised at various film festivals.
Dominant Species (2019) – A short film exploring a world where aliens find themselves in human bodies and must adapt to their new environment.
Pregnant (2017) – A short film about a man who unexpectedly becomes pregnant and embarks on a journey of self-discovery.
Seefried has also been involved in television projects, including Sink Sank Sunk, a docudrama series he co-created, co-wrote, and co-directed.
Will Seefried studied at New York University and has been involved in various film and television projects based in the United States and South Africa.
Conversion therapy has a long and troubling history
The Practice dates back to the late 19th century when psychiatrists and doctors began labelling same-sex attraction as a medical condition and sought ways to “reverse” it. Early methods included hypnosis, hormone treatments, and even surgical procedures such as testicle transplants. By the 20th century, conversion therapy became more widespread, with techniques ranging from electroconvulsive therapy to lobotomies. Some practitioners believed homosexuality was a psychological disorder and attempted to “cure” individuals through behavioural conditioning, including exposing them to heterosexual pornography while administering electric shocks. Conversion therapy is not explicitly banned in South Africa. While the country has strong constitutional protections for LGBTQ+ rights, conversion therapy still occurs in various settings, including religious institutions, homes, and traditional healing spaces. Historically, South Africa had state-sponsored conversion therapy programs, such as the Aversion Project during apartheid, which subjected LGBTQ+ individuals to medical procedures like chemical castration and electric shock therapy. Today, conversion therapy continues in different forms, with reports of forced prayer sessions, exorcisms, and even physical abuse. There have been calls for legislative action to ban the practice, but no formal law has been passed yet. In Australia and the United States, conversion therapy is banned in certain states or territories, but not nationwide. England is in the process of banning conversion therapy. The Labour government has announced plans to introduce a Conversion Practices Bill, which aims to outlaw practices intended to change or suppress a person’s sexual orientation or gender identity
by Daniel Dercksen·Comments Off on Mission Impossible: The Final Reckoning – The Impossible Legacy
“We don’t ever start with ambitions of big and crazy, we start with practical solutions to storytelling problems. For us, it’s never been about spectacle. Spectacle naturally follows but spectacle, frankly, is meaningless if there’s no story, says director Christopher McQuarrie, who co-wrote the screenplay of Mission Impossible: The Final Reckoning with Erik Jendresen.
“In The Final Reckoning, alongside our beloved returning heroes and villains are a host of acclaimed and fascinating fresh faces, “ says McQuarrie. A key line from the film that speaks to both its core theme and the manifesto of those who have made it is this: “Everything you were, everything you’ve done, has come to this.” And that sense of culmination is something that everyone associated with The Final Reckoning has felt acutely over the course of the heroic journey – again both literal and figurative – to bring it to the screen.
The drive for this constant expansion has always been an integral part of the Mission: Impossible DNA. To the point that on each of the now four Mission movies that Tom Cruise and McQuarrie have made together, these distinctive partners have always begun with the same approach. Lighting the creative fuse before a single typewriter key has been touched – before, in fact, they have even decided whether to choose to accept a new Mission – Cruise and McQuarrie always ask themselves a question.
“Every time, we ask each other at the very start what we want to achieve with any new story,” McQuarrie reveals. “This time, when Tom asked me what I wanted to do, I said, ‘I want to make a truly global Mission movie.”
Filming on this latest installment even commenced while the cameras were still rolling on the previous one, the two films shooting concurrently until Dead Reckoning was finally completed in April 2023.
“When it was first announced that we were doing two movies, I was asked how I was feeling about that. And I said, ‘I’m terrified. This is a tall order. If you say that you’re making a two-part movie, you’d better tell a story that swallows the franchise whole,’” the director remembers. “And that truly became the mandate, as you will see with this. The Final Reckoning is telling a story that encompasses the entire franchise, going back to the very first film.”
What powers this chapter of that story is the team’s fight to find their way back to each other, against all the odds. “That’s the engine that drives this film,” McQuarrie says. “It’s very much a journey, quite Homeric. Most importantly, it is very, very internal because Ethan is away from the team for so much of the movie. He is alone in ways that we haven’t seen him in these films before. At the same time, it could never stop being a story about the entire team. That presented a unique challenge which, in turn, produced some unique solutions.”
As Cruise has it, The Final Reckoning will show audiences Ethan Hunt through a completely new lens. “Because it’s a culmination of all of Mission: Impossible, you’re going to see Ethan from the very beginning and understand him in a whole different way,” he says.
On set, the filmmaking process, as is always the way on a Mission movie, proved to be an ever-changing beast to tame, Cruise and McQuarrie’s tendency to think on their feet and listen to the movie – “to where it wants to take us,” McQuarrie says – meaning a plot constantly in flux, expanding and focusing in on itself along the way.
That, says Cruise, is just the nature of things on Mission: Impossible. “That’s Mission and that’s movies,” he smiles. “That’s being a pilot. That’s living life. You can prepare for everything, and the better prepared you are, the better you’re equipped for the obstacles that could potentially make things go off the rails. But you also need to have the confidence to deviate from the plan. It’s not stuff that ever bothers me. You just go, ‘Okay, how do I make this an opportunity? How do we work within this to make everything work and find the story?’”
“I don’t want to tell the audience how to feel, what they’re going to walk away with [after watching this]. Even I, as an audience member, like to experience things for myself. For me, as a storyteller, that communication with the audience is critically important,” Cruise says. “I want them to have their experience. My films are on the whole films you have to participate with, cinema that I want the audience engaged in, not just sitting back. One of our favorite lines on these movies is always when someone says to us, ‘I bought the whole seat, and I only used the edge.’ That is what I want. That’s how I feel as an audience member when I’m engaged in a story. And on this one, we have achieved that.”
To properly appreciate why this Mission means so much to its makers means going back to the very beginning. By the mid-‘90s, with everything from Top Gun to Rain Man, A Few Good Men and Born on the Fourth of July already under his belt, Cruise was by most metrics enjoying a ludicrously successful career.
But he hadn’t just been acting. Cruise had spent the best part of the past 15 years studying every aspect of the filmmaking process, from its foundations up, observing up close directors like Francis Ford Coppola (on The Outsiders), Ridley Scott (on Legend) and Martin Scorsese (on The Color of Money) as well as a whole host of celebrated cinematographers including the iconic Owen Roizman, who Cruise worked with on Taps but who had already shot no less than the likes of The French Connection, The Exorcist and Network.
Having made it his mission to understand how each head of department achieved innovative excellence, how producers like Stanley Jaffe and Jerry Bruckheimer, for instance, marshalled mammoth productions with a cohesive creative vision, Cruise now felt it was time to pour everything he’d learned into producing a movie of his own.
With multiple options open to him, the film Cruise settled on for his first as a producer seems now like a sure thing. Back then, that was far from the case. To date, Cruise’s big screen adaptation of Mission: Impossible has generated nearly $5 billion in box office. But in the early ‘90s, it was a concept that many felt had largely run out of steam.
The original TV series, launched by Bruce Geller in September 1966, played out on CBS over 171 hour-long episodes, across seven seasons, and concluded in March 1973. A sequel series, released to less fanfare, ran for just two years, from 1988 to 1990. It looked like its spy-centric, mask-shifting escapades might be a product of the past.
“I brought Mission to the studio [Paramount Pictures] when Sherry Lansing [who produced seminal late ‘80s and early ‘90s talking-point pictures like Fatal Attraction, The Accused and Indecent Proposal] and Stanley Jaffe [who produced Fatal Attraction and The Accused with Lansing, as well as Cruise’s Taps, and the Best Picture-winning Kramer vs. Kramer] said to me, ‘Please produce movies,’” Cruise says now. “I was like, ‘Okay, my first one for you is going to be Mission: Impossible.’”
Cruise knew that here was a film that could be the start of something special, a story with the potential to evolve alongside him. Others in the industry were a little less certain. “People laughed, like, ‘You’re doing a TV series?’” Cruise remembers. “I was like, ‘Yeah. I got some ideas about it.’”
One of the key things he has learned from the many talented people he has worked with over his career – to add to the list of directors above, Cruise also namechecks both Sydney Pollack, who directed him in The Firm, and Brian De Palma, from his first Mission: Impossible – is this: ultimately, every element on a movie must come down to both character and story. Anything else is redundant.
“Motion informs character and story. Set design informs character and story. Lighting and the skills you learn inform character and story,” Cruise says. “Whatever it is you’re learning to do, whether it’s riding a motorcycle, driving a car, dancing, singing, studying thrillers, whatever it is, it’s always then about applying it. ‘What story can we tell with this? What challenges are ahead of us?’”
For The Final Reckoning, Cruise took that ethos and married it to the same excellence in execution he implemented on another of his landmark sequels – Top Gun: Maverick, that Cruise starred in, McQuarrie co-wrote (Ehren Kruger and Eric Warren Singer were also screenplay writers, with a story by Peter Craig and Justin Marks), and they both produced with Jerry Bruckheimer and David Ellison.
“On this movie, we’ve taken everything we learned from the level of storytelling on Top Gun: Maverick and applied it to a new film that is the culmination of eight films. The idea behind them both was the same. We always wanted the audience to be seated in the lore of the franchise in a way that they have never seen before, to give them throughlines that genuinely resonate,” McQuarrie says.
It is impossible to overstate how seismically significant the filmmaking partnership between Tom Cruise and Christopher McQuarrie has been on the direction the Mission: Impossible franchise has taken since they first joined forces on it. Or how uniquely potent it is. The Final Reckoning marks their 11th movie together – and their greatest achievement.
In McQuarrie, Cruise has discovered what he calls his “creative brother”, a collaborator with whom he feels he can make the impossible possible. “For me, to have that partnership with McQ is a dream come true,” Cruise says. “I always wanted that, always wanted someone who is just as passionate about movies as I am. I’m impressed by McQ every day. We share a passion for the language of movies.”
“On the last movie, Tom wanted to jump a motorcycle off a cliff, I wanted to wreck a train. That’s how that movie started. And that’s what we did,” McQuarrie says. “With this one, Tom wanted to walk on the wing of a plane, and I wanted to shoot a submarine sequence, so that’s what we’ve done.”
McQuarrie’s love for submarine movies stretches back to his childhood obsession with Ice Station Zebra, John Sturges’ North Pole-set thriller starring Rock Hudson and Ernest Borgnine, and his continued fascination with seeing these metallic hulks on screen, most notably in Wolfgang Petersen’s Das Boot. And it’s not like Cruise, who has long been fascinated with the underwater explorations of Jacques Cousteau, was ever arguing.
“Submarines are one of the most amazingly cinematic environments,” McQuarrie says. “I just love the language of them. The culture on a submarine is a very specific world with very specific jargon, and even when you can’t understand a word the people on them are saying [in movies], it’s very, very gripping and involving. Take Crimson Tide. I don’t know what ‘zero degrees down bubble’ means, but it sounds really cool.”
Besides, McQuarrie suggests, as environments go, is there any other than could be more thematically pertinent? “I mean, look, the essence of Mission: Impossible is pressure,” the writer and director notes. “A submarine is the manifestation of a high-pressure environment. It’s basically perfect for the tone we’re trying to hit.”
“Things always start on these movies as a pebble rolling down a hill that turns into an avalanche. It always starts with a pebble: ‘Hey, I want to do a submarine sequence.’ Then it gets complicated,” McQuarrie smiles.
If you ask McQuarrie for a metaphor to describe how Mission movies are constructed, he will offer up this one: “The development of these stories is like trying to build a jigsaw puzzle with all the pieces face down. You’re trying to figure out how all the pieces fit together. But you don’t know what the picture is until you flip it over. That’s what these screenplays are like. We try to remain very free and fast and loose.”
It was around 4:00am one day in early 2013, in a hotel somewhere off the south coast of England, when Christopher McQuarrie first realized that he was going to wind up directing a Mission: Impossible movie. The memory still burns bright, a full 12 years later. “My blood ran cold,” he says.
He and Tom Cruise were in the middle of making Edge of Tomorrow at the time, with Cruise starring and McQuarrie writing, and everyone else had gone to bed. “They’d probably collapsed,” McQuarrie suspects.
“That was a very challenging movie, a very challenging screenplay,” he continues of the time loop sci-fi. “It was constantly banging us in the head. Tom and I were still up, relentlessly pursuing this script problem we were at. And as we were talking, I could see that something was occurring to him. Suddenly he just said, ‘You know, you should direct the next Mission: Impossible.’ The first thing that flashed through my mind was exhaustion.”
It was around 4:00am one day in early 2013, in a hotel somewhere off the south coast of England, when Christopher McQuarrie first realized that he was going to wind up directing a Mission: Impossible movie. The memory still burns bright, a full 12 years later. “My blood ran cold,” he says. He and Tom Cruise were in the middle of making Edge of Tomorrow at the time, with Cruise starring and McQuarrie writing, and everyone else had gone to bed. “They’d probably collapsed,” McQuarrie suspects.
“That was a very challenging movie, a very challenging screenplay,” he continues of the time loop sci-fi. “It was constantly banging us in the head. Tom and I were still up, relentlessly pursuing this script problem we were at. And as we were talking, I could see that something was occurring to him. Suddenly he just said, ‘You know, you should direct the next Mission: Impossible.’ The first thing that flashed through my mind was exhaustion.”
Cruise and McQuarrie say the process of making a Mission is in some ways a process of letting the Mission tell you how it wants to be made. To approach it with a detailed plan and the courage to be prepared to abandon that plan altogether. To listen to your instincts, and the movie itself.
“It really is like that,” Cruise says. “These stories come together in a way where you think, ‘Here’s where it’s going to go, and it’s definitely going to go that way.’ Then you look at it, and it’s just not going that way. There is a certain point that the story is going to tell you what it needs, what the tone is. Until you get that lens on it, until I’m able to play around and show the progression of what this thing can do, you just don’t know. When I start doing it, that’s when we know.”
By the end of eighth film in this legendary action franchise, for both its audience and for its makers, what shines through maybe most of all when it comes to the latter is not just how they have changed Mission: Impossible, but how Mission: Impossible has changed them.
Cruise says that by now he and McQuarrie have come to know each other so well that, sometimes on set I just don’t look because I know what he’s thinking, know the lens, know what he’s doing. It all just comes naturally.”
But McQuarrie maintains that the filmmaker he is now and the filmmaker he was at the start of his Mission adventure are two very different people. That making these movies has altered him personally and profoundly.
“It is very important that you understand that I am not, by nature, an outdoor guy,” McQuarrie smiles. “My wife calls me ‘The Great Indoorsman’. I have an Irish complexion. I get sunburned very, very easily. My happy place is at my desk, shielded from the sun.”
Before working on Mission: Impossible, McQuarrie says, he wouldn’t have ever – “and to be clear, by ever, I mean ever,” he stresses – dared to get himself into any of the treacherous situations he now has.
“However, I discovered over the course of Dead Reckoning that I am in fact addicted to doing so. When I was shooting the sandstorm in the desert in Dead Reckoning, I realized, ‘God, the harder something is to shoot because of these environmental elements, the more inherently dramatic those things are.’ I realized midway through that movie that I had become addicted to a style of storytelling that meant I was going to be very, very uncomfortable for the rest of my career,” he grins. “When I’m shooting these movies, I’m constantly astonished. I am, daily, looking at what I’m doing and saying, ‘How did you get here?’ I’d describe my experience on these films as being the frog in the pan of water. I just am not aware that the water is slowly heating up until suddenly there I am, in boiling water.”
Cruise has always been passionate about all the movies he makes. But there’s something exclusively personal to him about Mission: Impossible. Perhaps that comes down to the fact that the original was his first film as a producer. Perhaps because in Ethan Hunt he has found and crafted a character who has grown wiser and braver as he has. But as he prepares to film the very final scene of The Final Reckoning, there’s a sense of sheer and sincere satisfaction to the sound of his voice.
“I always get emotional about movies. I don’t make them just to make them,” Cruise says. “When I first started out, when suddenly I realized that I was doing Taps [his first major role, in 1981], I was like, ‘Oh my gosh, this is happening. This is really happening.’ I remember thinking, ‘I’m never going to take this for granted. Ever.’ And I can honestly say that I haven’t, not a moment of it. It might sound insincere but that’s the damn truth.”
Whatever the movie, Cruise’s approach remains the same, to take everything he has learned to that point and put it into it, improving the film and himself in the process.
“For me, the core was, is and always will be: ‘What’s the challenge? What am I going to learn? What can I do better?’” he says. But never has that been more evident and acute than in Mission: Impossible, the series of movies that has seen him push himself to the limit and then beyond eight consecutive times.
“The complexity that has come out of the process of making The Final Reckoning is the detail and richness of the storytelling,” Cruise says. “When you’re trying to make a movie of this scale, in this era, you have many challenges. You have to face them head on and push past them. I’m fortunate, I know I am. To have that ability to build a submarine, to do what we did with the airplanes and to thrill an audience in a way that has a very authentic quality to it, I know that’s a privilege.”
Cruise pauses, proud to now be close to finishing a film that he believes is the best Mission he has ever made. “Since I was a child, I was always thinking of stories and characters and looking at houses and people and admiring their abilities, being interested in their lives, and then wanting to reflect that in cinema. In Hollywood, they used to train you to do the things you couldn’t. I just went and did it on my own,” he says. “My life has been living in rented houses and on soundstages. I just feel privileged to be able to do this and entertain an audience. That is the core and the simplicity of who I am.”
Given everything they’ve achieved over their 18 years of working together, and the past five years on this movie especially, the evening of the world premiere for The Final Reckoning will be a particularly poignant affair. But this one, says McQuarrie, will also be unique.
“After you’ve made a number of Mission: Impossibles, you learn not to trust that movie is finished until you’re watching it at the premiere because, to us, we are never done. The movie is never finished. We never, ever stop,” McQuarrie says. “That’s why, every time we have watched one of these movies at its premiere, there’s that space between the movie ending and the music starting and the credits rolling. And in that space, every time, Tom will invariably turn to me and say, ‘We can do better.’”
This time, though, will be different. “At this premiere I’ll be thinking about the premiere of the last movie, because we had shot pieces of The Final Reckoning before we had finished Dead Reckoning,” McQuarrie smiles. “At the Dead Reckoning premiere, as the credits started to roll, I knew what was coming. Tom turned to me to say it, and before he could, I turned to him. I said, ‘Tom, we already did.”
CHRISTOPHER McQUARRIE (Directed, Written and Produced by) is an acclaimed director, producer, and screenwriter. His 1995 screenplay for The Usual Suspects was named by the Writer’s Guild of America as one of the greatest screenplays of all time. In addition to his credited work, McQuarrie is known throughout the industry for his uncredited contributions as a writer, editor, and production consultant. In 2008, he co-wrote and produced Valkyrie, starring Tom Cruise – a film which would lead to many more McQuarrie/Cruise collaborations. They re-teamed in 2012 for McQuarrie’s sophomore directorial effort, Jack Reacher. Within hours of completing the film, he was at work with Cruise again, this time re-writing the script for Doug Liman’s Edge of Tomorrow. It was while working together on the sci-fi action film that Cruise suggested McQuarrie write and direct what would become Mission: Impossible – Rogue Nation. In 2017, McQuarrie and Cruise re-teamed again for Mission: Impossible – Fallout, the most successful installment of the franchise to date and the highest grossing film of their respective careers until their subsequent collaboration on Top Gun: Maverick, which McQuarrie co-wrote and produced. When the release of Top Gun: Maverick was delayed by the outbreak of COVID 19, Cruise and McQuarrie recognized both the film industry and big screen exhibition were facing unprecedented challenges and they committed themselves fully to the preservation of both. What followed was the simultaneous production of Mission: Impossible – Dead Reckoning and Mission:Impossible – The Final Reckoning. Even before factoring in the obstacles presented by a global pandemic and two industry strikes during its production, Mission: Impossible – The Final Reckoning represents an unprecedented physical and technical achievement, pushing the outermost boundaries of big screen practical action.
As co-creator, lead writer, and supervising producer of “Band of Brothers” for HBO in 2001, ERIK JENDRESEN (Written by) was one of the recipients of that year’s Golden Globe and Emmy Award for Outstanding Miniseries. His friendship with Christopher McQuarrie dates back 20 years when they met as fellow advisors at the Sundance Screenwriters Lab, and they have been working together ever since. In addition to their collaboration on Mission: Impossible – Dead Reckoning and Mission: Impossible – The Final Reckoning, Jendresen and McQuarrie have seven feature film projects in the development pipeline, and one limited series. Jendresen is also writing/producing a film about the French Foreign Legion to be directed by Dimitri Rassam; and Aloft (based on the book, On the Wing by Alan Tennant) to be directed by Ramin Bahrani. He is the author of two books about South American shamanism, The Dance of the Four Winds and Island of the Sun; two children’s books, The First Story Ever Told and Hanuman; and a play, The Killing of Michael Malloy. He divides his time between a 120-year-old Dutch former-naval vessel (a veteran of Dunkirk) in Sausalito, California; and a home on the Catawba River in North Carolina with his wife, psychotherapist Venus Bobis. He is a member of the Television Academy and the Academy of Motion Picture Arts & Sciences and still advises at Sundance whenever he can.
by Daniel Dercksen·Comments Off on The Salt Path – A journey that is exhilarating, challenging, and liberating
The script for The Salt Path evolved slowly over a few years, with director Marianne Elliott and screenwriter Rebecca Lenkiewicz collaborating on the script together, both taking the time to walk the path separately and meet with Ray and Moth together. ‘It always felt like a joint project between Elizabeth, Rebecca and me as we were trying to grow this thing for a completely new medium. We were trying to give it a different voice in a different medium, in a different way,’ says Elliott.
The Salt Path is the profound true story of husband and wife, Raynor and Moth Winn’s 630-mile trek along the beautiful but rugged Cornish, Devon and Dorset coastline. After being forcibly removed from their home, they make the desperate decision to walk in the hope that, in nature, they will find solace and a sense of acceptance. With depleted resources, only a tent and some essentials between them, every step along the path is a testament to their growing strength and determination. It’s a portrayal of home, how it can be lost and rediscovered in the most unexpected ways.
Producer Lloyd Levin recalls reading The Salt Path when it was first published. He and Beatriz, his wife and producing partner were both deeply moved by its story of resiliency and personal growth in the face of many adversities: ‘It immediately struck us as something that had the potential to be very cinematic, particularly if the film could convey the raw power and beauty of nature as Ray so exquisitely wrote and captured it in her memoir.’
The extreme hardships that Ray and Moth faced, both in financial and medical terms are very relatable. This is why Lloyd believed the book connected with so many people, ‘They never gave up or lost hope (or their sense of humour!) They faced adversity and triumphed over it, literally and metaphorically by reconnecting with nature and simply putting one foot in front of the other, which for readers – and moviegoers – is at once pragmatic and inspiring’ Lloyd remarks.
Lloyd decided to reach out to Ray directly. She recalls receiving a social media message from Lloyd explaining that the book had resonated with him so profoundly that he wanted the opportunity to make it into a film. Ray was walking on the Coast Path with her dog at the time, ‘I sat on a bench for a while, near a spot where we’d camped when we were walking, and watched the tide come in. I couldn’t comprehend what was happening, it seemed completely surreal.’
For acclaimed Olivier and Tony award winning theatre director Marianne Elliott, the only woman to have won three Tony Awards for Best Direction (Company, Angels in America, The Curious Incident of the Dog in the Night-Time) and recipient of an OBE in 2018, the step towards the medium of film was one she had wanted to make for a long time. When the pandemic struck, she decided that it was finally time. With theatres closed, Marianne worried that they may never open again.
Producers Elizabeth Karlsen and Stephen Woolley explained that they had wanted to collaborate with Marianne for many years. As Elizabeth states: ‘I admired her. I’d seen a lot of her theatre work and thought that she was such an incredible talent.
’Elizabeth also recalls going to an event and running into Tony Kushner, acclaimed writer of Angels in America, who told Elizabeth: ‘Of all the theatre directors, I think Marianne will make a great film director because she’s so profoundly visual.’
They got in contact with Marianne and were delighted to hear that she wanted to make the leap over to the film. Marianne suggested that they read The Salt Path and that was where their journey with the project began. They tracked down the rights to the film, which led them to Lloyd and Beatriz Levin who agreed to join forces on the project.
The next step for them was to find the best person to adapt the book into a screenplay and for Elizabeth, there was only one woman for the job: Rebecca Lenkiewicz. Having collaborated previously, Elizabeth reached out to her about the project. Rebecca told her she had recently been gifted the book from her mother, who lives in Cornwall, for Christmas. They both took this to be a sign. ‘All the stars aligned, and we were so lucky to have her, she’s a wonderful, lyrical writer,’ commented Elizabeth.
Lloyd commends Rebecca for adapting Ray’s work so excellently: ‘She masterfully crafted characters with real depth, made nature a palpable essence and a character in its own right while skilfully maintaining an undercurrent of social consciousness.’
When Ray heard that Rebecca would be adapting her story, she was delighted as she had been a huge admirer of Rebecca’s writing. ‘I was excited to see how she would interpret my words and make them her own. The final script was beautiful, capturing the essence of the original story while taking it forward on a powerful new journey.’
Elizabeth revealed that when it came to casting the part of Ray, both she and Marianne knew that it had to be Gillian Anderson: ‘She has that steely strength and tenacious quality, but also a vulnerability about her. She’s just a fantastic actor, very professional, very talented and a lot of fun too.’
Gillian Anderson is no stranger to playing real life characters. As she states: ‘I’ve played Margaret Thatcher, and I played Eleanor Roosevelt, and I remember that thirst to spend time in those shoes and figure out what made them tick and their early years and this wasn’t so much that. I realised that it’s really about the journey.’
Gillian met with Ray, she read the book a couple of times and listened to her audiobook. There were a few things that she chose not to do in terms of Ray’s mannerisms, as she explains: ‘It was important for me put together a version that was Ray, but also still me. I didn’t want to get too obsessed with it, as much as anything, it’s about portraying the story and their circumstances.’
For Jason Isaacs, the Moth to Gillian’s Ray, he discloses that: ‘All you ever want from acting is that the other person seems like they are who they’re meant to be, and then it’s just easy, and she was Ray to me. She made it easy, because she’s a cracking actress and is unrecognizable from part to part. I don’t know that I ever got to know Gillian. I think I probably got to know Ray with a little sheen of Gillian on her.’
When it came to Jason landing the role of Moth, he believes it was down to him wearing a scarf for the first-time meeting Marianne, which he explains further: ‘Moth always wears a bandana or a scarf. I really wanted the job, so I wore a little coloured scarf inside my shirt, hoping that subliminally, Marianne would see it and believe I was the right person for the job. It’s since become a habit now, and I feel slightly undressed if I’m not wearing a bandana or a scarf.’
While Jason was preparing for the part, he met the real-life Moth and completely fell in love with him. ‘He’s an extraordinary person in so many ways. He’s completely self educated, incredibly humble, and just constantly wanting to learn, listen, be amazed and find wonder in anything anyone has to say around him. I’m madly in love with him. That’s the truth. As is everyone who ever meets him, and he made himself permanently available to me throughout the process. He has been incredibly generous in opening himself up to me about the things that were most vulnerable and difficult and awkward.’
An important component in both Gillian and Jason’s preparation involved meeting the real-life Ray and Moth. Ray remembers how Marianne, Gillian and Jason travelled to their home in Cornwall to spend the day with them before filming began. Ray said of her observations that day: ‘Gillian naturally exudes a calm inner strength, while Jason has an intense curiosity about life, and they were both deeply passionate about finding the nuance of the story. I immediately felt they were perfectly cast.’
Director Marianne Elliott has directed some of the most celebrated theatrical productions in the West End and on Broadway; WAR HORSE, THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, ANGELS IN AMERICA, COMPANY and DEATH OF A SALESMAN. She is the only woman to have won 3 Tony Awards for Best Direction. As Artistic Director of Elliott & Harper Productions, Marianne’s credits include the West End premiere of Mike Bartlett’s play COCK and the award winning revival of Arthur Miller’s DEATH OF A SALESMAN (co-directed with Miranda Cromwell) at the Young Vic Theatre and then the Piccadilly Theatre in the West End, where it won the Olivier Award for Best Director of a Play.
Elliott’s acclaimed 2018 revival of Stephen Sondheim and George Furth’s COMPANY originated in the West End at the Gielgud Theatre where it won 4 Olivier Awards (including Best Revival of a Musical) as well as the Evening Standard Award for Best Director of a Musical. Marianne’s first show for Elliott & Harper was the West End premiere of Simon Stephens’ play HEISENBERG at Wyndhams Theatre. Marianne was an Associate Director at the National Theatre for over ten years. Her final production for the NT was her Olivier Award-winning revival of Tony Kushner’s ANGELS IN AMERICA, which subsequently transferred to Broadway, where it won 3 Tony Awards, including Best Revival of a Play. Marianne’s other productions for the National Theatre include WAR HORSE which she co-directed with Tom Morris (West End and Broadway; winner of the Tony Award for Best Direction of a Play); THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT- TIME (also West End and Broadway; Olivier and Tony Awards for Best Director and Best New Play; South Bank Sky Arts Award). Other plays at the National Theatre include HUSBANDS & SONS, RULES FOR LIVING, THE LIGHT PRINCESS, PORT, SEASON’S GREETINGS, WOMEN BEWARE WOMEN, ALL’S WELL THAT ENDS WELL, MRS AFFLECK, HARPER REGAN, SAINT JOAN (Olivier Award for Best Revival, South Bank Show Award), THÉRÈSE RAQUIN and PILLARS OF THE COMMUNITY (Evening Standard Best Director Award). Other theatre includes SWEET BIRD OF YOUTH at the Old Vic starring Kim Cattrall; MUCH ADO ABOUT NOTHING for the RSC starring Tamsin Greig; and THE LITTLE FOXES at the Donmar Warehouse starring Penelope Wilton. Marianne was an Associate Director at the Royal Court, London, from 2002 – 2006, and from 1998 – 2002, an Artistic Director of the Royal Exchange in Manchester. In 2020, Marianne directed two episodes of Alan Bennett’s TALKING HEADS for the BBC, starring Tamsin Greig and Harriet Walter. In 2018, Marianne was awarded an Officer of the Order of the British Empire (OBE) in the Queen’s Birthday Honours List for her Services to Theatre.
Screenwriter Rebecca Lenkiewicz is an award-winning writer who, in 2008, was the first living female playwright to have her work produced on the Olivier stage at the National Theatre. She co-wrote Academy award-winning feature IDA with Pawel Pawlikowski, COLETTE with Wash Westmoreland, DISOBEDIENCE with Sebastian Lelio and SERVANTS with its director Ivan Ostrochovsky and co-writer Marek Lescak. More recently, she adapted SHE SAID for Plan B and Universal and won the WGA Paul Selvin Award, the Hamilton Behind the Camera Award for Best Screenplay, and was BAFTA nominated for Best Adapted Screenplay. Rebecca currently has projects in development with Plan B, Element, New Regency and Killer Films, amongst others. She recently shot her directorial debut HOT MILK (based on her own adaptation of the novel by Deborah Levy), for Bonnie Productions, Heretic and Film4, starring Emma Mackey, Fiona Shaw, Vicky Krieps, Vincent Perez and Patsy Ferran.
by Daniel Dercksen·Comments Off on Hurry Up Tomorrow – a visceral, cinematic, and singular experience
“This experimental film delves into the emotional journey of a tormented artist, exploring the complex mental health struggles that many of us face,” says writer-producer Abel Tesfaye of the psychological thriller Hurry Up Tomorrow. The story follows a musician, plagued by insomnia, who is drawn into an odyssey with a stranger—one that begins to unravel the very core of his existence.
Pictured above: Barry Keoghan as Lee and Abel “The Weeknd” Tesfaye as Abel in Hurry Up Tomorrow. Photo Credit: Andrew Cooper
Hurry Up Tomorrow is a major cultural moment at the intersection of music, cinema, and artistry. It marks The Weeknd’s first leading film role, bringing his creative vision into a new medium in collaboration with director Trey Edward Shults and a compelling ensemble cast. The film’s unique approach bridges artistic disciplines, creating a cinematic event that reflects the evolution of storytelling in both music and film.
Hurry Up Tomorrow is a deeply personal project for Abel Tesfaye, also known as The Weeknd. The psychological thriller explores themes of mental health, identity, and artistic struggle, drawing inspiration from Tesfaye’s own experiences. The film follows a musician plagued by insomnia who embarks on an existential journey with a mysterious stranger, unravelling the core of his existence.
Tesfaye has described the film as his most personal work yet, revealing that it was born out of one of the darkest moments of his life. He lost his voice during a 2022 concert, which led to a crisis of identity and purpose—an experience that heavily influenced the film’s narrative. The movie also incorporates elements of sleep paralysis, a condition Tesfaye has struggled with, using it as a metaphor for psychological distress.
Directed by Trey Edward Shults, Hurry Up Tomorrow blends cinematic influences from Ingmar Bergman’s Persona and Terrence Malick’s Tree of Life, creating a visually and emotionally immersive experience. The film marks Tesfaye’s transition from music to filmmaking, showcasing his evolution as an artist.
It has already generated significant buzz for its raw and introspective storytelling. Fans and critics alike are eager to see how Tesfaye’s struggles translate into this ambitious cinematic endeavour.
A note from writer-producer Abel Tesfaye
Film and storytelling have always been at the core of everything I do, and discovering new films has played a huge role in shaping that. I remember one year at TIFF, I saw Trey’s film Waves, and I instantly connected with his visual style and the way he captured such layered, complex emotions. It stuck with me. Years later, as I started to hone in on what I wanted to say with Hurry Up Tomorrow, it became clear that Trey was the perfect director to bring that vision to life.
Trey and I connected deeply as artists, and we just understood each other from the first time we met. I gave him my initial ideas for the film, and I really wanted him to feel connected to the material – as much as it’s my story, he needed to see himself in it as well. We had a lot of long conversations on the phone that were like therapy sessions where we would talk through our ideas and build out the story – I could tell how passionate he was, how much he cared, and that built a lot of trust between us. We continued to work very closely throughout the writing process and all the way through production.”
This character is based on my personal experience as an artist – a fictional version of myself in an alternative reality if things took a very dark turn. We meet my character when he’s at a breaking point and follow him through a mind-bending odyssey.
Jenna is a force on screen and behind the camera – her performance was incredibly mesmerising and keeps you immersed in every scene. She’s also a creative force behind the scenes and was a real asset as an executive producer.
Barry’s a great friend and having him in this role was an honor. He’s a selfless performer and was really patient with me on set. He’s also incredibly dynamic, which allowed us to really explore the themes of identity and self-awareness with his character in unique ways.”
This is an experimental film that follows the emotional journey of a tormented artist and explores the complex mental health struggles that so many of us experience.
Abel “The Weeknd” Tesfaye as Abel and Writer/Director Trey Edward Shults in Hurry Up Tomorrow. Photo Credit: Andrew Cooper
A Note from Trey Edward Shults – Director / Writer / Executive Producer
Writer-Director Trey Edward Shults is widely known for his vibrant storytelling and the depth of character that he captures in his films, as seen in the coming-of-age drama, Waves (A24), and the psychological horror, It Comes at Night(A24). His directorial debut, Krisha (A24), is an emotionally charged drama that sparked his career and won several awards including the National Board of Review’s Best Directorial Debut, The Independent Spirit John Cassavetes Award, The Bingham Ray Breakthrough Director Award at the Gothams, and both the Grand Jury Award and Audience Award at SXSW.
My producers Kevin Turen and Harrison Kreiss said Abel had an idea for a movie and was a fan of mine so he wanted to meet. We had a meeting and I instantly loved Abel. He was not what I expected. Kind, down to earth, and he had very similar taste to mine. He pitched me the idea for HURRY UP TOMORROW with the caveat that the only way it or us collaborating would work is if I put all my heart and soul into it and made it my own film. Shortly after the meeting I got crazy inspired, the most inspired I had been with anything since I wrote Waves, and I went on a writing binge writing the first outline for this film. Everything continued to click into place and we were shooting the film months later, and that’s never happened to me before. It was exhilarating and inspiring.
He had the idea for the film and then I got inspired. We would start with long phone calls that went from bouncing ideas back and forth from structure, character, and themes to doing kind of therapy sessions with Abel where I’d find out all about this past, where he was at mentally in different phases of his life, etc. These led[AE1] to us creating a character of Abel that’s more how Abel could’ve turned out if things went differently in his life, while also combining very vulnerable and personal elements into his character and the film. So it started in the writing phase and it was just effortless. We bounced everything back and forth and I would go away and do a ton of writing to interject my own stuff. That kind of effortless collaboration then continued into the shooting and post-production. I think we have an enormous amount of trust built up between us and we push ourselves to do our best work.
Well, Abel is perfect because he’s literally playing a version of himself, haha. It inspired me so much though that he was brave enough to go the places this film required him to go. I truly feel like we’ve never seen a film do this before. Having a massive pop star playing a version of himself in such a bold yet vulnerable way. I was also blown away by his skills as an actor. I really didn’t know what to expect because my only frame of reference was his music videos but I thought he was fantastic in them, but obviously a film requires much more skill as a performer and he delivered beautifully. I think by the end of the film he’s doing something so vulnerable and putting his true heart and soul out there. Jenna was initially Abel’s idea, and I didn’t know her work terribly well. I thought she was great in X and Scream, but that’s all I had seen, and knew this film required her to go to some heavy vulnerable places and require incredible nuance. Abel and I took a meeting with her, and I loved her. Then once we were shooting, she blew me away every day. She’s one of the best actors I’ve ever worked with and, at the time of shooting, she was only 20 years old! The end of the film literally wouldn’t work without her performance. It’s so exciting because I feel like I’ve never seen Jenna in a role like this and I can’t imagine anyone else on the planet doing what she did. Barry was already friends with Abel, and I was a huge fan of Barry. We had a meeting one night, and he agreed to do the movie without reading a script. We just talked about the film and what his character was and me promising him that he’d have room to play and discover. Jenna’s approach was so refined and dialed in, but Barry was like this tornado of exciting energy. Every day he showed up on set I didn’t know what he was gonna do or what I was gonna get and it was incredibly exciting. I just had to make sure I captured everything he was giving us. I also loved that he really fought for his character’s nuance. There are times where it would be easy to vilify Lee and for Barry’s performance to take the easy route, but he always brought the deeper layer and nuance to the character.
I’m terrible at talking about my own films but with everything I make I have the ambition to try to make something fresh that feels like something we haven’t seen before, and I truly believe I’ve never seen a film quite like this. I think it’s a riveting, singular experience. I also think if you’re a fan of The Weeknd [AE2] and love his music then you will LOVE this movie, but it’s also designed in a way to where you don’t have to be a fan of his to LOVE this movie. For me, HURRY UP TOMORROW is a rich character piece and singular cinematic experience that plays with dream and reality in a way that is interesting and honest to our story and characters.
I tried to design the movie to work on two levels. If you just wanna take everything in the movie at face value and go on a ride, I think it works on that level. If you want to look deeper and interpret the movie and its characters at a deeper level I think it also works incredibly well. I think in simplistic terms audiences can expect something fresh that they haven’t seen before. It’s a great movie and a wild ride. The movie was designed for the big screen. We shot on 35mm and have many intricate shots and set pieces. We worked on the music and sound design for a very, very long time with incredibly talented people. All with the goal of making a visceral, cinematic, and singular experience.
Jenna Ortega as Anima in Hurry Up Tomorrow. Photo Credit: Andrew Cooper
A Note from Reza Fahim – Writer / Producer
Reza Fahim is an Iranian-American writer and producer for film and television whose fast rising career includes co-creating an HBO series. Born in Hamburg, Germany, Fahim spent his early childhood in Tehran, Iran, and fled to the US as a refugee when he was four years old. At that young age, Fahim watched his family establish new roots in Virginia through a sandwich shop where he realized the beauty in creating experiences for people, something his mother also liked to do. At the age of 17, Fahim moved to California to advance his studies at UCSB and UCLA in California. While in school he discovered a love for writing and storytelling and soon kickstarted his career in the film industry when he landed a job working alongside legendary producer David Permut, who became his first mentor in the business.
Abel and I have been close for the past ten years. Early on in our friendship we realized that we both had very similar ambitions outside of our current careers, which was to become filmmakers. From that point we started sharing ideas and building stories that we wanted to tell. Abel came to me one day with the concept for a film that would be loosely tied to a new music project, and it felt incredibly personal and bold. The more we started building out the story, the more we understood how singular this project would be – something that audiences have not seen before.
I loved working with these two brilliant minds. Our goal with this film was to do something that highlighted the convergence of music and film, and we wanted to do that in a unique way. I love films like Purple Rain and The Wall because they both are an expression of artistic merit and not something intended to drive metrics and aggregation. With Abel’s perspective as an artist and musician and Trey being known for weaving sound and music into his storytelling, the stars aligned perfectly during the creative process.”
Abel was a vital part of this cast since he plays an iteration of himself in an alternate universe. I don’t think any other artist could have accomplished this performance except for Abel. Jenna is truly just a brilliant talent. She captures Ani’s duality so well, portraying her softness but also her intensity perfectly. And for Barry, we’ve been friends with him for a while, he and Abel have great banter which is essential when portraying the role of a manager, to really establish that these two characters have been working together for years. Barry also strikes this unique balance of playing someone that Abel can trust but also blends that manipulative quality of his character so subtly. I can’t think of a better choice for this character.”
Trey is a true visionary first and foremost. I highly regard his work in Krisha, It Comes at Night, and Waves. He approaches filmmaking in such a caring and thoughtful way, and he really took the concept and made it his own. Between his cinematography and how he’s able to weave music in as a driver of a film’s narrative, we knew he was the right choice for Hurry Up Tomorrow.
Audiences can expect a visual and sonic experience that delves deep into an artist’s psyche. It’s a cerebral journey with a lot of genre bending between thriller, horror, drama, etc. I also hope audiences can see a new side to Abel, his performance (alongside Jenna and Barry’s brilliance) is impressive.”
Abel Tesfaye as Abel in Hurry Up Tomorrow. Photo Credit: Andrew Cooper
by Daniel Dercksen·Comments Off on Silencing your inner critic
Overcoming the fear of writing your story is a challenge many aspiring writers face, but it’s entirely possible with the right mindset and strategies. Silencing your inner critic is essential for unlocking creativity and confidence in writing.
Recognising that fear is a natural part of the creative process. Many great writers have struggled with self-doubt.
Stephen King – He famously threw his Carrie manuscript in the trash, believing it was terrible. His wife rescued it, and it became his first published novel.
– J.K. Rowling – Before Harry Potter became a global phenomenon, she faced multiple rejections from publishers and questioned her abilities as a writer.
– Maya Angelou – Despite her literary brilliance, she once admitted: “I have written eleven books, but each time I think, ‘Uh-oh, they’re going to find out now. I’ve run a game on everybody, and they’re going to find me out.’”
– F. Scott Fitzgerald – He struggled with criticism throughout his career and even felt like a failure after The Great Gatsby underperformed initially.
– Sylvia Plath – She faced deep insecurities and self-doubt, yet her work became some of the most influential poetry in modern literature.
Self-doubt doesn’t define a writer—it’s often just part of the process
The key is pushing through it, embracing growth, and continuing to write despite the fear. You don’t have to write an entire book, screenplay or TV series right away. Begin with short stories, journal entries, or even a few sentences to build confidence.
Perfectionism can be paralysing. Allow yourself to write freely without worrying about grammar or structure—editing comes later. Establish achievable writing goals, such as writing for 10 minutes a day or completing a certain number of words per week.
Writing your story means sharing personal experiences, which can feel intimidating. Remember that authenticity resonates with readers, who connect most deeply with writing that feels genuine and honest. Authenticity allows your voice to shine through, making your story compelling and relatable. Whether you’re sharing personal experiences or crafting fiction, being true to yourself fosters trust and emotional engagement.
One way to embrace authenticity is to write without fear of judgment—let your experiences, thoughts, and emotions flow naturally. Your unique perspective is what makes your story special. Instead of trying to fit into a mold, embrace your individuality.
Join writing groups, workshops, or online communities where you can share your work and receive constructive feedback, or read books by other writers that can inspire you and help you understand different storytelling techniques.
Instead of worrying about how others will perceive your story, focus on writing for yourself. Your voice matters.
Here are some effective strategies for silencing your inner critic
Recognize Its Voice – The first step is identifying when your inner critic is speaking. It often disguises itself as self-doubt, perfectionism, or fear of failure.
Reframe Negative Thoughts – Instead of thinking, “I’m not good enough,” try “I’m learning and improving with every word I write.” Shifting your mindset can help silence self-judgment.
Practice Self-Compassion – Treat yourself as you would a friend. Writing is a process, and mistakes are part of growth. Be kind to yourself and acknowledge your progress.
Write Freely Without Editing – Allow yourself to write without worrying about grammar or structure. Editing can come later—right now, focus on getting your thoughts down.
Challenge Unrealistic Expectations – Your inner critic often sets impossible standards. Accept that no first draft is perfect, and even the best writers revise their work multiple times.
Surround Yourself with Encouragement – Join writing groups, seek feedback from supportive people, and read inspiring stories from other writers who have overcome self-doubt.
Use Affirmations – Positive affirmations like “My voice matters” or “I have a story worth telling” can help counter negative thoughts.
Our WRITE JOURNEY COURSE will guide you every step of the way—from the spark of inspiration to developing your ideas, characters, and plot, all the way to writing your first pages.
by Daniel Dercksen·Comments Off on Rewrite, Reinvent, Revolutionise: A Call to Literary Arms
Push yourself to craft something truly groundbreaking—something that defies convention and reshapes the landscape of storytelling. Experiment boldly with form, style, and language. Break the rules. Reinvent the rhythm. Let your words ignite revolution.
Let’s tear apart the old, dismantle conventions, and craft something that doesn’t just shimmer—it collides.
Let’s make something that doesn’t ask permission—it demands to be felt, to be seen.
The key to innovation is understanding before disrupting—honoring the structure, rhythm, and rules that exist so you can bend them with intention rather than recklessness.
How do you create something new without disrespecting traditional formats and structures.
How to create something new without disrespecting tradition:
Learn the blueprint – Before dismantling a format, study its foundations. Understand why sonnets follow a meter, why screenplays have beats, or why narratives arc the way they do. That knowledge allows you to twist convention without breaking its spine.
Find the gaps – Traditional structures often leave room for interpretation and evolution. Ask yourself: What’s missing? What hasn’t been done yet? Innovation lives in the spaces between established ideas.
Twist, don’t tear – Instead of rejecting tradition outright, bend it, reshape it. A novel might blend poetry and prose. A screenplay might break the fourth wall in a way that feels organic rather than gimmicky.
Respect the essence – Even when breaking rules, stay true to the core of the craft. A story is still a story, a song still conveys emotion, a painting still speaks—even if the mechanics change.
Make the audience feel it – If disruption serves only as shock value, it risks feeling empty. But if your approach enhances the experience—creates something immersive, breathtaking, unforgettable—then the boundary-pushing feels earned.
The magic lies in balancing rebellion with reverence—knowing when to follow, when to lead, and when to leap. Want to try experimenting with a format right now? Let’s craft something bold together.
That’s where the real magic happens.
It’s not about breaking everything—it’s about bending, reshaping, refining. It’s the ability to challenge without dismissing, to push boundaries while acknowledging the foundation beneath them.
Think of poetry that warps meter but still sings, jazz that defies structure but still swings, narratives that disrupt form but still captivate. Revolution without soul is just noise—but rebellion guided by reverence? That’s art, that’s movement, that’s creation.
Emilia Pérez is a fascinating example of balancing rebellion and reverence in storytelling
Written and directed by Jacques Audiard, the film blends musical elements, crime drama, and telenovela influences into something entirely fresh and genre-defying.
The screenplay follows four women in Mexico, each navigating their own pursuit of happiness. At its core, it’s about transformation, particularly Emilia, a cartel leader who enlists a lawyer to help fake her death so she can live authentically as her true self. The film’s structure bends traditional crime narratives by infusing them with musical sequences, experimental visuals, and deeply emotional storytelling.
Audiard himself has described the screenplay as closer to an opera libretto than a conventional film script, which is a brilliant example of reshaping tradition rather than rejecting it. It doesn’t fit neatly into one genre—it’s a musical crime drama, a melodrama, and a telenovela-inspired piece all at once.
“I wanted to create a film that exists between reality and fantasy, blending the gritty world of crime with the stylised elements of musicals,” says visionary writer-director Jacques Audiard of Emilia Perez.
by Daniel Dercksen·Comments Off on Juliet & Romeo launches a revolutionary Pop Musical trilogy
“We’ve set out to tell the greatest love story of all time, set to the musical pulse of our time. But Shakespeare only told part of that remarkable tale, whose events changed the course of history!” says writer-director Timothy Scott Bogart of Juliet & Romeo, a bold reimagining of the real-life events that inspired Shakespeare’s timeless tragedy.
Set in 1301, at the end of the Middle Ages, Juliet & Romeo launches a revolutionary Pop Musical trilogy, based on a play by William Shakespeare with original Songs and music from Grammy-Winner, Evan Kidd Bogart (Beyonce’s “Halo” / Rihanna’s “SOS”),
In Juliet & Romeo, Romeo and Juliet as more than just star-crossed lovers — they are pivotal figures in the birth of the Italian Renaissance.
Forced to flee Verona as rival forces clash, they uncover a far greater conflict brewing beyond their city walls. The Holy Roman Empire and the Church, under the tyrannical rule of Pope Boniface, are locked in a power struggle that will shape the future of Europe. Escaping to Rome, Juliet and Romeo join forces with some of history’s most iconic figures—including Dante Alighieri—on a daring quest to challenge Pope Boniface’s brutal campaign for absolute control. As they navigate battles, betrayals, and shifting allegiances, their love becomes the driving force behind a revolution that will change the world forever.
Leaving behind the poetry of iambic pentameter, Juliet & Romeo reimagines this timeless tale with a fresh, contemporary edge—infusing its high-stakes drama with the electrifying power of modern pop music. This is Romeo & Juliet as it’s never been seen before — where love defies destiny, history is rewritten, and music becomes the language of rebellion.
When star-crossed lovers Juliet and Romeo defy their fate and escape Verona, they are thrust into a battle for the soul of Italy. As the Holy Roman Empire and the Church, ruled by the ruthless Pope Boniface, wage war for ultimate control, Juliet and Romeo find themselves at the heart of a revolution that will shape history. Partnering with iconic figures like Dante Alighieri, they must navigate political intrigue, forbidden alliances, and the raw power of music to fight for a future where love conquers all. A revolutionary Pop Musical set at the dawn of the Renaissance, Juliet & Romeo transforms the world’s most legendary romance into an electrifying saga of rebellion, passion, and destiny. The cast includes: Clara Rugaard, Jamie Ward, Jason Isaacs, Tayla Parx, Dan Fogler, Nicholas Podany, Ferdia Walsh-Peelo, Rupert Graves, Martina Ortiz Luis with Rebel Wilson, Rupert Everett and Derek Jacobi.
A note from Timothy Scott Bogart, Writer/Director
This was my first interaction with William Shakespeare, and it would become a driving creative influence in my life. The themes took hold immediately… Love… Rebellion… Family… Fate… War… Destiny… And those three words… “Star-Crossed Lovers…” they had become part of the cultural zeitgeist in every city, in every country, around the world. This was the stuff of great character, and tremendous plot, and whether it’s been as a play, a ballet, an opera, or as a movie, it’s why the Bard’s greatest love story of all time has continued to entertain audiences for nearly five hundred years. Shakespeare had written the original, and most successful, YA story of all time!”
“In a world where Harry Potter has sold over six hundred million books, where The Hunger Games have sold over a hundred million, where Twilight has sold over a hundred and sixty million and Dune, has now sold over 20 million. For Shakespeare’s, “Romeo & Juliet”, they stopped even trying to count, with estimated sales exceedingly well into the billions. Having been adapted thousands of times, in more than 100 different languages, virtually no one on Earth doesn’t know the story of “Romeo & Juliet.” It is, by nearly all measures, the most widely read and universally adored story in literature, not including the Bible.
“Romeo & Juliet is one of the most romantic stories ever told. And the challenge for any storyteller is to find a different color that they can add. To work from a different palette. To me, what Shakespeare did was to express the poetry of his time. So, in searching for the poetry of our time, we turn to music… Original, Pop Music, as a way to truly dive into our character’s journeys – which I believe makes our film different than any other version that’s ever been done before.”
Re-Imagining Romeo & Juliet – A note from Timothy Scott Bogart
More than a decade ago, I was having coffee with my brother Evan, the genius who co wrote “Halo” for Beyonce, discovered Rihanna and Lizzo among others, and has an endless string of pop music hits to his name, the likes of which any major songwriter could only dream of.
We were discussing the power of music and why pop songs, specifically, had a way of crawling under our skin and staying there forever.
My brother’s answer was shockingly simple; “because that’s our poetry.” When we’re in love, when we’re heartbroken, when we’re feeling betrayed, when we’re roused to fight – there’s always a song we can turn up loud and belt from our souls. And we’ll feel better!
It was amazing how simple and specific his answer was.
We feel music, we don’t think it. And younger people, want to feel, far more than they want to think.
It was in that moment that my head, and my heart, returned to Shakespeare. If his writing was the poetry of his time, what if we were to use the poetry of our time, to reach this new, and ever-expanding audience?
What if we made Romeo & Juliet a truly original Pop Musical?
The idea our characters soaring through song to express their true, inner passions and struggles, felt like a version I had just never seen before. All at the heart of the greatest love story ever told. And so, I began to write. Our vision was a world that would be driven by a visceral energy, filmed in real Castles, on real horses, on real mountaintops – shooting in the rain and the snow – all to give an immediacy and a reality that had never truly been tackled before.
We’re making it a muscular piece, throwing our characters into the real world. We were not shooting on a sound stage. They are really riding on horseback, riding on mountaintops, they are really racing through castles. We were shooting in the winter, with snow, with rain, in the mud. Placing them in what was very likely the real world of 1301 where these two families actually battled.
From the very start, the film I envisioned was one of empowerment. And yes, female empowerment, specifically, in a story that rarely has attempted to do so. And yet, for me, that’s the only reason to do it all. To be sure, for our story – and our Franchise – the very question of whether Romeo & Juliet are doomed to their pre-determined destinies is right at the core of the way we’ve approached everything.
A reimagining… of the central arc and the evolution of the tale.
But whether Romeo & Juliet, or the other characters, ultimately defy fate and destiny – the fact that they are all caught right in the storm of struggling against it, was always crucial to illustrate and get right. Yes, it’s the 1300s, but our Romeo & Juliet is always about empowerment. In every moment and on every frame.
And to understand empowerment, I felt we first needed to understand the struggle for it by the main characters.
“I’ve always thought there are two kinds of musicals… the first, where there’s a Milkman who clearly knows he’s in a musical – and even his cow seems to know he’s in a musical! It’s not a real world – and I’ve always found that a little distancing. Then there’s the world where the music is such an integral driver, that one can’t help but lose themselves to a different connection to it all. That’s the musical I hope we’ve made. Where the inner emotional truths of these characters is what we see come to life in song. Drawing inspiration from virtually everywhere, from Wicked and The Greatest Showman, to Sweeney Todd, Les Miz and more – the inspiration ultimately came from finding where the music and the moments in those other films suddenly became something more than just song and dance – and revealed themselves to be the core emotional truth as the compass to it all.”
Note from Evan Kidd Bogart, Executive Music Producer, Songwriter.
We’re not trying to write a musical. I think that’s a really big distinction. We’re writing hit songs for the radio, based on these characters and bringing them to light in a brand new way. I feel like song is an extension of the scene, and weaves in and out of the storytelling. The emotion becomes so overwhelming, it’s just bursting to get out of their skin – that they have to just start singing. Music exists in this world, so it’s a musical world. But that’s different than a movie musical.
Timothy Scott Bogart is a producer, writer, and director known for films such as The Last Full Measure (2019) and Spinning Gold (2023). He is the son of Neil Bogart, the founder of Casablanca Records, and the brother of record producer Evan Bogart. Bogart has worked on various projects across film and television, including Majors & Minors, Platinum Hit, and Life Flight: Trauma Center Houston[2^]. His most recent work, Spinning Gold, is a biographical drama about his father’s career in the music industry.
Timothy Scott Bogart and Evan Kidd Bogart are brothers. They are both sons of Neil Bogart, the founder of Casablanca Records. Evan Kidd Bogart is a songwriter, music publisher, and record executive known for his work in the music industry, including writing Beyoncé’s hit song Halo. Timothy Scott Bogart, on the other hand, is a filmmaker and producer, most recently known for directing Spinning Gold, a biopic about their father.
by Daniel Dercksen·Comments Off on Deadly Secrets Unravel In The Accountant
“The concept of an accountant, a profession that we normally think of as pretty mundane — who is outside what most would consider conventional and has extraordinary abilities, was something different,” says screenwriter Bill Dubuque of The Accountant. “As I thought more about what would make this person special, I hit on the notion that he is on the autism spectrum. But he uses it to his advantage, and I just loved the idea of that.”
“This guy risks his life uncooking the books for some of the scariest people on the planet. Drug cartels. Arms brokers. Money launderers. Assassins… Imagine the secrets this guy has. It’s always compelling when people have secrets—when you think someone is one thing and then discover they’re something else entirely,” says director Gavin O’Connor.
At first glance, Christian Wolff seems to be nothing more than a storefront CPA, right down to his spreadsheets and pocket protector. However, his usual clientele are among the world’s most powerful crime lords, and his mild-mannered demeanor and somewhat innocuous appearance belie the fact that he may be more dangerous than any of them.
Ben Affleck, who stars in the role, notes, “The story speaks to the duality in all of us. It might be easy to pigeonhole a guy like Chris, but we find out he’s capable of much more than you imagine.”
The actor goes on to reveal that there is another unexpected wrinkle to Christian, who is able to crunch more than just numbers. “On the one hand, he’s this effectively trained fighter and on the other, he’s a math savant. Those facets of his personality—seemingly at odds in him—were unlike anything I’ve ever done before and made it both exciting and challenging.”
O’Connor agrees. “The center point of the film was this fascinating character that I loved and wanted to explore. How did he become this man? How did he get those skills? How did he become this lethal fighter? The story has intertwining puzzles, which gave it a high IQ factor and made it especially intriguing.”
Anna Kendrick, Ben Affleck and director Gavin O’Connor during the filming of The Accountant
The spark for the story initiated with producer Mark Williams
“I had heard the term ‘forensic accountant’ and thought it sounded like a detective of some sort. But then I started pushing the envelope, raising the stakes with who he’s working for and that had the potential to kick the action into high gear. Once I had the general framework in my head, I took it to Bill Dubuque, who is a writer I’ve worked with before and is flat-out great. He responded to the idea and started fleshing out the script.”
Dubuque affirms, “The concept of an accountant—a profession that we normally think of as pretty mundane—who is outside what most would consider conventional and had extraordinary abilities was something different. If you’re a mainstream company and think someone’s embezzling funds, you have a team of accountants who can determine where the money is going. But if you’re a drug cartel or a Mafia kingpin, you can’t do that. You’ve got to be able to call somebody who can come in, figure out the patterns in your books, and say, ‘This is where the leak is.’ And then get out. As I thought more about what would make this person special, I hit on the notion that he is on the autism spectrum. But he uses it to his advantage, and I just loved the idea of that.”
O’Connor emphasizes, “We learned the term ‘spectrum’ is especially fitting because there is really no single type of autism; every person is an individual and at a different place on that spectrum. Christian is fictional and not based on anyone in real life—his remarkable aptitude for figures is a gift and his physical attributes are a product of his unique upbringing.”
Dubuque surrounded Christian with other characters that are just as multifaceted, pointing out, “Almost no one is really who they seem to be.”
Producer Lynette Howell Taylor says, “Bill created a fantastically written screenplay. I had never read anything like it before and found it completely unpredictable, which is always a good sign. There were twists that took me by surprise and I had a couple of gasp moments. That’s what ultimately made me want to make the movie.”
With the script in hand, the producers chose O’Connor to helm “The Accountant” after meeting with him and finding “he had a deep understanding of these characters and a vision for how to shoot their interwoven storylines,” Williams recalls. “We knew he was the perfect director for this. He has such a fine eye for detail and kept track of all the puzzle pieces so they would all fit together in the end, which was very important for this film.”
Affleck adds, “I’d seen Gavin’s work on ‘Warrior’ and ‘Miracle,’ and in both of those movies I saw tremendous integrity in the performances. I thought, ‘This is a director who doesn’t let a false note land in his films.’ I knew ‘The Accountant’ needed that kind of unflinching eye to capture the complexity and the nuances and ground it in reality. At the end of the day, I was so glad he directed this movie because amidst the incredible action, he imbued it with authenticity, originality, humanity and heart. I loved working with him.”
Anna Kendrick, who stars alongside Affleck in the film, says she especially appreciated the director’s “reverence for the emotional content,” noting, “It’s an interesting thing because, in many ways, Gavin is such a dude. He and Ben would get so excited about all the action sequences, but then he also took such joy in the really sweet, emotional scenes.”
O’Connor says the divergent elements of the story and its characters were what attracted him to the project. “It’s refreshingly unconventional and defies definition because it’s a suspense thriller, a drama, an action film and a character study. I thought the script was one of the best that I’d read, so I really wanted to do it.”
The cleverly constructed screenplay also drew the film’s impressive acting ensemble
“It kept me guessing until the very last page,” Affleck states, “and I thought it was very smart, rich in detail and in character depth, and inventive in its evolution.”
J.K. Simmons concurs, “Bill Dubuque crafted a layered script with very deep characters, so it has a great combination of an intricate plot with a range of fascinating people.”
“Part of my job as a director,” O’Connor says, “is surrounding myself with people who are really good at what they do—people who are going to constantly lift up the material and make me better and make the movie the best it can be. All of these actors are of that caliber.”
As “The Accountant” opens, we meet Christian Wolff as a child whose parents are seeking professional help for him. Telling the couple their son is actually more gifted than handicapped, the neurologist offers to work with him. But Chris’s dad has his own ideas of how to prepare his son for a world that can be harsh for anyone deemed “different.”
“Chris’s father puts him through all kinds of rigorous training to toughen him up for a world he thinks could hurt him,” says Affleck. “Instead, in a way, he ends up damaging him even further. I thought that was an interesting theme—how he reconciles his past with the man he is now.
“What resonated with me about this character was not the ways he is different, but the ways he is similar to everyone else,” the actor continues. “He grapples with the differences between himself and what is considered ‘normal,’ and those pose real challenges for him to get by in life. But deep down he’s very much the same: he wants to be happy, he wants human contact, he wants love, he wants friendship… He has things that bother him, like we all do, but he has goals in his life that he wants to meet, and he wants to succeed. He just defines those things differently from how other people do.”
Prior to the start of filming, O’Connor and Affleck engaged in research they knew was essential “to make sure we got this character right,” the director says. “We all have our advantages and disadvantages as people, so it was important to me that we embrace Chris as an individual and never look at him as a tragic figure.”
The two consulted with several autism experts, including Dr. Neelkamal Soares, Laurie Stephens, Cheryl Klaiman, Christine Hall and Shelley Carnes. They also visited a number of homes and schools. “I was lucky,” Affleck says. “I had my director doing research with me, which gave us a shared vocabulary and made it a lot easier. There’s no task Gavin won’t undertake if he thinks it might make the movie better. We learned that there’s quite a range to what people refer to as being on the spectrum. Ultimately, I tried to strike a balance between letting the audience in on what’s going on with Christian and not doing it in too obvious a way.”
O’Connor was so impressed with Affleck, he stated, “I would make every movie with Ben if I could. He just poured himself into the role, and the more you give him to do, the more he just keeps attacking it.”
Affleck remarks, “The great thing about ‘The Accountant’ is it’s smart and it has a ton of action and fun twists. And when it all comes together, I think the audience is in for a surprise.”
O’Connor concludes, “I wanted to make a film that was intellectually engaging, while also being a rollercoaster ride that can sweep the audience up in a story that doesn’t let up until the end. And if it moves you or makes you think or want to talk about it after you leave the theatre, that’s cool, too.”
The Accountant 2 is the sequel to The Accountant
Starring Ben Affleck as Christian Wolff, a highly skilled accountant with a unique set of abilities, The Accountant 2 is directed by Gavin O’Connor from a screenplay by Bill Dubuque and continues the story of Christian as he investigates the murder of a Treasury Department official. This time, he teams up with his estranged brother, Braxton (played by Jon Bernthal), and Treasury Agent Marybeth Medina (Cynthia Addai-Robinson) to uncover a dangerous conspiracy.
The sequel builds on the foundation of the original film by deepening the emotional and narrative arcs of its characters, particularly the relationship between Christian Wolff (Ben Affleck) and his brother Braxton (Jon Bernthal). It explores themes of family, redemption, and the complexities of neurodivergence, while also delivering the intense action and intricate plotting that fans of the first movie enjoyed.
The film also expands the world of Christian Wolff, introducing new characters and challenges, such as a global smuggling ring and a mysterious assassin, Anaïs. It balances action with humor and emotional depth, making it more than just a typical action thriller
GAVIN O’CONNOR (Director / Executive Producer) is a native New Yorker who began writing while studying at the University of Pennsylvania. After graduation, he returned to New York, where he began his career writing short films and plays. He made his screenwriting debut with the award-winning short film The Bet, then wrote and directed the short film American Standoff. O’Connor first garnered attention when he directed the independent feature Tumbleweeds. He also co-wrote the screenplay with Angela Shelton, based on Shelton’s childhood diaries. O’Connor’s next directing effort was the widely acclaimed 2004 hit Miracle. Following the success of Miracle, he co-wrote and directed the 2008 drama Pride and Glory. In 2010, O’Connor co-wrote, produced and directed the acclaimed film Warrior. Turning his attention to the small screen, O’Connor directed the pilot of the award-winning television series The Americans, and helmed the pilot of Seven Seconds. , After Atlantic Wall, Gavin O’Connor directed several notable films: The Way Back (2020): A sports drama starring Ben Affleck as a former basketball star struggling with addiction and redemption, Seven Seconds (2018): A Netflix series exploring racial tensions and justice in the aftermath of a tragic accident and The Accountant 2.
BILL DUBUQUE (Screenplay) turned to screenwriting after working 12 years as a corporate headhunter, and poured his recruiting experiences into one of his first screenplays, “The Headhunter’s Calling.” The film, which Dubuque wrote and executive produced, just premiered at the 2016 Toronto International Film Festival. In 2014, Dubuque gained critical attention with his first produced screenplay, the family drama “The Judge.” In addition, he recently wrote “The Real McCoy.” Dubuque is the co-creator and executive producer of the series Ozark and The Judge.
by Daniel Dercksen·Comments Off on Unlocking Terror: Writing the Ultimate Horror Film
Writing a horror screenplay is unlike writing any other type of screenplay. In addition to telling a story, a horror movie script must also scare the audience and give them the adrenaline rush they’ve come to expect from the horror genre.
Horror screenwriting is a unique craft that requires a balance between storytelling and fear-inducing elements. To truly grip an audience, a horror script must build suspense, create unsettling atmospheres, and deliver unexpected twists.
Horror is a genre of film that’s scary for the purpose of entertainment. Horror movies prey on viewers’ biggest fears and worst nightmares, leaving them with a sense of dread and a rush of adrenaline.
Writing horror films is an art that blends suspense, fear, and psychological tension
Here are some key elements to consider:
Horror thrives on unique ideas: Whether it’s a supernatural entity, psychological horror, or a slasher film, your premise should be fresh and unsettling.
Building Atmosphere: Horror thrives on mood. Whether it’s eerie silence, unsettling visuals, or a creeping sense of dread, setting the right tone is crucial.
Character Development: A strong horror story needs compelling characters. Audiences need to care about the characters to feel the stakes. Give them depth, flaws, and motivations.
Pacing & Tension: Horror isn’t just about jump scares—it’s about building tension gradually, making the audience uneasy before delivering the fright. Create tension through pacing, eerie atmosphere, and unsettling moments.
Subverting Expectations: The best horror films surprise viewers. Twisting familiar tropes or playing with audience assumptions can make a film truly terrifying.
Themes & Symbolism: Many horror films explore deeper fears—societal anxieties, personal trauma, or existential dread—giving them lasting impact. The best horror films tap into universal fears.
Master the Art of Surprise – Subvert expectations and avoid clichés to keep viewers on edge.
Write Visually – Horror is a visual genre. Use descriptions that evoke fear and unease.
Tips and Tricks for Writing Horror Screenplays
Here’s how to make your horror screenplay scarier:
Take the audience inside the mind of your main character. The closeness to the character’s experience will make their fear more real. You want viewers to identify with the protagonist and experience the horror as their own.
Hook viewers right away. Quickly introduce the main characters, time, and place so the audience is invested in the action. Start with a shocking first scene to set the tone right away.
Tap into your own fears and use them to your advantage. Think about what spooked you as a kid or still scares you now and access that same feeling of panic when you set up a scene.
Turn normal, familiar locations into scary places. Instead of using tired horror backdrops like a spooky European castle, try everyday settings like regular neighborhoods, schools, and backyards. This lets people identify with the setting and picture themselves in the middle of the action.
Master the art of building suspense. The secret to suspense is the unknown. You need to write scenes in which the character doesn’t know something: what’s pounding on the door, what’s scraping across the ceiling, how to find their way home. Build suspense by heightening sensory details and slowing down the pacing of the action of choice moments, like when something bad is about to happen.
Subvert expectations. Identify a trope within the scary movie genre and find a new way to tell the story. Audiences will think they know what to expect, but you can pleasantly surprise them with a fresh take on a classic horror movie.
Borrow from your influences. Watch horror movies and read horror novels to improve the quality of your writing. Ideas are often generated by absorbing story concepts from other screenwriters and authors.
Balancing Horror With Humor
Avoid putting too much horror in your screenplay. If you pile on one terrible thing after another, it’ll feel too absurd and audiences won’t buy it. Use humor to keep the story entertaining and from getting too scary. It’s a great way to achieve the proper balance between fantasy and real life. If a roller coaster only did twists and turns the whole time, it wouldn’t be as fun to ride.
by Daniel Dercksen·Comments Off on Until Dawn – A love letter to the horror genre
Weaving in several different tropes of terror, “allows us to have the fun of killing off our characters,” says producer-writer Gary Dauberman of Until Dawn, an expansion of PlayStation Studios’ popular videogame of the same name, introducing a new story and fresh characters, tailored to a broader horror audience while honoring what makes the game so memorable.
For director-producer David F. Sandberg and producer-writer Gary Dauberman (who co-scripted with Blair Butler), having, separately or together, been responsible for Annabelle: Creation, Lights Out, and The Nun, their love for all things horror is fully realised in Until Dawn.
Within the film’s time loop framework, where each night sees the characters trapped in what feels like a different horror film, the filmmakers have crafted a terrifying mix of different genre styles, creating a unique experience for movie audiences.
The time loop structure also offers an unpredictable, propulsive, and supernatural mystery, which the characters must unravel to make it through – and avoid becoming part of the night. They must continually reconsider their choices and explore different paths, while coming to understand a shocking paradox in which they can only survive by dying first.
“Every night, the story resets, taking us into a new horror genre,” Sandberg elaborates. “As a lifelong horror fan, it was a dream come true to work in all these subgenres. Every night, the characters undergo what feels like a new chapter in a different story.
“Before learning of Until Dawn, I’d been thinking about what a perfect project would be,” he continues.
“Would it be a slasher movie, or a supernatural story, or maybe a creature feature? Until Dawn has it all; it’s several horror movies in one, which made me fall in love with it. We get to play with the entire horror toolbox. You never know what’s coming next in our story, because it changes every night.”
Weaving in several different tropes of terror, “allows us to have the fun of killing off our characters,” says Dauberman, with a smile. “It was both a challenge and tremendous fun because we had the freedom to say, ‘Yeah, f*** it, let’s just kill him.’”
An expansion of PlayStation Studios’ popular video game of the same name, as fans of the game, Sandberg and Dauberman saw an opportunity to build upon its world and turn it into a theatrical cinematic experience. The film introduces a new story and fresh characters, tailored to a broader horror audience while honouring what makes the game so memorable.
Producer Asad Qizilbash, who is SVP Head of Publishing, Studio Business Group and Head of PlayStation Productions, Sony Interactive Entertainment, says he’s more than impressed by how the filmmakers have extended, while always respecting the world envisioned by the artists at PlayStation.
“PlayStation Productions serves as a vessel for top creators to translate their passion for gaming into compelling narratives across various media. Being fans of the game themselves, David, Gary and their cast and crew have worked closely with our team at PlayStation Productions to make sure the film captured what fans love most about the Until Dawn world. And while you don’t need to have played the game to enjoy the movie’s twists and turns, there’s a good chance that fans will spot some cool references to the original story.”
Adds screenwriter Blair Butler: “Gary and I loved the way the game starts as one horror genre and turns into something different. This amazing blend of horror styles – and a structure that lets you try to save everybody or just kill them all off in terrible ways – were our north stars in crafting the screenplay.”
A loop in time
While the characters relive the night again and again, each time facing a horrifically different challenge, they are far from invincible. There are strict rules in the film’s mysterious and deadly time loop. It’s not as simple as reliving the same day. They must work together in a race against time to survive until dawn. Each one fears dying but living without each other scares them even more.
As Sandberg points out, “They only get so many chances to escape. It’s more intriguing than having the characters die and come back repeatedly. We had to make it more challenging for them. We put them through hell and got creative with ways of killing them.”
“The consequences multiply,” he continues. “And they have only a limited time to extricate themselves by finding a way to work together, before they die for real.”
To that end, each time a character comes back to life, something new is trying to kill them. “They have no idea what horror is waiting for them next,” says Dauberman. “It’s never, ‘Oh, if we just do the same thing we did last night, we’ll get out of this situation.’ It doesn’t work like that.”
Moreover, each character returns from the dead diminished, physically and mentally. “They are slowly becoming the thing that’s been terrifying them for several nights,” Dauberman summarises.
An integral part of the time loop concept is a prominent hourglass, resting ominously on one of the walls of a “welcome center” in which the friends are trapped. The hourglass is a totem of the group’s race against time and a constant reminder of their horrific predicaments. A complex mechanism resets the hourglass by rotating it 180 degrees at dawn as it counts down the hours before they meet an nspeakable fate.
“The hourglass is one of the most important parts of the movie,” producer Lotta Losten claims. “It has this otherworldly feel. Every time we cut to it, you’ll know something really bad is going to happen. At the same time, it’s very beautiful.”
Reteaming on the heels of their horror hit Annabelle: Creation, Sandberg and Gary Dauberman kickstarted pre-production on Until Dawn by reassembling the core creative team from Sandberg’s previous films (Shazam! Annabelle: Creation and Lights Out) and from The Conjuring cinematic universe, on which Dauberman was a key creative.
Production designer Jennifer Spence, director of photography Maxime Alexandre, creature and prosthetic effects artist Steve Newburn, and editor Michel Aller, came aboard to collaborate with the two filmmakers on their unique vision for this horror thrill ride.
Spence was tapped to usher the cursed mining town of Glore Valley into reality. Having already established a solid visual shorthand with Sandberg and Dauberman, she set out to find ways to depict how this once thriving community had catastrophically sunk underground after a local mine’s collapse, burying thousands of its citizens alive.
Clover and her friends’ desperate search for Melanie and terrifying race against time begins at Glore Valley’s mysterious Welcome Center, before dragging them into the bowels of the collapsed mine system and the rotting urban structures below.
As the characters transform upon waking after each night’s death, their physical environment similarly rearranges itself upon every reset. These narrative time-jumps, backwards and forward, demanded meticulous planning and logistical oversight from all creative departments.
Principal photography took place in the Hungarian capital city of Budapest, a production hub popular with international filmmakers.
DAVID F. SANDBERG (Director / Producer) is a renowned Swedish filmmaker based in Los Angeles known for his wide array of talents across a variety of genres. Sandberg started his career releasing short horror films in his native Sweden, including the 2013 viral hit Lights Out, which starred Losten in the lead role. Shortly after its online debut — the film has over 18 million views on YouTube — the short quickly caught the attention of the biggest decision-makers in Hollywood as well as a massive fanbase. In 2016, it was adapted into a feature film by New Line Cinema/Warner Bros. with Sandberg at the helm and grossed $148 million against a $4.9 million budget. Until Dawn marks Sandberg’s highly anticipated return to the horror genre, after a wildly successful stint directing the Shazam! franchise. Sandberg and his partner, Lotta Losten, have never strayed far from their genre roots, as they recently created two horror shorts from their home during quarantine – the first titled Shadowed and the other titled Not Alone in Here. These shorts were both released online under David’s pseudonym ‘ponysmasher’ and were massive hits. Previously, Sandberg directed Annabelle: Creation for New Line Cinema, which was the fourth instalment in The Conjuring Universe franchise.
GARY DAUBERMAN (Producer / Writer) is one of the most sought-after filmmakers in Hollywood today as seen by his numerous projects which include original content, franchise film series and high-profile adaptations in both film and television. Dauberman has a production deal with Sony and Screen Gems for his Coin Operated production company. Until Dawn is the first project to be released in theaters under the deal. After the success of writing the It and Annabelle film franchises, Dauberman made his directorial debut in 2019 with Annabelle Comes Home, which he also wrote. His second feature as director was Stephen King’s Salem’s Lot, which he adapted and executive produced. As for his screenwriting credits, Dauberman penned the adaptation of Stephen King’s beloved tome It, directed by Andy Muschietti. Dauberman wrote and executive produced the film’s box-office smash sequel, It: Chapter Two, which was released in 2019. Combined, the films earned over $1.1 billion worldwide. Dauberman joined the creative team behind The Conjuring Universe when he wrote the screenplay for Annabelle, and wrote the sequels Annabelle: Creation and Annabelle Comes Home. Dauberman also wrote the record-breaking spinoff, The Nun, which Warner Bros. released in 2018. The film’s sequel, The Nun 2, with Dauberman as producer, was released theatrically in 2023 and topped the opening weekend box-office. To date, the combined earnings of The Conjuring universe films exceed $2 billion at the worldwide box-office. On the development front, Dauberman is the writer and a producer on the upcoming remake of Train to Busan for New Line Cinema; he is the writer and an executive producer on the Gargoyles live-action series for Disney+, based on the 1990’s cartoon; and he is producing an adaptation of the Eisner Award nominated horror graphic novel Stray Dogs. Dauberman served as producer of The Curse of La Llorona. In television, Dauberman wrote Swamp Thing with Mark Verheiden for Atomic Monster and Warner Bros. Television, which streamed on DC Universe in 2019. He was also an executive producer on the critically acclaimed series.
In addition to adapting PlayStation’s iconic game Until Dawn, BLAIR BUTLER (Writer) rewrote Omega for Mandalay and Simon McQuoid and adapted Ology, the fantasy franchise starter from the thirteen-book series of the same name. Continuing her streak at the studio, Blair did a production polish on Area 51 for Sony, Atomic Monster and Colin Minihan and has done production work on several other Sony and Screen Gems titles. Screen Gems released The Invitation in 2022, which Butler originally sold on pitch to the studio. Most recently, she adapted Occupant for New Line and wrote Nonstop for Netflix and Amblin. Additionally, Butler did production work on Hell Fest for CBS Films and Valhalla, and received sole credit on Polaroid, which was released by Dimension Films in 2019, with Vertigo and Good Fear producing. Butler also wrote a project for Bad Robot and Paramount, had a thriller for James Wan and New Line, and worked on a feature for Pixar. On the TV side, Butler was a producer on Marvel’s Helstrom for Hulu. She’s also well known for her comedy background, having spent eight years as the head writer and on-air talent on G4’s Attack of the Show, where she created a comedy series called Slasher School. She also completed a comedy pilot for eOne in the style of a mash-up between House Flippers and The Exorcist.
by Daniel Dercksen·Comments Off on Unveiling the Heart and Soul of Your Story
The heart and soul of a story often lies in the emotional resonance and the core themes it seeks to convey. It’s about the connections it forges with the reader—the moments that make them laugh, cry, ponder, or even change their perspective. It’s in the characters who feel alive and the world that draws you in.
Beyond themes and emotions, the heart and soul of a story lies in its ability to transport the reader—whether to a fantastical realm or into the depths of a character’s mind.
Storytelling is a dance between the universal and the specific
It’s about weaving vivid details, crafting compelling conflicts, and creating moments that linger long after the final page
At its core, the universal connects with readers—love, loss, triumph, or growth—while the specific paints a unique picture through your lens, making your story one-of-a-kind. Great stories thrive on contrasts: light and dark, stillness and action, hope and despair.
Storytelling’s heart lies in its layers—the textures of conflict, the rhythm of dialogue, and the melodies of emotions that pulse through the narrative.
At the soul of any story is the power of transformation
Characters who evolve, challenges that reshape perspectives, and journeys that echo both in the mind and the heart of the audience.
Then there’s the interplay between voice and silence—the words that leap off the page and the spaces where the reader’s imagination fills the gaps. It’s not just about what’s told, but what’s hinted at, creating a connection where the reader becomes a co-creator, breathing life into the world you’ve designed.
As you delve deeper, think of your story as a living, breathing entity. What heartbeat drives it? Is it the longing of a protagonist, the clash of ideologies, or perhaps the mysteries waiting to be unraveled?
Every story has its pulse, an intangible rhythm that carries readers from the opening line to the last page. It’s in the tension that builds with every decision, the revelations that unravel like whispered secrets, and the humanity—or inhumanity—that beats at the core of your characters. Whether it’s a sprawling epic or a quiet, intimate tale, the soul of a story is found in how deeply it resonates with universal truths while remaining wholly its own.
The most compelling stories are layered with contrasts: moments of tenderness amid chaos, shadows that amplify the light, and triumphs that feel earned after struggles. They ask questions that linger, ignite curiosity, and sometimes refuse to give easy answers.
At its deepest level, a story is an exploration of change
How people, places, or even entire worlds are transformed. It captures the essence of struggles and triumphs, the pursuit of dreams, or the battle between inner demons and personal growth. The heart of a story is not just in what happens, but why it matters.
The soul shines in the details: the quirks of a character that make them unforgettable, the sensory descriptions that immerse readers in the world, and the emotions that leave an indelible mark.
Great stories are often built on contrasts—moments of quiet reflection juxtaposed with high-stakes action, or the mundane colliding with the extraordinary.
by Daniel Dercksen·Comments Off on The Narrator is Absolutely Pivotal in a Story
The narrator serves as the lens through which readers experience the world of a story, influencing not just what the audience sees, but how they feel about it. Whether it’s an omniscient voice unveiling every character’s secrets or a first-person perspective sharing deeply personal insights, the narrator shapes the narrative’s tone, pace, and emotional impact. They guide readers through the plot, subtly influencing how events and characters are interpreted.
The narrator plays a crucial role in shaping how a story is told and experienced. Without this guide, the narrative risks losing focus, emotional impact, or coherence.
A narrator as a “voice of reason or wisdom” plays a guiding, reflective, or moral role in the story. Their purpose is to offer clarity, insight, or balance, often elevating the narrative to a deeper, more universal level. A “voice of reason or wisdom” narrator can ground a story, making it feel timeless and insightful.
A narrator can be either a character actively participating in the story or a disembodied voice that exists solely to guide and explain
Positioning your narrator effectively depends on the story you want to tell and the perspective you wish to emphasize.
Here’s why their role is so important
Shaping the story’s tone: The narrator’s voice sets the mood—whether it’s lighthearted, mysterious, dramatic, or reflective—and this profoundly impacts the reader’s experience.
Framing the events: A narrator determines what aspects of the story are emphasized, what is left ambiguous, and how events are interpreted.
Building trust (or mistrust): A reliable narrator helps readers fully invest in the narrative, while an unreliable one adds complexity, mystery, or tension by forcing the audience to question the truth.
Connecting with the audience: A well-crafted narrator creates a bond with the reader or viewer, offering perspective and insights that make the story feel personal or compelling.
Adding depth: Through a narrator’s observations, inner thoughts, or reflections, stories can explore themes, emotions, and character motivations in rich, layered ways. Narrators offer commentary, insights, or biases that add depth and complexity to the narrative.
Guiding the reader: The narrator helps readers navigate the events, characters, and settings of the story, providing structure and clarity.
Providing perspective: Through their voice, the narrator establishes the point of view—be it first-person, third-person, or omniscient—that influences how readers perceive the story’s events.
Controlling the flow of information: Narrators decide what details to reveal, when to reveal them, and what to withhold, creating suspense, surprise, or dramatic impact.
In both novels and screenplays, narrators serve as the storytellers, but their functions adapt to the medium.
Narrators in Novels
A novel’s narrator can delve deeply into the characters’ thoughts, emotions, and backgrounds. They often guide readers through complex narratives, adding layers of meaning and perspective. Whether first-person, third-person limited, or omniscient, the narrator’s chosen perspective shapes the readers’ engagement with the story. The narrator’s style and attitude influence the mood of the book and its impact on readers. Narrators manage the flow of events, building tension, resolution, or philosophical reflection.
Nick Carraway (The Great Gatsby by F. Scott Fitzgerald): As a peripheral narrator, Nick observes the glamorous yet tragic life of Jay Gatsby, offering reflections on wealth, love, and the American Dream.
Scout Finch (To Kill a Mockingbird by Harper Lee): Told from Scout’s perspective as a child, her narration brings innocence and honesty to complex themes of racial injustice and morality.
Death (The Book Thief by Markus Zusak): A highly unusual narrator, Death offers a poignant and introspective view on human lives during World War II.
Humbert Humbert (Lolita by Vladimir Nabokov): An unreliable narrator whose disturbing perspective forces readers to question his motives and truthfulness.
Narrators in Screenplays
Screenplays rarely feature a traditional narrator, as storytelling relies heavily on visuals, dialogue, and actions. However, voiceover narration is used occasionally. In films with narrators, their role is often to frame the story, provide exposition, or reflect on events from a character’s perspective. A narrator’s voiceover can evoke specific feelings or reveal information that complements on-screen action.
Red (The Shawshank Redemption): Red’s voiceover narration provides profound insights into hope, friendship, and the human spirit within the confines of prison life.
Travis Bickle (Taxi Driver): An unreliable narrator whose internal monologue reveals his descent into alienation and obsession.
Forrest Gump (Forrest Gump): Forrest’s straightforward and heartfelt narration brings humor and poignancy to his extraordinary life story.
Tyler Durden (Fight Club): The narrator’s perspective plays with reality and perception, leading to one of cinema’s most memorable twists.
Here are some tips for placing your narrator
Positioning your narrator effectively depends on the story you want to tell and the perspective you wish to emphasize.
Choose the Narrator’s Perspective
First-person: The narrator is a character within the story, offering a personal and subjective account. This perspective creates intimacy but limits the scope to their experiences.
Third-person limited: The narrator knows the thoughts and feelings of one character, giving readers focused insight while maintaining some narrative distance.
Third-person omniscient: The narrator has an all-knowing perspective, providing a broad view of characters and events. This allows for more complex storytelling.
Unreliable narrator: A narrator whose perspective is biased or distorted can add intrigue and depth, encouraging readers to question their account.
Decide on Narrator Placement in the Story
Central narrator: The narrator is directly involved in the main events of the story, shaping the plot as it unfolds.
Peripheral narrator: The narrator observes the story from the sidelines, offering a unique perspective without being the focus of the action.
Detached narrator: A distant observer, often used in third-person narratives, providing an unbiased account of events.
Establish the Narrator’s Role
Expository: Use the narrator to explain or clarify events and context.
Reflective: A narrator who looks back on events, offering insight and wisdom gained over time.
Interactive: In some cases, the narrator can directly address readers or engage with them, breaking the fourth wall for a more dynamic storytelling experience.
Adapt to the Medium
In novels, narrators can explore inner thoughts, build a unique voice, and control the pace of the narrative.
In screenplays, if using voiceovers, ensure the narrator complements visual storytelling without overwhelming it.
Think about the emotional and thematic impact you want your narrator to have.
When the Narrator is a Character
Active participant: The narrator might play a key role in the plot, sharing their perspective as events unfold (e.g., Nick Carraway in The Great Gatsby).
Peripheral observer: They could be on the sidelines, witnessing the story but not driving the action (e.g., Dr. Watson in Sherlock Holmes).
Reflective: A character-narrator might tell the story from a later point in time, reflecting on past events with the benefit of hindsight.
When the Narrator is a Disembodied Voice
Neutral guide: The narrator functions as an impartial voice presenting the facts, often in third-person omniscient or objective viewpoints.
Voice of reason or wisdom: The narrator might offer philosophical or moral insights, framing the story’s events in a way that encourages deeper reflection.
Stylized device: In some stories, the narrator is an abstract presence, like Death in The Book Thief, or even a playful voice breaking the fourth wall.
by Daniel Dercksen·Comments Off on Drop – A whodunnit where everyone in the vicinity is a suspect
“What’s terrifying about Drop is that it feels very grounded. This is a scenario that some people might see and feel like it could happen to them,” says director Christopher Landon. “There’s just something about the idea of being tormented and harassed by an unseen person on your phone that I think most people can relate to. I believe we’ve all experienced some form of that, whether it’s on social media or maybe even with an ex, so there’s an immediate relatable element to the concept of Drop, which ends up becoming the fully realized and ultimate nightmare version of that.”
Director Christopher Landon returns to the thriller genre with the playful, keep-you-guessing intensity he perfected in the Happy Death Day films with this of-the-moment whodunnit where everyone in the vicinity is a suspect . . . or victim. Drop is jointly produced by blockbuster genre houses Blumhouse and Platinum Dunes.
“The Blumhouse brand has always been about suspense and terror,” says Landon. “One of the things I love the most about them is that they take big swings and try stuff that a lot of other people would shy away from. I’m sure that if I took this script around Hollywood and said I wanted to make a thriller about two people sitting at a dinner table all night, most people would answer, “No, thank you.” But Jason Blum and Blumhouse trust filmmakers and gave us the opportunity to tell a story that we think is personal and worth telling.”
In Drop, Landon saw an opportunity to make a style of film he felt a certain nostalgia for. “I wanted to make a sort of throwback to ’90s thrillers and even further back to Hitchcock and De Palma, but with this very modern conceit at the center of it,” Landon says. “That was really appealing to me. This also felt like my chance to make a love letter to films like Red Eye. That’s a movie I really love, and think is under-appreciated. It is such a tight, contained thriller.”
Landon found an even deeper connection to the material, which involves themes of domestic abuse and the impact of that trauma on survivors. “I’ve had people very close to me who have been victims of abuse, specifically domestic abuse,” says Landon. “This was very personal to me, and something I wanted to handle delicately. But I also wanted to show that there is a path for people, a way out.”
“I think audiences are going to love how fast-paced, suspenseful, exciting and emotional the movie is,” says Landon. “You know, I think it fires on a lot of different cylinders, having a real conversation with the audience about the nature of our highly abusive online culture. I went through something personal prior to making this movie, where I found myself being attacked by a bunch of people I didn’t know, and it’s a scary and bizarre feeling. So, I think audiences are going to relate to Violet and the situation that she’s in, rooting for her to get the upper hand and take back control. And Drop is definitely a must see on the big screen because it’s such an audience experience. There are many twists and turns and surprises, which just hits differently in a movie theater where you can hear everyone reacting together as they try to work out the mystery. That experience is irreplaceable.”
Imagine you are at a restaurant, enjoying your evening, when an unexpected notification pops up on your phone. You have received a drop request from someone in the restaurant, someone you do not know. Assuming the drop must be a prank, you accept. But, instead of funny memes or jokes in return, you begin to receive messages that feel both threatening and personal. You get the eerie feeling that you are being watched, observed, toyed with. In a matter of minutes, your night out has taken a dark, and potentially dangerous, turn.
This scenario, which provides the narrative engine forDrop, is also its real-life inspiration.
Platinum Dunes producer Cameron Fuller and his friend, actor Sam Lerner (The Goldbergs), were on vacation overseas with family when they fell victim to a wave of unrecognized drops. “We’re at a beautiful dinner and we start receiving drops from someone in the restaurant,” Fuller says. “Over the course of the meal, they are getting progressively scarier. By the end, we thought we had figured out who it was, but we were never able to confirm it. That was the scariest part. We never knew who the sender of these drops was. And then we said, ‘maybe this should be a movie.’”
The Screenplay
Fuller and Lerner brought that idea back to the states and enlisted the help of screenwriters Jillian Jacobs and Christopher Roach, whom Lerner knew. The writers wrote the screenplays for Blumhouse’s Truth or Dare and Fantasy Island. In addition to Drop, Jacobs and Roach have often collaborate with director Christopher Landon, known for blending genres. Some of their notable work includes writing for films like Freaky (2020), a horror-comedy twist on a body-swap story, and Happy Death Day 2U (2019), the sequel to the time-loop slasher film Happy Death Day. Their screenwriting style frequently mixes suspense, humour, and unexpected emotional depth.
“Usually, a movie doesn’t happen this way,” Fuller says. “This was just a combination of luck and having great people involved.”
“I wasn’t looking for a thriller specifically,” says Landon, “but I tend to gravitate towards things that I feel on a gut level, and I just had such a visceral reaction to this script. In a strange way, it felt a bit like a bookend to me. Early in my career I wrote a film called Disturbia, which was very much my love letter to Alfred Hitchcock by way of John Hughes. Drop felt like an evolution for me—it was nice to work on something a little bit more adult and mature after having made a lot of films that focus on teenagers.”
Not long after this initial meeting, Jacobs and Roach returned to Fuller with a completed script. He was floored by it. “When you read a script that holds you the whole way through, it’s kind of like you’ve struck gold,” Fuller says. Fuller then delivered the script to his father, Brad Fuller—producer of the A Quiet Place and The Purge franchises. “My dad usually doesn’t get excited about things,” Cameron Fuller says, “but he got really excited about this one.”
Brad Fuller immediately saw the potential for a rare kind of thriller. The script expertly blends elements from the ticking-clock thriller and whodunit genres, concocting a single-location story that feels both timeless and relevant in today’s digital world. From the moment Violet steps into the restaurant in the film, the narrative takes place in real time, as the audience experiences every single second of terror with her. “I’m personally attracted to films that feel like they could actually happen, and this was a great realistic thriller,” Brad Fuller says. “The script was a movie the first time I read it.”
The writing process involved crafting a modern thriller that cleverly integrates technology into its suspenseful narrative.
As the Fullers set out to find the ideal filmmaker to direct the project, Brad recalled an old friend who seemed the perfect man for the job. “About 20 years ago, my partner Michael Bay and I were developing a movie at Universal, and we hired a young Chris Landon to rewrite the script,” Brad Fuller says. “Chris came in, rewrote the script, and Bay and I loved him, so he was always in the back of my head.” Michael Bay, as both a director and producer, has been responsible for some of the biggest blockbuster franchises of the past 30 years, from Bad Boys to Transformers, The Purge to A Quiet Place. He knows talent when he sees it. “Chris Landon was cool before anyone knew he was cool,” Bay says. “He knows how to tell a killer, entertaining story on screen. You can’t learn that; it’s intrinsic. You either have it or you don’t.”
Landon had come a long way since his rewrite days at Universal, becoming one of the most sought-after horror directors in the industry. Brad called him. “I said, ‘I know we haven’t talked in a long time, but I have a script that you just have to read,’” Brad Fuller says. “He called me the next day and said, ‘I love it.’ And so, Chris committed to it.”
Christopher Landon shares a longstanding relationship with both the Fullers and Jason Blum. Having helmed many of Blumhouse’s signature hits—Freaky (2020), Happy Death Day (2017) and Happy Death Day 2U (2019), Scouts Guide to the Zombie Apocalypse (2015), and Paranormal Activity: The Marked Ones (2014)—the director leaped at the opportunity to work with the company again. “I think the reason I’ve had such a lasting relationship with Blumhouse, and specifically Jason, is the amount of creative freedom they give their filmmakers,” Landon says. “If you can make your movie within a certain budget parameter, you have control. It is an empowering situation, and that is why a lot of filmmakers keep going back.”
Jason Blum was equally happy to be working with Landon again. “Chris has this incredible gift as a director of finding the fun and the pure adrenaline rush in movies that are primarily designed to scare the hell out of you,” Blum says. “You are on the edge of your seat, or curled into a ball, terrified for what is coming, but you are also having a blast. Among his many talents, he is an expert in getting the tone right, and so was a perfect fit for Drop.”
Drop is set almost entirely in one location, the upscale restaurant Palate, located on the top floor of a Chicago skyscraper. But you won’t find it on OpenTable or Grubhub. Production designer Susie Cullen and her team built the entire, fully functional restaurant from scratch at Ardmore Studios just outside Dublin, Ireland.
Cullen embraced the opportunity to tell a story in one location. “When a script is spent largely in one space, it definitely puts pressure on that space to hold interest,” Cullen says. “It’s a huge consideration because with that much time there, the camera is going to be all over the space, and there’s nowhere to hide.”
“One of the things I love the most about Drop is that it’s very much about a woman simultaneously trying to solve a mystery and prevent a crime,” says Landon. “Violet has been tasked with murdering her date, and there is an unseen person in the restaurant who is this sort of puppet master controlling her – watching her every move, listening to her every word – while she’s trying to figure out who it is. So, I loved playing with the mystery elements, casting suspicion on different characters in the movie. Is it the bartender? Is it the hostess? Is it the waiter? Could it even be her date, Henry? There’s at least a hundred people in that room with her; so, it could be anyone. I think it’s fun to watch the audience get into that element of the story, trying to figure out who it is. That’s really the joy of the movie.”
First dates are nerve-wracking enough. Going on a first date while an unnamed, unseen troll pings you personal memes that escalate from annoying to homicidal? Blood-chilling. In Drop, Violet (Meghann Fahy), a widowed mother on her first date in years, arrives at an upscale restaurant where she is relieved that her date, Henry ( Brandon Sklenar) is more charming and handsome than she expected. But their chemistry begins to curdle as Violet begins being irritated and then terrorized by a series of anonymous drops to her phone. She is instructed to tell nobody and follow instructions or the hooded figure she sees on her home security cameras will kill Violet’s young son and babysitting sister. Violet must do exactly as directed or everyone she loves will die. Her unseen tormentor’s final directive? Kill Henry.
by Daniel Dercksen·Comments Off on Warfare – A “forensic approach” to storytelling
Breaking the formula of conventional war movies, Warfare pulls no punches in its frank and visceral depiction of young men under fire. “Reality doesn’t let people off the hook; when things are tough, there isn’t a dissolve or a cut or some music to cheer you up,” says writer-director Alex Garland of his approach to making the movie. “You remain in that state until circumstances relieve you from pressure or the moment, and that’s what Warfare does — it adheres to reality, not the reassurances of cinema.”
From writer-directors Alex Garland and Ray Mendoza, arriving one year after Civil War, comes an immersive and electrifying new take on the war movie, created from the memories of real-life Navy SEALs, including Mendoza himself, from a dangerous mission in Ramadi, Iraq, in 2006.
Warfare takes place in real-time, using extended takes, meticulously constructed sets, and unmatched realism to capture the fog and chaos of war, and the indelible brotherhood that develops in its wake.
“We made this film,” says Mendoza, a combat veteran who worked with Garland to design the battle sequences in Civil War, “as a reminder to the people who make the decisions to go to war that there are people that will answer that call so that others don’t have to — and usually it’s the youth of America.”
“Warfare breaks with convention and dispenses with romanticization in its depiction of war and what it feels like to be under fire,” says Will Poulter, who plays an Officer in Charge of the operation. “Playing out like a transcript from found footage, the movie gives people a more authentic understanding of being in a combat environment under intense pressure.”
Warfare is also a moving tribute to wounded SEAL Elliott Miller, whose daring evacuation from a Ramadi apartment building forms the heart of Garland and Mendoza’s pulse-pounding story. Miller, along with several other SEALs who took part in the operation, were on set as the movie filmed, reconstructing their collective experience and offering Miller a glimpse of what he could not see on that fateful day.
“This film is not only an immersive experience of warfare, but also a bridge to communication about the subject of combat,” says Mendoza. “Oftentimes a veteran or active military person wants to talk about war, or a loved one wants to understand it, but conveying the confusion of combat or seeing a friend wounded — those are hard things to talk about.
“Memories come rushing back, sometimes closure and understanding follow,” Mendoza adds. “We were young when we fought in Ramadi and didn’t have the tools or the dialogue to talk about these things until 20 years later.”
The Art Of Collaboration
Two decades after the Ramadi evacuation, and retired from the Navy, Mendoza found himself in another career, working as a Hollywood stunt man specialising in choreographing gunfight sequences in action movies. Through a stunt coordinator, he met writer-director Alex Garland and became a consultant on Civil War, designing battle scenes, including the assault on the White House that closes the movie. While doing preliminary blocking on the final sequence, Garland and Mendoza realized how well they worked together.
The collaborators had become friends, and halfway through filming Civil War, Mendoza shared Elliott Miller’s story, which was never far from Mendoza’s mind.
“After I left the Navy and started making movies, I kept returning to Elliott’s story,” says Mendoza, who carried the unconscious SEAL to the rescue tank that ultimately saved his life. “Elliott doesn’t recall what happened that day in 2006, but his fellow SEALs on the mission do. I wanted to track down and collect everybody’s memories and perspectives from the day in question, to create a living document that would give Elliott the ability to see and experience what happened during the operation.”
Crafting The Screenplay
Garland decided to make Mendoza his co-writer and co-director on his follow-up to Civil War — but first they needed a script.
After Civil War wrapped in 2023, Garland and Mendoza sat down together for a week in Los Angeles to break down Elliott’s story. Garland transcribed while Mendoza recounted, minute by minute, the story of the Ramadi operation.
They conducted a series of interviews with Mendoza’s former SEAL team, building out key memories and incidents until the transcript took the shape of a screenplay. Other characters were also interviewed, with their memories of the operation depicted without editorializing as they were recounted to Garland and Mendoza.
The co-writers set rules for themselves not to embellish or dramatise story events for effect — to make it as true reportage as possible.
“This was an unusual process and not like any other writing job I’ve been involved with before,” says Garland, whose screenplays include 28 Days Later, Ex Machina, and Annihilation, as well as several acclaimed novels.
“This film is specifically not editorialising — it’s not the job of the filmmakers to make those kinds of decisions because it is from the perspective of the people who experienced the memories. If there was a memory of something happening and the memory could be verified, it went into the story. That’s the goal of this movie — to listen to the people who were able to impart their memories and recount their stories.”
A Forensic Approach
Describing the process as a “forensic approach” to storytelling, not unlike investigative work, Mendoza and Garland rebuilt the story from the ground up, embracing authenticity at every turn.
“Everybody’s got a different perspective — certain memories, especially traumatic ones, became conflicted when other people started joining the interviews,” says Mendoza.
“Memories become compartmentalized over time. Stuff these guys had forgotten for 20 years started pouring out, triggering other recollections, which became a rush of information and recall.”
Creative license has been a hallmark of true-life military-themed movies since the dawn of cinema, most notably in the modern age, in studio spectacles like Saving Private Ryan and Dunkirk, which showcase emotionally heightened moments.
The co-writers debated whether they should categorize Warfare as a true story, acknowledging early in the process that memory is imperfect.
“We were not inventing people or reordering events here,” says Garland. “When you look through the timeline of what the SEALs were saying happened, we had to forensically piece together events — until a point arose when we had enough information from multiple sources to decide how we would tell it onscreen.”
Once the script was complete, the pair set about finding the right actors to fill the roles of Mendoza’s brothers in combat.
“We co-wrote and co-directed Warfare, but my duties on this project became more technical and logistical,” says Garland.
“The heart and soul of the story, including working with the actors, became Ray’s job.”
Warfare filmed in a suburb north of London on a former World War II airfield repurposed as a 100-acre film & TV studio. Unfolding in a close approximation of real-time, and aside from a brief male-bonding prologue in the SEAL barracks and some late-night drone shots, the movie plays out in and around the apartment building where the SEALs are fired upon by Al Qaeda operatives.
Ray Mendoza (l) and Alex Garland on the set of ‘Warfare.’ A24
The Filmmakers
Ray Mendoza joined the Navy in 1997 and served for over 16 years as a Member of SEAL Team 5 and a Land Warfare Training Detachment and BUD/s instructor. Ray was introduced to filmmaking while performing in Act of Valor and went on to serve as a Military Advisor on Peter Berg’s Lone Survivor. Since then he has worked both in front of and behind the camera on multiple projects. He produced the documentary series The Warfighters and The Selection for History® Channel. Ray is especially proud of The Warfighters for which he employed more than 90 Veterans across multiple military branches on the production. Ray’s vast experiences in entertainment and special operations are the perfect blend to bring authentic stories of our men and women in uniform to the screen. Recently, he was the military advisor on Civil War in which he worked with Alex Garland, which then led to them collaborating on their current film Warfare, which they both wrote and directed.
Alex Garland began his career as a novelist, most famously writing The Beach and The Tesseract. He moved into screenwriting with his debut 28 Days Later, directed by Danny Boyle and produced by DNA Films. Garland made his directorial debut in 2015 with Ex Machina, for which he was nominated for an Academy Award® for Original Screenplay along with a BAFTA award for Outstanding British Film, and BAFTA’s Outstanding Debut by a British Director. In 2018, Garland released his second film as writer-director, Annihilation, based on the 2014 novel by Jeff VanderMeer. His other screenplays include Sunshine, Never Let Me Go, Dredd, and the video game Enslaved: Odyssey to the West which he co-wrote with Tameem Antoniades in 2010. Garland also executive produced 28 Weeks Later. His original 8-part TV series Devs, for which he is the sole writer and director, was released in 2020 by FX Networks. Men, a psychological horror, and Civil War, a dystopian action thriller, were written and directed by Garland and released by A24 Films. Garland most recently wrote and produced 28 Years Later and wrote and directed Warfare.
by Daniel Dercksen·Comments Off on Reinventing the Sitcom: The Writers’ Journey of Mid-Century Modern
The narrative of Mid-Century Modern “really expresses what everybody ultimately wants,’ says producer-writer Max Mutchnick, who created the sitcom with David Kohan. “Everyone, no matter who you are, wants a friend group that you love and adore, that you feel safe around. When it’s all over, the only thing that we’re going to have are the connections that we make with other people, and whether it’s blood relatives or your chosen family, you’ve got to make the most of it.”
Sitcoms, or situational comedies, originated as a form of serialised entertainment designed to bring humour and lighthearted storytelling into people’s lives. Their roots can be traced back to the golden age of radio in the 1930s and 1940s when radio comedies like Amos ‘n’ Andy and The Jack Benny Program became incredibly popular. These shows relied on humorous scenarios and engaging characters to keep audiences tuning in week after week. With the rise of television in the 1950s, sitcoms transitioned from radio to TV screens, gaining widespread popularity. Early television sitcoms like I Love Lucy and The Honeymooners set the template for the genre, featuring recurring characters, laugh tracks, and episodic plots centered around everyday situations. These shows emphasized relatable humor, which resonated deeply with audiences and evolved over time, experimenting with formats, styles, and themes.
The Mid-Century Modern TV series draws inspiration from the timeless aesthetic of mid-century modern design, which emphasizes clean lines, organic shapes, and functional elegance. The creators, Max Mutchnick and David Kohan, were inspired by the nostalgic charm of this design era and its ability to evoke a sense of sophistication and warmth. The show’s setting—a chic Palm Springs home—perfectly embodies the style, blending retro elements with contemporary themes.
The series pays homage to classic sitcoms like The Golden Girls, using humour and heartfelt storytelling to explore themes of friendship, loss, and reinvention. The creators aimed to create a show that feels both nostalgic and fresh, appealing to audiences who appreciate the enduring appeal of character-driven comedy.
The cultural impact of Mid-Century Modern lies in its ability to bridge nostalgia with contemporary storytelling. By drawing on the charm and camaraderie of classic sitcoms like The Golden Girls, while weaving in modern themes of ageing, identity, and friendship, the show appeals to a broad audience. It opens up conversations about life’s transitions, finding joy in unexpected moments, and embracing the complexities of relationships—topics that resonate universally.
Mid-Century Modern follows three gay best friends — Bunny Schneiderman (Nathan Lane), Jerry Frank (Matt Bomer) and Arthur Broussard (Nathan Lee Graham) — who, after an unexpected death, decide to spend their golden years in Palm Springs, where Bunny lives with his mother, Sybil (Linda Lavin).
All 10 episodes are available for streaming on Hulu
Max Mutchnick, James Burrows, David Kohan (back) with Matt Bomer, Nathan Lane, Nathan Lee Graham and the late Linda Lavin
The writing process of Mid-Century Modern
When Max Mutchnick and David Kohan set out to craft each episode of their new comedy,Mid-Century Modern, they made sure to include plenty of laughs, but, at the same time, make it feel realistic and heartfelt, emphasising the emotional core of each episode.
To achieve this, they used a guiding principle in their writers’ room called “WITRA”—”What is this really about?”—to ensure that every story was rooted in truth and authenticity.
“In our writing room, we wrote across the top of the dry-erase board, ‘What is this really about?’ That’s the WITRA, and that’s what guides us. It’s about finding the emotional core of the story and when you’re using that as the jumping-off point, you’re pretty sure that you’re going to write something from a place of truth and that’s just the way that we have always written our shows,” says Mutchnick.
The duo has had previous success using this method including with their hit series Will & Grace, which ran for 11 seasons.
With Mid-Century Modern, they’re telling the story of three best friends — gay gentlemen of a certain age — who, after an unexpected death, decide to spend their golden years living together in Palm Springs, in the home the wealthiest one shares with his mother. The series stars Nathan Lane as Bunny Schneiderman, Matt Bomer as Jerry Frank, Nathan Lee Graham as Arthur Broussard, and Linda Lavin as Sybil Schneiderman, Bunny’s mother.
To keep foundational truthfulness in the story, while still injecting as much humor as possible, Kohan says that, “all of the writers are pretty honest with each other to keep anything from getting out of hand, like, we’ll say, ‘is this cringy? Is this too maudlin? Does this feel right tonally?’. When we see the rehearsal process, we can tell if anything feels dishonest and if you’re being hard enough on yourself, you know what you want to get out of a scene, and you know whether or not you are getting that.”
Mutchnick, being true to what Kohan has just said, interjects, ”You just write them all like a negotiation with the spouse, right? Meaning, you know, you’re trying to get what you want, and give them love at the same time, and make them laugh so you get what you want. That’s what every scene is, really.”
Balancing the serious with the funny, while telling a modern, relatable story makes the series both ‘new, but also familiar,’ says Kohan. “That, to me, is one of the strengths of our show. And I think sometimes sit-coms get a bad rap, but really they still work well, and they’re totally enjoyable.”
The team worked to balance the nostalgic charm of classic sitcoms with modern sensibilities, creating relatable and meaningful narratives. They also maintained a collaborative environment, where writers were encouraged to be honest and critical to ensure the tone and humor felt genuine. This approach allowed them to craft scenes that were both funny and emotionally resonant, staying true to the characters’ experiences.
The series also faced unique challenges, such as incorporating the real-life passing of Linda Lavin, who played Sybil, into the storyline. The creators honored her memory by writing her character’s journey with care and sensitivity, reflecting the impact of loss and the resilience of moving forward.
Working with the duo behind the camera is legendary director James Burrows, who’s helmed classic shows such as Cheers, Friends, Frasier, and the entirety of Will & Grace.
“We’ve had almost a 30 year relationship [with Jimmy] at this point. He’s kind of watched us grow up,“ says Kohan. “He always says, ‘I have a fun clause. I have to have fun and if I’m not having fun, I’m going. So our goal has always been to keep him around, and he stayed for all of the episodes so, yeah, he must have had fun.”
Kohan mentions that he and Mutchnick are actually a reflection of this ideal, saying, “I mean, we went to high school together, and we keep ending up working on shows together!”
The sitcom Mid-Century Modern was primarily written by Max Mutchnick and David Kohan, who also created the show. Other contributors to the writing include Suzanne Martin, Adam Barr, Dan Bucatinsky, Alex Herschlag, and Tracy Poust.
Producer and writer Max Mutchnick
Best known as the co-creator of the iconic sitcom Will & Grace, Max Mutchnick was raised by his single mother. Mutchnick graduated from Emerson College in 1987, and his career in Hollywood began with writing for game shows and sitcoms like Good Advice and The Wonder Years. Together with his creative partner David Kohan, Mutchnick created several successful TV shows, including Boston Common, Good Morning, Miami, and Will & Grace. The characters Will Truman and Grace Adler from Will & Grace are inspired by Mutchnick and his best friend. He has received numerous accolades for his work, including an Emmy Award and multiple Golden Globe nominations.
Mutchnick has been a strong advocate for LGBTQ+ representation in media. Many of the themes and characters in his shows, like Will & Grace, reflect his personal experiences and his journey as part of the LGBTQ+ community. He is married to Erik Hyman, an entertainment lawyer, and the couple has twin daughters born via a surrogate. Together, they’ve been active philanthropists, supporting various charities and causes, particularly those related to LGBTQ+ rights and education.
Mutchnick has often spoken about the importance of telling authentic stories and creating spaces for diverse voices in the entertainment industry. His work continues to inspire and resonate with audiences around the world.
Producer and writer David Kohan
Celebrated for his contributions to the sitcom genre. David Kohan comes from a family deeply rooted in the entertainment industry—his father, Buz Kohan, is an Emmy-winning television writer, and his sister, Jenji Kohan, is the creator of Orange Is the New Black. Kohan is best known for co-creating the groundbreaking sitcom Will & Grace alongside his longtime writing partner, Max Mutchnick. The show, which debuted in 1998, was a trailblazer for LGBTQ+ representation on television and earned numerous accolades, including an Emmy Award. Kohan and Mutchnick have also collaborated on other series like Boston Common, Good Morning, Miami, and most recently, Mid-Century Modern, which premiered in 2025.
Kohan graduated from Wesleyan University, where he majored in English and philosophy. He has a reputation for blending humor with heartfelt storytelling, creating shows that resonate with audiences while addressing contemporary themes.
David Kohan’s career reflects his skill in creating heartfelt and impactful television. Beyond his work on Will & Grace, which brought LGBTQ+ stories to mainstream audiences, Kohan has been praised for his talent in developing relatable characters and sharp, engaging dialogue.
He has collaborated with Max Mutchnick on several other shows, including Boston Common and Good Morning, Miami. Their latest project, Mid-Century Modern, showcases their ability to balance nostalgia with contemporary storytelling, drawing comparisons to classic sitcoms like The Golden Girls. Kohan’s creative process often emphasizes humor as a way to explore universal themes, making his work resonate across generations.
Additionally, Kohan’s philosophical background from Wesleyan University has influenced his storytelling approach, often blending comedy with deeper human truths. His ability to adapt and innovate has cemented his place as one of television’s most influential creators.
by Daniel Dercksen·Comments Off on Exploring the Outer Life of a Story: Unveiling the Journey Beyond the Page
Exploring the outer life of a story can take you into fascinating territory! This approach dives into everything surrounding the story itself—its context, influence, and impact on the world beyond the characters and plot. It’s about understanding how the story connects to its environment, whether it’s the cultural, historical, or societal forces shaping it.
It’s a bit like examining a ripple in a pond: the story is the pebble, but the ripples are its “outer life,” influencing and being influenced by the world around it.
The outer life of a story turns it into more than a standalone narrative—it becomes a living, breathing entity interacting with the broader world.
Let’s dig deeper into the outer life of a story—there’s so much richness to explore:
Genre and Tradition: How does the story fit into its genre or challenge it? Is it part of a larger tradition, like Gothic fiction, science fiction, or mythic storytelling? Examining its relationship to genre can reveal how it interacts with or disrupts established norms.
Audience Interaction: What role does the audience play in the story’s outer life? Has the audience interpreted the story in ways the creator didn’t anticipate? Is there fan culture or debate surrounding it?
Symbolism in the Real World: Sometimes, stories become symbolic or emblematic of broader ideas. For example, “1984” is often referenced as a symbol for surveillance and authoritarianism—its outer life exists in political discourse and cultural memory.
Legacy and Longevity: How has the story endured over time? Has it gained new meaning in different eras? Stories like Shakespeare’s plays or classic novels often evolve in relevance, as they’re reinterpreted through fresh cultural lenses.
Interdisciplinary Links: Stories can connect with other areas like philosophy, psychology, or science. For instance, a story about artificial intelligence might spark discussions in ethics and tech development.
When considering the outer life of a story in the context of a screenplay versus a novel, the differences become even more intriguing.
Here’s how these formats shape and interact with the “outer life” of a story:
In essence, a screenplay’s outer life is deeply interconnected with the broader ecosystem of the film industry, while a novel’s outer life tends to be shaped by literary traditions and reader connections. Exploring both formats illuminates how the “ripples” from each story reach into different aspects of culture and society. Are you thinking about adapting a story, or analyzing an existing one?
For a writer, understanding both the inner and outer life of a story is crucial for crafting a work that resonates deeply with audiences and leaves a lasting impact.
Screenplay and Its Outer Life
Cinematic Influence: A screenplay’s outer life is closely tied to the final film or TV show. The success and cultural impact of the visual medium can significantly amplify the story’s reach and influence. Example: The Godfather began as a novel, but its screenplay (and resulting film) cemented its iconic status in popular culture.
Adaptation and Collaboration: Screenplays invite collaboration, meaning the “outer life” includes contributions from directors, actors, and production teams. These interpretations shape how audiences perceive the story. Example: A director’s stylistic choices can elevate a screenplay into a visual masterpiece or even reinterpret its meaning.
Audience Impact: Screenplays that turn into films often gain massive audiences, leading to phenomena like fandoms, critical discourse, or even socio-political movements (e.g., Black Panther sparked cultural conversations about representation).
Global Reach: The visual nature of a screenplay-turned-film transcends language barriers, broadening the outer life of the story to international audiences.
Novel and Its Outer Life
Literary Legacy: Novels often live longer as standalone works of art, existing within literary traditions and continuing to inspire discussions, adaptations, and reinterpretations over decades or centuries. Example: Jane Austen’s novels have a rich “outer life,” influencing countless adaptations and modern takes on her themes.
Reader Intimacy: Novels build direct connections with readers, often leaving a personal imprint on them. This individual relationship can lead to cult followings, book clubs, or academic analysis, all parts of the story’s outer life. Example: J.D. Salinger’s The Catcher in the Rye sparked widespread debate and interpretation among generations of readers.
Cultural Reflections: Novels often reflect the time they were written in, and their outer life may include being studied as historical or cultural artifacts, contributing to an understanding of a particular era or place.
Adaptability: Many novels live a dual “outer life” as they are adapted into other media, including films, TV shows, or stage plays. These adaptations can sometimes overshadow the original (e.g., Forrest Gump as a movie vs. its novel).
The Inner Life of a Story is where the emotional, psychological, and thematic core resides.
Being aware of this allows a writer to:
Create Depth: By delving into characters’ emotions, motivations, and conflicts, the writer adds layers of complexity that engage readers or viewers on a personal level.
Establish Themes: The inner life drives the story’s meaning and message. Without awareness of this, a story risks feeling shallow or aimless.
Foster Authenticity: Knowing the inner life ensures characters and events feel genuine and relatable. It helps the writer stay true to the story’s essence.
The Outer Life of a Story encompasses the story’s context, connections, and influence.
Awareness of this helps a writer:
Situate the Story: By understanding the societal, historical, or cultural backdrop, the writer can weave the narrative into larger conversations, making it more relevant and impactful.
Predict Reception: Awareness of the story’s potential outer life can guide the writer in tailoring the work to resonate with intended audiences or spark desired conversations.
Shape Legacy: Considering how the story might be interpreted or adapted over time can elevate its significance, ensuring it has a lasting presence in culture or discourse.
Balancing Both
A strong story bridges the inner and outer lives seamlessly:
A deeply personal narrative (inner life) may become universally meaningful when it speaks to shared experiences or challenges (outer life).
Stories rooted in specific contexts (outer life) gain emotional power when they focus on authentic characters and conflicts (inner life).
Ultimately, when a writer embraces both aspects, they not only create a story that captivates but also one that lingers in minds, conversations, and even history.
by Daniel Dercksen·Comments Off on Night of the Zoopocalypse – A family-friendly animated horror
Night of the Zoopocalypse began with a concept which author and filmmaker legend, Clive Barker, had for a graphic novel about a zombie virus spreading in a zoo. That graphic novel was never made, but Clive allowed Copperheart producer, Steve Hoban, and writer James Kee to take the kernel of the idea and transform it into a family film told from the point of-view of the animals dealing with a “zombie-like” virus. It had to be zombie-like because no animated animals could be harmed in the making of the movie.
Night of the Zoopocalypse is co-directed by veteran animators and story artists Ricardo Curtis (The Incredibles, Monsters, Inc.) and Rodrigo Perez-Castro (The Book of Life, Ferdinand) whose combined list of credits, in various roles, include hits such as the Ice Age movies, Angry Birds and Rio through animation pre-production studio House of Cool (Paw Patrol, The Peanuts Movie, Despicable Me). The story is inspired by a concept from genre master, Clive Barker, and is based on a script by Steven Hoban and James Kee. The production was made at major international animation studios Mac Guff (Despicable Me) and L’Atelier Animation (Leap!, Fireheart).
The Nerd Section of Script Development (for Zombie Enthusiast Eyes Only)
Every committed zombie fan knows that the undead come with rules. Screenwriters Hoban and Kee refined the nature of how the zoo animals mutated into zombie-like creatures, understanding that they couldn’t become ‘undead’ because you can’t have a family film where dead creatures stay dead.
Ensuring that the animals could all eventually be changed back to normal, they came up with a novel kind of creature: mutants or as they were affectionately called, “gumbeasts”, creatures seemingly made of a gummy or rubbery kind of substance. This allowed them to have holes in their hides and for their limbs drop off, like classic zombies, but it also meant the body parts could be stuck back on. From there, with Kee, Hoban decided some of the zoo animals would be the survivors, the ones trying to get away from this zombie-like outbreak. And like all family films, it ends on a positive note, so , the survivors not only save themselves, but they figure out how to return all the zoo animals back to their normal, fully intact state, except for Gramma Abigale’s tail (but that turns out to be a good thing).
Once a solid draft of the script was ready, Hoban and his producing partner, Mark Smith, needed a Canadian director
“We want to build up the ability to do theatrical animated movies here at home. House of Cool was created with such a focus on the creative that it, I think it would’ve been hard to start it anywhere else which is why we started our search with Ricardo Curtis – who had never directed an animated feature film at that point, even though he’s been in demand and offered many animated feature films over the years from the studios – and ended with Ricardo,” said Hoban. House of Cool would also design the film and do the storyboards.
“Zombie animals in a zoo,” recalled Ricardo Curtis. “That’s all it took. It was just so clear. I love zombie movies. I love animated films which usually have a lot of animals together. When you put them together with this idea of animals in a zoo trapped together in a zombie thriller, I thought that was amazing. I immediately had visions of what this could be. But I also knew that I was probably not the zombie/monster movie aficionado, but I did know who the guy who was: Rodrigo Perez-Castro.”
Rodrigo Perez-Castro and Ricardo Curtis have known each other for years, having worked together at The House of Cool. “Ricardo gave me the premise of a zombie apocalypse in a zoo which was a perfect combination of the things I love the most: creepy, weird horror and animals. Put that together and I thought, I gotta make this movie,” said co-director Rodrigo Perez-Castro. “And it was a rare chance because you don’t really get to make films like this in the family space for animated movies. What attracted me to this project was the opportunity to do something very unique and different. I like giving people something they’ve never seen before.”
“What separates Night of the Zoopocalypse from other films,” said Executive Producer Wes Lui, “is that is it not a single character-driven story like Nightmare Before Christmas or Box Trolls. This one has a cast of characters who are very different in their personalities and what they are going through in their individual lives. They are scared of each other, they don’t want to work with each other, but they are forced to work with each other. Through those characters, we are really leaning into that genre space the scariness of what zombies can be but doing it in a way that Gremlins or Ghostbusters does – giving it comic relief.”
Night of the Zoopocalypse sets itself apart from the family animation pack by carving out a fresh genre of family-friendly horror, augmented by the limitless possibilities offered by animation. Tapping into Hoban’s love of animation, something that dates back to his childhood, and combining that with his abiding affection for horror and making it a family film felt like a natural fit.
“Horror is a little bit strong for Night of the Zoopocalypse. but it fits with Ghostbusters and Gremlins which are the movies that inspired this project. Better to think of our film as Madagascar meets The Walking Dead.”
“Animation is a medium, not a genre,” said Curtis. “And as a medium, you can do whatever you want with it: make action films, make stories for preschool, or make stories for teenage girls, it doesn’t really matter. This is a family film with elements from the type of films that we love in the live action world, and the end result is something new, something that no one’s ever seen before.”
“The beauty about animation is that there’s no limit,” added Perez-Castro. “Whatever you imagine in your head can actually be manifested. In this film, we moved the needle a little bit in a direction that’s a little offbeat, a little different, a little unusual.”
The trick to family-friendly frights rests in the pacing of the plot, allowing younger film-going audiences to be a little scared without going so far as to trip over and keep it fun. It is a film for the whole family after all.
Perez-Castro wanted to make Night of the Zoopocalypse an experience: “I remember being a kid and watching movies like Ghostbusters and Gremlins and feeling that there was something a little taboo about it, like I’m not supposed to see this. There’s almost something aspirational about horror for kids. It’s almost like a milestone in your life when you get to actually sit through one of these movies and really survive it.”
For Curtis, watching early scary movies felt like forbidden territory. “We knew we shouldn’t have been there because maybe this is a little too scary for us, but it isn’t because this isn’t for babies. This is for grown kids like us. So that’s the type of film we wanted to make.”
Perez-Castro added, “When you watch those movies as a kid, they stay with you forever. You tend to revisit them. Watching Alien now is not the same as when I watched it the first time. It’s interesting how your relationship with a movie can evolve through time, but I don’t think happens with all movies. Definitely happens with good movies, but with horror movies in particular, yes, that relationship stays with you and evolves.”
In making Night of the Zoopocalypse, Curtis hopes kids will have the kind of experience “where they’ll remember the laughter, but also the thrill of getting spooked, not unlike getting into a rollercoaster ride and thinking, why am I doing this? I don’t want to do it. And then you do it and you love it, and then you can’t wait to do it again.”
The idea of a family movie has a double meaning: a storyline the whole family can enjoy and also an experience that can/should/ought to be enjoyed with your family. “The movies that touch the most are the ones parents take their kids to, knowing their kids are identifying with one of the characters, learning something from it, and then at home they can talk about it. That was the genesis of this movie. When the world goes through this craziness of the zombies, the zoo animals are forced to work together, they are forced to use each other’s differences to be able to protect each other. There’s a parental storyline in there that becomes a teachable moment for kids about how to survive in the world,” Lui explained.
The easiest way to make a family film is to create a family dynamic. That is what the characters of Gracie, the young wolf, Dan, the mountain lion, Felix, the proboscis monkey, Ash, the ostrich, Frida, the capybara, Xavier, the lemur, and Poot, the young pygmy hippopotamus, ultimately became.
“We made this movie at this point in the history of the world where we’re very divided as people, ideologically divided in our bubbles,” he said. “In our movie, we wanted to represent this divide through these animals who literally live in their own enclosures where they don’t get out, they don’t know about the other and in one night, they’re forced together to work together to save themselves from the apocalypse.”
And this is exactly where the power of animation comes into play. Going back again to films like Night of the Living Dead, stereotypes are used to describe characters very quickly because it would take too long to construct full personalities of an ensemble. The House of Cool strategy was to take the differences in personalities and exacerbate them with animation.
“Animation as a medium is very good at caricature, boiling down human traits to their essence, creating full characters quickly using design, voice and motion that’s difficult to do in live action,” explained Curtis.
When a meteor crashes into Colepepper Zoo, a virus that transforms the animals into slobbering zombie-like mutants is unleashed. Gracie, a young quirky wolf, teams up with a gruff mountain lion named Dan to find a way back to her pack. As the zoo is overrun, they must come up with a plan to get all the animals back to normal. Together with the help of a motley crew of survivors – Xavier, the movie-obsessed lemur, Frida the fiery capybara, Ash the sarcastic, fabulous ostrich and Felix the treacherous monkey – they embark on a perilous mission to rescue the zoo and learn a thing or two about the power of working together. Welcome to… THE ZOOPOCALYPSE!
by Daniel Dercksen·Comments Off on Explore the inner life of your story
Building a rewarding and emotionally charged fictional reality is an exciting creative endeavor.
A story may boast a clever plot, expertly crafted with intricate twists and compelling complexities. Yet, without a meaningful connection between the External Activity—the events and actions—and the Internal Life—the emotions, motivations, and personal stakes—it risks falling flat. Such a disconnect renders the narrative hollow, leaving readers or viewers disengaged and disappointed, no matter how masterful the structure appears.
Without genuine emotion, we lose our ability to truly care. While we may experience fleeting moments of excitement, terror, horror, or even awe, these feelings remain superficial and short-lived. They lack depth and fail to forge a meaningful connection. Authentic emotion—an unfiltered glimpse into the writer’s humanity—is what brings a story to life. Without it, the narrative remains hollow, devoid of the profound resonance that lingers long after the tale is told.
We don’t just follow a character as they journey from their ordinary world into an extraordinary existence; we become deeply entwined in their lives. Their struggles, triumphs, and transformations resonate with us on a personal level. By the time the credits roll, we leave not only with a sense of wonder but also with something meaningful—a piece of their story that stays with us, shaping our own perspective in unexpected ways.
As a storyteller, it’s essential to have a clear strategy or technique for developing the physical, or External, Plotline of a story and crafting a compelling line of dramatic action. In our The Write Journey course we introduce you to 16 structural points that will plot your story effectively.
When it comes to expressing inner values and establishing a personal perspective on a story, writers are often guided only by their instinct or intuition and a little luck.
Creating a rewarding & emotional fictional reality
As a writer, you have to:
lluminate the thoughts and inner world of your characters: Show us what a character is thinking, delve into what’s happening inside their mind, and reveal how their perspective shapes a meaningful and rewarding inner life.
Reflect on the thematic purpose of your story: If the central theme revolves around ‘Man versus Nature,’ you must subtly integrate it into your dramatic action. Use subplots to deepen the exploration of this theme, allowing it to emerge naturally. Amplify its presence with nuance and balance, steering clear of overt preaching.
Reveal the memories or histories of the events and characters in your story: As your character navigates the external plot, juxtapose the physical action with a vivid emotional landscape. Use this to delve into the past, uncovering experiences that shape and inform the present, enriching the narrative with depth and resonance.”
It’s a delicate balance between the Internal Life and External Life of your story that culminates in a complete story that is engaging and emotional.
Building a rewarding and emotionally charged fictional reality
Craft Compelling Characters: Create characters with depth and complexity, including strengths, flaws, fears, and desires. Their emotional journeys should feel authentic and relatable. Introduce varied dynamics among characters, like conflicts, alliances, and evolving relationships.
Build an Immersive Setting: Design a world that feels alive and meaningful—whether it’s grounded in reality or fantastical. Pay attention to its culture, history, and environment.Use sensory details (smells, sights, sounds) to draw readers into the reality you’ve created.
Emphasize Themes and Moral Dilemmas: Explore universal themes like love, loss, identity, or redemption to give the story a resonant emotional core. Include moral challenges or pivotal moments where characters’ choices carry profound consequences.
Pace Emotional Highs and Lows: Balance moments of tension with relief. Give readers time to process intense scenes before introducing new drama.Use emotional hooks—scenes that deeply impact characters and readers—to create powerful turning points.
Add Unexpected Twists: Surprise readers with plot twists or emotional revelations, but ensure they feel earned and not arbitrary.
Involve the Reader’s Imagination: Leave some ambiguity or open questions for readers to interpret and engage with.
Nothing is more rewarding than a story that lives in your heart forever.
by Daniel Dercksen·Comments Off on A Working Man: A Tale of Redemption, Justice, and Resilience
The screenplay for A Working Man was co-written by Sylvester Stallone and director David Ayer, inspired by Chuck Dixon’s 2014 novel Levon’s Trade. The novel’s themes of justice, redemption, and the fight against systemic corruption provided the foundation for the film’s narrative. Stallone and Ayer adapted these elements into a gripping action thriller, blending intense action with emotional depth.
A Working Man follows Levon Cade, a former Royal Marines commando turned construction worker, who is drawn back into his dangerous past when his boss’s teenage daughter is kidnapped by human traffickers. As Cade uses his specialized skills to rescue her, he uncovers a deeper conspiracy involving corruption and government agents.
The significance of the film lies in its portrayal of the struggle between personal responsibility and societal duty. It highlights the moral dilemmas faced by individuals trying to reconcile their past with their present while addressing critical issues like human trafficking and systemic corruption. The film also emphasizes the importance of courage and determination in the face of adversity.
With Jason Statham in the lead role, the movie combines intense action sequences with emotional depth, making it a gripping tale of heroism and sacrifice. Its gritty tone and layered narrative offer a compelling exploration of the complexities of justice and redemption.
David Ayer, known for films like End of Watch and Fury, brings authenticity to the storytelling, while Stallone’s legacy of heroic narratives adds a layer of emotional resonance. Together, they crafted a gripping tale that highlights both action and the moral complexities of justice and redemption.
Both Stallone and Ayer have emphasized the film’s focus on gritty realism and emotional depth. Stallone has spoken about the importance of creating characters who are driven by resilience and a sense of duty, while Ayer often highlights the human aspect of his protagonists, grounding the story in real-world struggles such as human trafficking.
David Ayer and Jason Statham have collaborated on multiple projects, showcasing their shared commitment to creating intense, action-packed narratives. Their partnership began with The Beekeeper (2024), a film that combined Ayer’s gritty storytelling style with Statham’s signature physicality and charisma. The success of The Beekeeper paved the way for their reunion in A Working Man.
Ayer has praised Statham’s dedication and encyclopedic knowledge of action sequences, noting how his expertise elevates the realism and intensity of their films. Together, they have crafted stories that resonate with audiences, blending high-octane action with emotional depth. Their collaboration highlights the synergy between a director who excels in raw, visceral storytelling and an actor who embodies strength and determination.
David Ayer is an American filmmaker known for his gritty storytelling and focus on themes like crime, corruption, and urban life. He grew up in challenging circumstances, spending part of his youth in South Central Los Angeles, which heavily influenced his work. Ayer served in the U.S. Navy as a submariner, an experience that inspired his screenplay for U-571. He gained recognition for writing the screenplay for Training Day (2001), which earned Denzel Washington an Academy Award. Ayer transitioned to directing with Harsh Times (2005) and later helmed notable films like End of Watch (2012), Fury (2014), and Suicide Squad (2016). His work often explores the moral complexities of his characters, making him a distinctive voice in Hollywood.
Sylvester Stallone is an iconic actor, screenwriter, and filmmaker. He rose to fame with Rocky (1976), a film he wrote and starred in, which won the Academy Award for Best Picture. Stallone’s portrayal of Rocky Balboa and his creation of the Rambo series solidified his status as a Hollywood legend. Despite early struggles in his career, Stallone became one of the highest-grossing action stars, with hits like Cliffhanger (1993), Demolition Man (1993), and The Expendables series. His work often features underdog characters overcoming immense challenges, reflecting his journey in the film industry. Stallone continues to inspire audiences with his dedication to storytelling and his enduring legacy.
by Daniel Dercksen·Comments Off on Flow – The power of visual storytelling
“The film is as much about the silence as it is about the visuals. I wanted the audience to be immersed in a world where the absence of words compels them to feel rather than think,” says writer-director-animator Gints Zilbalodis about Flow, an independent masterwork that moves audiences worldwide, achieving recognition with over 60 awards, including a handful of Annecy Cristals, a Golden Globe for Best Animation, a César, and an Academy Award.
The film Flow (2024), also known as Straume, is a visually poetic Latvian animated adventure that has gained international acclaim. It was Latvia’s submission for the Best International Feature Film at the Oscars in 2024. The movie stands out for its unique storytelling approach, as it features no dialogue and relies entirely on striking imagery and atmosphere to convey its narrative
The Story
Set in a post-apocalyptic world, Flow follows a domesticated black cat navigating a transformed Earth after a catastrophic flood. The film explores themes of survival, resilience, and the interconnectedness of life. The animals in the story, including a capybara, a ring-tailed lemur, and a secretarybird, symbolize various human traits and approaches to survival. The absence of humans and the haunting remnants of their civilization add to the film’s dreamlike and reflective quality. It’s a meditation on overcoming fears and adapting to challenges. The protagonist’s journey is not about achieving a simple resolution but about learning to live with anxieties and finding strength in companionship and perseverance
Flow is available for streaming on platforms like Max, Amazon Prime Video, and Apple TV+.
Flowbegan as a high school project
Gints Zilbalodis created a short film about his cat overcoming its fear of water. Years later, he revisited this idea and expanded it into a feature film, focusing on themes of collaboration and overcoming fears. created a short film about his cat overcoming its fear of water. Years later, he revisited this idea and expanded it into a feature film, focusing on themes of collaboration and overcoming fears.
“The entire project took about five and a half years. In the first year, I was writing the script, learning Blender, and looking for funding as Dream Well Studio. That was in 2019. In 2020, we secured some funding, and I moved into a co-working studio space with other artists and developers who were using Blender. That’s where I connected with Mārtiņš Upītis and Konstantīns Višņevskis. Mārtiņš was one of the first people I approached—not specifically for water simulation, but just to see how he could contribute. However, it quickly became clear that he had a deep expertise in water, unlike anyone else. We were fortunate that, in the early stages, it was just me, so the pandemic didn’t affect us much. By the time we moved into full production in 2023, things had stabilized. ‘
The film was largely a solo effort, saying, “When you work alone, every choice becomes deeply personal. It’s an intimate process, and it pushes you to trust your instincts and vision entirely.” This approach allowed him to craft a film that feels singular in its style and storytelling.
“I learned a lot online, but it was great to have someone with more experience next to me (Konstantīns). He did a lot of rigging and was much more technical than me, so I could ask him for advice.”
He drew inspiration from his own personal growth
“The cat’s journey reflects a part of myself—learning to trust, to collaborate, and to find peace in uncertainty. It’s a universal story told in a very intimate way.” Zilbalodis believes that emotions, even the challenging ones, are essential for growth, and this philosophy is embedded throughout the film.
The isolation of the protagonist mirrors the creative process itself: “Creating a film, especially one like Flow, is a solitary and deeply introspective journey. Yet, the moment it connects with an audience, it becomes something shared and collective.”
Flow reflects a blend of inspiration from nature and animation traditions
“I wanted the visuals to feel alive, almost as if they were breathing with the world. The water, the animals, the landscapes—they’re not just settings but characters in their own right.” Zilbalodis has often cited his love for minimalist storytelling and how it connects with the audience on a deeper emotional level.
The silence of the film was also an intentional choice to encourage introspection. He remarked, “In silence, we find clarity. I hoped that viewers would not just watch the story but feel it resonate within themselves.”
The themes of Flow were deeply influenced by his own experiences and emotions
He reflected on the solitary nature of the creative process, saying, “Making this film was like navigating uncharted waters—it was both daunting and freeing.” He compared the protagonist’s journey to the process of artistic creation, where uncertainty is not just a challenge but a vital part of discovery.
The film is a meditation on overcoming challenges and embracing vulnerability, saying, “The journey of the cat is a metaphor for facing fears and discovering strength through connection.” He also noted that the lack of dialogue was a deliberate choice to evoke a sense of timelessness, allowing viewers to interpret the story through their own emotions and experiences.
The transformative power of nature in the narrative
“Nature is both a mirror and a guide in Flow. It challenges the characters, but it also heals them.” The ever-changing water, in particular, serves as a central symbol of life’s unpredictability and beauty.
“Water is a powerful metaphor. It can be calm and beautiful, but also overwhelming and destructive. In Flow, it represents emotions—fear, hope, and everything in between.”
Zilbalodis has expressed his hope that Flow resonates universally, stating, “The story is intentionally open-ended because life rarely offers neat resolutions. It’s about learning to find peace in the currents, no matter where they take you.”
Zilbalodis emphasized the importance of the film’s pacing and visuals in creating an immersive experience: “Each frame is designed to invite the audience to pause, reflect, and connect with the story in their own way. The silence allows for a dialogue between the viewer and their own emotions.”
He also elaborated on the minimalist aesthetic of the film, saying, “Simplicity doesn’t mean less—sometimes it means more. Stripping away dialogue and complex visuals allows the audience to feel and interpret the story in their own unique way.”
Zilbalodis’s love for solitary storytelling
“Creating Flow was a deeply personal process. It was just me, the story, and the art coming alive. Yet, I hope it speaks universally to anyone navigating uncertainty and change.”
Zilbalodis has frequently emphasized the profound emotional connection he hoped to establish through Flow. He described the film as “a story about healing through companionship,” noting that even in solitude, there’s potential for growth, self-discovery, and unexpected connection. He reflected, “Fear can be isolating, but it can also be an invitation—to trust, to collaborate, and to grow stronger.”
The power of visual storytelling
“The absence of words opens up a dialogue between the viewer and their own experiences. It’s less about telling and more about feeling.” This focus on atmosphere and emotions allows the audience to immerse themselves in the story in their own way.
“Storytelling offers infinite possibilities, but sometimes constraints can be beneficial. For example, deciding to use only four characters and a handful of locations can lead to stronger creative choices. Some of my favorite films take this approach. They don’t need an epic scope to be powerful.”
“I wanted to show how the cat does improve on its fears, but it still has these deep down, something that it has to learn how to live with. And I wanted to show how that’s okay, and we can accept those things, and maybe there’s others who can support that.”
Through his thoughtful reflections, Zilbalodis invites viewers to find their own interpretation and meaning in the ebb and flow of life, much like the waters in his film.
by Daniel Dercksen·Comments Off on Som van Twee – a heartfelt Afrikaans story about family, loss, and reconciliation
“Life is a journey of faith and grace. Never stop dreaming, because dreams are the building blocks of hope,” says writer-director Simoné Pretorius, who makes her directorial debut with the new South African film Som Van Twee.
Som Van Twee has already garnered attention, winning several prestigious awards, including Best Feature Film at the 2024 kykNET Silwerskermfees. The screenplay, written by Simoné Pretorius and Liani Jansen van Rensburg, draws on the universal experiences of love, loss, and redemption to create a compelling narrative that resonates with audiences
“It’s hard to believe, but it’s based on a true story. My fellow screenwriter, Liani Janse van Rensburg, discovered an article about a woman in the Netherlands, Melissa Kelderhoff, who admitted at a school reunion that she saw her Biology paper before writing the final exam. The story reached the Minister of Education, Culture and Science, who then decided that the country’s 1992 matric group had to rewrite the exam,” says Pretorius. “Of course, we adapted and changed the story extensively. ‘
“It took many rewrites of the screenplay before the characters finally settled and the themes came through adequately, so it was important to drive the process through to the floor before allowing the actors to further breathe life into the characters. While I was writing, I directed all the performances in my head, and while directing, I rewrote the script. It worked out well,” says Pretorius.
The film delves deep into the intricate relationships within a family, particularly focusing on the bond between a father and his son. It explores how grief and loss can either pull family members apart or bring them closer together.
Henk Opperman’s journey is one of self-discovery and redemption. His struggle to connect with his son, Renier, after the tragic loss of his wife is a central theme. The story highlights the process of forgiveness and the importance of making amends.
It aims to resonate with audiences by portraying raw, genuine emotions and the complexities of human relationships. It is a story of hope, reconciliation, and the enduring power of love and understanding.
The story follows Henk Opperman (Louw Venter), a psychologist coping with the emotional aftermath of losing his wife in a tragic car accident. He struggles to connect with his son Renier (Adriaan Havenga), who masks his emotions behind anger and denial. During Nicolene’s funeral, Henk confesses to leaking the Matric Math Paper to Barberton in 1990. An investigation leads to an ultimatum: retake the exam in Barberton or forfeit academic records. Henk and Renier reconcile as Renier tutors him, joined by Henk’s eccentric father and Renier’s friends. Tensions rise with Henk’s classmates, culminating in a pivotal moment where Henk must choose between reconciling with his son and saving his career.
“It has been a dream for ten years. Bennie Fourie recommended that I read Judith Weston’s Directing Actors when we worked together on Vir die voëls. At that stage I regarded the book as a guideline to what directors expect from actors, but I became aware that I was reading the book with a director’s eye. Later, with other projects, I realised it was quite tough not to want to direct myself all the time, and with the last role I played, I felt ready to take charge. At the same time, I suffered severely of imposter syndrome and doubted my own abilities. But when I wrote my first screenplay in 2019, I started feeling confident about my journey to becoming a director. It took five years and three undeveloped screenplays on the shelf, but I am grateful that the road led me here.”
Simoné Pretorius (née Nortmann) is a South African actress, director, screenwriter, and producer. She was born on May 18, 1990, in Pretoria, South Africa. Simoné gained prominence for her role as Irma Humpel in the 2016 Afrikaans biographical film “Vir die Voëls,” for which she received both national and international acclaim. She made her television debut in the popular Afrikaans soap “7de Laan” in 2013 as Nadia Croukamp, earning the Best Newcomer award at the Royalty Soapie Awards in 20143. Simoné has starred in several South African box office hits and award-winning films, including “Vuil Wasgoed” (2017), “Stroomop” (2018), “Wonderlus” (2018), and “Vlugtig” (2020). In 2024, she made her screenwriting and directorial debut with the film Som van Twee, which won seven awards at the Cape Town Silwerskerm festival, including Best Director and Best Screenplay. Simoné is also the founder and managing director of Art of Acting South Africa.
Liani Jansen van Rensburg is a South African screenwriter known for her work on Som van Twee (2024), “Blindelings” (2023), the story of René, a brilliant, blind pianist with synesthesia, whose life changes after an assault on the night of her first solo performance, and “Een Keer Om Die Son” (2024), a television drama series depicting a month in the lives of a seemingly happy family, exploring their trials and tribulations over a year.
by Daniel Dercksen·Comments Off on Disney’s Snow White – A live-action musical reimagining of the classic 1937 film
Screenwriter Erin Cressida Wilson was faced with the task of determining just what it means for a young woman to be a leader and what it means to be someone who can inspire and connect with the people around you. “The producers, songwriters and I spent four years in close collaboration, carefully forming a script that dovetailed the vital elements of Disney’s 1937 animated classic ‘Snow White’ with the modern,” says Wilson. “I took my cues from the masterpiece that already existed – gently fleshing it out for a more contemporary audience.”
Disney’s 1937 animated film, Snow White and the Seven Dwarfs, helped establish the studio as an animation powerhouse. Based on a classic fairy tale by The Brothers Grimm, the film introduced the world to the iconic characters of Snow White, the Evil Queen, and the lovable dwarfs and spawned the iconic songs Heigh-Ho and Whistle While You Work.
The original ‘Snow White’ was a great work of art,” says producer Marc Platt. “It was the first fully narrative animated film, and its animation was beautiful and groundbreaking. And for audiences in 1937, it immersed them in a world and made them feel that they had been transported, with characters that have become through time beloved; songs that have become beloved and a story that remains a classic.”
When the opportunity to create a new live-action musical reimaging presented itself, Platt leaped at the opportunity. The four-time Oscar-nominated producer (“Wicked,” “La La Land,” “Bridge of Spies,” “The Trial of the Chicago 7”) and fellow producer Jared LeBoff, with whom he produced the successful film version of the Broadway musical phenomenon “Wicked,” quickly zeroed in on Marc Webb to direct. The talented filmmaker, who has helmed such hit films as “500 Days of Summer” and “The Amazing Spider-Man,” Webb was eager to take on a property steeped in love and nostalgia.
“It was really important for us to honor the DNA of Snow White,” Webb says. “The original ‘Snow White’ didn’t break the mold…it created the mold. Somehow Walt Disney connects to something inside of us – a kind of childlike wonder and optimism.”
Webb continues, “But there was also an opportunity to re-tell the mythology to reflect the times that we’re in, and I think all good stories evolve over time. They become reflections of the world that we live in and what we want the world to be to a degree.”
“Our story is about a young woman who’s learning to be queen, to be a leader,” Webb says. “And one of the guiding principles for us when developing the script was who is Snow White as a leader? Disney princesses have evolved pretty dramatically in the last century, so we wanted to know what is specific about Snow White. What makes her different? And the idea that she is a princess is easy to gloss over, but the fact is that she has a destiny to lead was something that we really wanted to hone in the script.”
The filmmakers brought in Erin Cressida Wilson (“The Girl on the Train”) to pen the screenplay
Wilson continues, “My task was to dive into the character of Snow White and find what second act her story begged for. I massaged the theme of her discovering and trusting her own voice and her own purpose with compassion and strength. Snow White is Disney’s first princess, and it was an honor to be given the gift of bringing her entire story to life.”
Fortunately, everyone was in agreement. And Webb was the ideal person to bring the story to life.
“Marc is so talented,” says Gal Gadot. “He had a clear vision from day one and knew how he wanted to tell this story. The fact that he started as a music video director helped the production become a fully realized musical production. He was wonderful to work with…as an actor, he gives you a lot of freedom. And at the same time, he has his own space, his own range where he has already envisioned everything in his head, and he makes it very easy for us to get there.”
Rachel Zegler adds, “Marc is one hell of a director. I’m so honored that he took on this project and honored that he let me come along with him on this journey.”
LeBoff agrees, saying, “For every single take, Marc was right there with the actors. He loves to be out there going back and forth with everybody. When we do the big dance warm-up’s, he’s actually doing the dances and jumping up and down.”
Rachel Zegler plays Snow White, the kind, resilient, and courageous title character. She is the daughter of the beloved King and Queen who encouraged her to be fearless, brave, and true.
The actress, who first wowed audiences with her film debut in Steven Spielberg’s West Side Story and went on to star in The Hunger Games: The Ballad of Songbirds & Snakes, was primarily drawn to the role because of director Marc Webb’s vision. “From the word go, it was obvious that Marc wanted to make a ‘Snow White’ for this generation,” says Zegler. “That is what is so poignant in our story, and I think people all over the world will be able to resonate with her.”
Producer Marc Platt adds, “Snow White’s superpower is her goodness, her kindness…themes and ideas that are very important in the world we live in today, maybe even undervalued some might say. And it imbues her with an inner beauty and an ability to lead.”
“To be honest, Snow White’s core is exactly the same – goodness, kindness and a belief that you can have your dreams come true without being mean-spirited,” says screenwriter Erin Cressida Wilson. “Like other Disney princesses, it’s not that her character changes, it’s that her generosity of spirit becomes threatened and ultimately wins as she saves her kingdom and shows us that kindheartedness is a true leadership quality. It is, in fact, the characters around her that will forever be changed by Snow White’s altruism.”
Snow White’s stepmother, the Evil Queen, is hard and unyielding, with an icy calm voice and eyes that are full of rage. She despises Snow White for her beauty and virtue and devises a wicked scheme involving a poisoned apple. Gal Gadot, the Israeli actress and producer, who is best known to audiences as Wonder Woman in the DC Universe and for her role in the “Fast & Furious” franchise, had numerous discussions with Webb early in pre-production, as to what drives her character.
“We talked about what motivates her, and who she really is as a person,” says Gadot. “I loved the fact that this was something completely new for me as an actress, and playing a villain is exciting. It allows you to go to places you can’t when playing a straight character. And on a musical, you can do everything in a more theatrical way and use your body language to be really over the top. She was a very, very delicious character to play.”
Gadot continues, “I wanted to make sure that she is all about power, and her looks are the only way she can mesmerize people and work her magic. Once she has that, she becomes vicious and powerful. The Evil Queen is all about power. She wants to be in control, she is the alpha character, she is a narcissist, and she loves being in control and having people worship her.”
MARC WEBB (Director) has directed and produced numerous film and television projects of critical acclaim and commercial success. His upcoming film projects include Disney’s live action “Snow White” starring Rachel Zegler and Gal Gadot, and “Day Drinker,” an action thriller starring Johnny Depp and Penélope Cruz for Lionsgate. Webb has served as an executive producer for the CW series “Crazy Ex-Girlfriend” with Rachel Bloom, CBS’ “Instinct,” “Limitless,” “The Code,” and Hulu’s “Death and Other Details.” He also executive produced and directed Netflix’s original series “The Society,” a young adult drama series written by Chris Keyser and starring Kathryn Newton, Rachel Keller, and Gideon Adlon.
Webb directed the feature film “The Amazing Spider-Man” and its sequel, “The Amazing Spider-Man 2,” each of which grossed more than $700 million worldwide. Following that, he directed “Gifted,” starring Chris Evans and Jenny Slate, which was released in April 2017 by Fox Searchlight. Webb made his feature film debut with “(500) Days of Summer,” starring Joseph Gordon-Levitt and Zooey Deschanel. The film was nominated for two Golden Globe Awards®, including best picture, and The National Board of Review honored Webb with its spotlight award, which recognizes outstanding directorial debuts.
Webb began his career as a music video director. He has been honored with several MTV Video Music Awards including the best director award for Green Day’s “21 Guns,” best rock video in 2006 for AFI’s “Miss Murder,” and best group video for The All-American Rejects’ “Move Along.” Also, the Music Video Production Association honored him as director of the year for his work with Weezer, AAR, and MyChemical Romance.
ERIN CRESSIDA WILSON (Screenwriter) won the Independent Spirit Award for her first screenplay, “Secretary,” starring Maggie Gyllenhaal and James Spader. Among her other credits are “The Girl on the Train” (Emily Blunt), “Men, Women, and Children” (co-written and directed by Jason Reitman), “Chloe” (Amanda Seyfried, Julianne Moore, Liam Neeson, directed by Atom Egoyan), “Fur: An Imaginary Portrait of Diane Arbus” (Nicole Kidman, Robert Downey Jr). For television, she served as writer/producer on the HBO series “Vinyl,” executive produced by Martin Scorsese and Mick Jagger. In 2025, Scarlett Johansson’s directorial debut, “Eleanor the Great,” will be released (production rewrite and executive producer). Current credits include a film for Ron Howard, the biopic of Janis Joplin, and the Madonna biopic (co-writing with Madonna). Wilson mentors at the Sundance Institute Screenwriting Lab and was a professor at Brown, Duke, Stanford, and UCSB. As a recipient of awards from the Guggenheim and the NEA, she is an off-Broadway and internationally produced playwright. She is currently adapting Ibsen’s “Hedda Gabler” for the Old Globe.
by Daniel Dercksen·Comments Off on Last Breath – A pulse-pounding survival thriller set deep underwater
“This is the story I’ve lived with for ten years now, and I know it inside out,” says screenwriter-director Alex Parkinson of Last Breath, based upon the strength and ingenuity of the storytelling in the lauded 2019 documentary. “It was such a vast canvas I could paint the story on, much bigger than the documentary.”
In September 2012, saturation divers Chris Lemons, Dave Yuasa, and Duncan Allcock embarked on a routine expedition. Diving hundreds of feet underwater, a computer error set their ship helplessly adrift up above, severing the umbilical cable connecting Lemons to his oxygen, electricity, and communications. With only minutes of oxygen reserves remaining, Yuasa and Allcock raced against time to retrieve Lemons and bring him to safety.
The 2019 British documentary Last Breath, directed by Alex Parkinson and Richard da Costa, chronicled the events aboard and below the ship using archival footage, audio, reconstruction, and interviews.
Stewart le Maréchal and Al Morrow produced the documentary through their company, MetFilm. Inspired by the success of the documentary, le Maréchal and Morrow shared their film with the father-son producing team of Paul and David Brooks for consideration as a narrative feature. “I was totally mesmerized by it,” Paul Brooks recalls. “It’s about the best of humanity and how people just won’t give up. I think that’s just incredibly compelling.”
Paul and David Brooks developed the project with producer Jeremy Plager, who anchored the casting process. Plager and Paul and David Brooks joined up with Dark Castle Entertainment producers Norman Golightly and Hal Sadoff.
“Paul shared Last Breath with us and we immediately responded to it, not only because it’s an exciting movie, but it has these universal themes of humanity, hope, and perseverance,” says Golightly. “The best stories have the ability to thrill us, entertain us, make us think, and make us feel. Sometimes they can even inspire us. Chris’s story manages to do all of those things and then some.”
Based upon the strength and ingenuity of the storytelling in the documentary, Paul Brooks sought out Parkinson to co-write and helm the narrative adaptation.
Paul Brooks explains: “The documentary actually plays as this incredible thrill ride. We thought, ‘Well, isn’t the logical thing to do here to get Alex to direct the movie?’ He has a great feel for narrative, which is why the documentary was so good.”
Parkinson explains his initial interest in Lemons’ story: “I immediately connected with what Chris Lemons was going through, which speaks to the power of this story of hope and the human spirit. When people come together with a common goal, the most incredible things can happen.”
Parkinson, with writers Mitchell LaFortune and David Brooks, worked on a draft of the screenplay: “I aimed to do more than just remake the documentary,” Parkinson says. “I wanted to tell this remarkable story on the grandest scale possible, and explore new dimensions of the characters’ emotional journeys.”
David Brooks embraced an opportunity to explore a world that is unfamiliar to moviegoers. “It’s so rare to come across such a gripping story that feels truly original,” says David Brooks. “The world of saturation diving really hadn’t been explored in a narrative feature before, certainly not at this scale. I was further drawn to the uniqueness of the characters and the intimacy of their dynamics.”
“I felt this responsibility to keep it as true to the reality of what happened as possible. I want these people to be represented properly, because they did an incredible thing on that night,” adds Parkinson.
A heart-pounding film that follows seasoned deep-sea divers as they battle the raging elements to rescue their crewmate trapped hundreds of feet below the ocean’s surface. Based on a true story, Last Breath is an electrifying story about teamwork, resilience, and a race against time to do the impossible. It honors the selflessness and perseverance of a team of divers whose lives changed forever when an accident strands one of their own deep beneath the surface of the North Sea.
With the script in place, Parkinson and the producers of Last Breath searched for a cast that could accurately represent the heroism of the real-life divers
They found adventurous, willing partners in Woody Harrelson, Simu Liu, Finn Cole, and Cliff Curtis.
Paul Brooks collaborated with Harrelson on Bobby Farrelly’s Champions, and believed the actor might have an interest in this remarkable story. Brooks was correct: “Once I saw the documentary, I was already in,” Harrelson remembers. “I think the documentary speaks for itself. People love it. I loved it. It sure made me want to be a part of this.”
Barbie and Shang-Chi and the Legend of the Ten Rings star Simu Liu reviewed the documentary to familiarize himself with the story. “When I watched it, I was absolutely taken aback by not only the story but also the introduction to the world of saturation diving, which was unlike anything that I had ever known. And then I learned that Alex Parkinson, who directed the documentary, was also doing the adaptation, and I thought, ‘Well, I’m definitely in.’”
Liu responded to the screenplay’s themes of personal responsibility and teamwork: “So much of this story is about that camaraderie that develops over time,” Liu says. “When the stakes are high and an incident happens, these divers are willing to go out and risk their own lives to make sure that nobody gets left behind.”
When Peaky Blinders star Finn Cole received the script, he noticed that it shared its title with the documentary. “I’d seen the documentary a year or so before and loved it. I was into diving beforehand, so the doc got me excited for the movie. I was really intrigued to see how this would translate into film,” says Cole.
The actors held their real-life counterparts in high regard, and sought to tell their story with integrity. “There is a responsibility because it’s a real story with these real characters. And hopefully we are all doing justice to that,” Harrelson says.
“I think that’s just such an incredible story,” adds Liu. “It’s such an honor to be a part of it and to get to tell it. For me, the enduring message of Last Breath is that of hope, perseverance and never giving up.”
“We ended up with the three actors we really wanted, and the chemistry between them was terrific,” Paul Brooks says. “They all got along fantastically, and I think you can see the chemistry on screen. It feels really authentic.”
Production on Last Breath began in February 2023 in the North Sea onboard the ship the real events took place on.
ALEX PARKINSON (Co-Writer, Director) is an Emmy-nominated director who is making his narrative feature directorial debut with Last Breath. Parkinson’s other work includes HBO Max and Channel 4’s documentary, Lucy The Human Chimp, which he both wrote and directed. It follows psychologist Janis Carter taking on the seemingly impossible task of giving a chimpanzee raised as a human a new life in the wild. Directing documentaries for more than 20 years, Parkinson has also made films for a number of global broadcasters including the BBC, ITV, National Geographic, Animal Planet, History and Travel.
DAVID BROOKS, p.g.a. (Co-Writer, Producer) earned a BFA in Film Production from New York University’s Tisch School of the Arts. His feature directorial debut, ATM, was released by Universal Studios in partnership with Netflix and IFC Films and received Comcast’s XFinity On Demand Award for Most Watched Independent Film (2012). While developing directing projects, David has continued to work as a producer on other features including voyeuristic horror film, The Den, released by IFC Midnight, The Boy Downstairs, a modern romantic comedy, which premiered at the 2017 Tribeca Film Festival and was released by Film Rise in partnership with HBO, and Prey for the Devil, a contemporary exorcism story based on true events for Lionsgate. Most recently David produced, Oh, Hi!, starring Molly Gordon and Logan Lerman, which premiered at the 2025 Sundance Film Festival.
MITCHELL LAFORTUNE (Writer) is a former intelligence officer who served four deployments to Afghanistan from 2007 to 2013. He started his intelligence career in the Army, developing counterinsurgency strategy for Afghanistan and Pakistan, where he would be awarded a Battlefield Promotion for extraordinary efforts in a combat zone. After serving, Mitchell worked for the Defense Intelligence Agency, focused on Iranian foreign policy. He authored Presidential Daily Briefings and participated in military operations in Herat and Kabul in support of Operation Enduring Freedom. After leaving the Agency, Mitchell attended UCLA’s prestigious film school as a Pat Tillman Scholar. Based on Mitchell’s real-life experiences as an intelligence officer, he penned Kandahar, repping Gerard Butler’s re-team with his Angel Has Fallen filmmaker, Ric Roman Waugh. Open Road released the film wide Memorial Day Weekend in 2023. Mitchell recently completed Greenland: Migration, the sequel to the disaster thriller Greenland and has signed on to adapt the real-life story of Mike and Carlos Boettcher, father-son war correspondents and multi-Emmy and Peabody winners for Mandalay.
by Daniel Dercksen·Comments Off on Novocaine – An Explosive Cinematic Experience
Screenwriter Lars Jacobson has always loved unique characters who can take something that can be perceived as a disability and turn it into their superpower and that was exactly what he created with the character of Nathan Caine in Novocaine. “We have this great everyman character who’s never been in a fight and he throws caution to the wind and risks all to save the love of his life,” he says.
When the girl of his dreams (Amber Midthunder) is kidnapped in Novocaine, everyman Nate (Jack Quaid) turns his inability to feel pain into an unexpected strength in his fight to get her back.
“Thematically it’s about what we are willing to risk for love and this was the perfect story of a guy willing to risk everything,” says Jacobson. “He can’t feel anything but once he feels something for Shelley, he wants to make sure he can feel it again. This was a unique story with a complex, diverse, dynamic character at its center. It is a genre film, but it’s really a love story.” Jacobson was also an admirer of bank heist films like Dog Day Afternoon and Killing Zoe and as he developed the scenario to place this character in, he loved the idea of a fast-paced action movie within the walls of a bank.
Screenwriter Lars Jacobson
“When you can take something familiar and add a unique twist, that’s a fun thing to do in storytelling,” Jacobson says. “I wanted to stay true to the genre, but add layers that would hopefully elevate and augment. There is also a superhero element, but it’s about Nate outlasting and outsmarting his opponent because he knows he can’t overpower them. So when he’s faced with guys with military training, his only ability is to be crafty and to persevere. I equated it to Bruce Willis’ t-shirt in Die Hard. It starts white and crisp, and by the end, he’s bare-chested and bloody. Nate is not always winning these fights, he’s surviving these fights, but he’s coming out ahead and overcoming insurmountable odds by applying his smarts and ingenuity. This was such a great writing experience for me because you could have fun with many of the set pieces as well the high-concept element of it.”
Jacobson’s manager, Julian Rosenberg, who also serves as a producer on Novocaine, pitched Safehouse Pictures’ Matt Schwartz with the writer’s idea for the film.
“I read it that night and immediately fell in love,” recalls Schwartz. “Novocaine was the type of film that Safehouse and producers Tory Tunnell, Joby Harold, and myself have always gravitated towards. It was unique and had an awesome high concept but with a relatable, lovely, and sympathetic hero at the center of it. There were also great universal themes. On the one hand, it’s about all the crazy things you’ll do for love. But what struck me about it was that it forces us to think about how we can change the way we see our insecurities and things that make us different, and turn those into positives, spinning them into things that make us special and unique. That felt like such a lovely thing that would resonate with everyone so we immediately leaned into the project.”
“It took a little while to find the right home for the script,” says producer Harold, who knew a little bit about high concept action from his work within the world of John Wick, “but I couldn’t shake the concept of the movie. The idea of this character was really stuck in my teeth – it felt like such an amazing casting opportunity – and I just kept saying “what’s happening with Novocaine? What can we be doing that we aren’t doing?” I just had a real instinct that Nate was going to be a character that audiences would fall in love with. All we had to do was find the right partner who saw what we saw.”
Fellow producer Drew Simon had recently established Infrared Pictures and as one of Schwartz’s closest friends, it felt like the perfect project to collaborate on. “Drew and I have incredibly similar tastes,” notes Schwartz. “And when we reached out to him, he loved it and we were off to the races.”
“Getting the chance to work with one of your best friends on a movie like this is a special experience that we didn’t take for granted,” says Simon. “Novocaine got me from the very beginning because we watch this man who doesn’t feel pain have to find his identity and break out of the bubble that his life has created for him while falling in love and going through an obstacle course of action. He’s an incredibly relatable protagonist and this special condition allows for set pieces done in inventive, creative ways you haven’t seen before on screen. It felt like a fresh take on a genre that people love.”
The Safehouse Pictures team had an existing relationship with directing partners Dan Berk & Robert Olsen and instantly felt they would be the perfect filmmakers for the project.
Filmmakers Dan Berk and Robert Olsen
“And after our first meeting, I knew these were the directors for the movie,” says Simon. “They had passion, vision, and a style they wanted to bring to it that felt fresh, unique, and special. They wanted to subvert the genre. This was a great script to begin with and then they took it up several notches and made it into something that will stand the test of time as an action movie. The biggest challenge was finding the right balance of action, heart, and humor because we were not trying to make just another action movie. We were trying to make something fun, different and that stands out.”
Though Berk and Olsen have traditionally written and originated the films they direct, when they read Jacobson’s script, they were immediately hooked. “It had a very sticky concept at the core of it,” says Berk. “A guy who can’t feel pain being thrust into this action movie is a protagonist you don’t expect in that situation. We also saw that it had a lot of potential for an infusion of our signature tone so we jumped at it.”
Adds Olsen, “The mix of humor and violence is also what makes this movie special because everybody’s seen an action movie that has a ton of gore in it and a more dour tone. But the image of somebody being punched in the face and smiling right after is the heart of this movie.”
Jacobson, too, was thrilled with the choice of Berk and Olsen to bring his script to the screen. “As a writer, you’re always hoping that the directors will elevate your material, bring something new, and open it up further,” says Jacobson. “Dan and Bobby did a great job of establishing a tone with Nate by balancing the action with the comedy while also giving it a strong engine. Once the movie gets started, it doesn’t stop.”
After helming five features together, the directing duo is a well-oiled machine when it comes to their communication, something that was noticed by every member of the cast and creative team.
“We’ve learned to get on the same page before even stepping onto the set so no one has to come and get the check mark from both of us,” shares Olsen. “What makes our partnership work, is that we were best friends way before we ever started to work together so we have that foundation of brotherhood.” Adds Berk, “It’s taken a long time to perfect our process. We spend months and months and months before we ever get to the sound stages mapping out every single possible eventuality so that when something comes up on set, we already have the answer. It may seem effortless from the outside, but we spend a lot of time on it.”
Casting Novocaine
As Berk and Olsen further developed the film and began their directors’ pass at the shooting script, they found themselves writing with one actor in particular in their thoughts. “It was months before we brought up Jack Quaid to anyone else but we always had his voice in mind,” recalls Berk. “Jack was our dream casting for this role. We were huge fans of his from The Boys and felt he was an actor with massive potential. We pitched the idea to our producers and the studio, and they were into it. Jack is an atomic bomb of charisma and there’s nobody as likable as him. In our first Zoom meeting with him, it felt like we had known him for 20 years.”
“And it wasn’t easy to find the right person for this role,” adds Olsen. “It’s hard to find somebody who has that nerdy quality to them to play the introverted parts of the role, but then still has the oomph to go in there when it turns into an action movie and to sell it and be a movie star. Jack’s ability to shift into those different roles is something you can’t find easily.”
For Jacobson, Quaid couldn’t have been more perfect to portray the anti-action hero, Nathan Caine. “With Nate, you want someone who is inherently sympathetic, likable, and an everyman and someone you don’t necessarily think would win a fight,” he says. “Jack played it to a T. He understood the anxiety, the neuroses of this character and also that he was willing to risk it all to save the woman he loved.”
As for Quaid, the actor counts himself as a huge fan of action movies, “especially the fun ones of the 1980s and ‘90s,” which was a large reason he leaped at the chance to play Nathan Caine. “I find these movies so impressive when they’re done right, especially if they can make you feel something or elicit a reaction,” he says. “So what I loved about this movie is that it’s very much inspired by older action movies where the focus is on the fun of it all.”
In preparing the actor for the role, the directors provided Quaid with a list of movies to view. “Firstly, Dan and Bobby are two of my favorite people I’ve ever worked with,” says Quaid. “Their passion and joy about this entire experience was so infectious, and it created an amazing environment on set. They recommended films like Lethal Weapon 1 and 2, Die Hard, and Hard Boiled, which is an incredible movie. I also watched romance movies like Before Sunrise. Hopefully, if we did our jobs right, Novocaine will fit into the pantheon of both genres in such a fun and unique way.”
Quaid also says he thoroughly enjoyed bringing his character’s hero’s journey to life over the course of the film. “At his core, Nate is a really big sweetheart, an extremely nice guy, and a big nerd, which I loved about him,” he says. “He’s also quite lonely as he hasn’t ever connected with anyone romantically in his life. And now that he’s turned 30, he’s realizing that he’s living on borrowed time. It’s been hard to go out there and meet people when you’re a balloon in a world of pins.”
“Amber Midthunder was ideal casting for Sherry,” raves Jacobson. “And the chemistry between Jack and Amber is perfect. Sherry is a very complex character. At first, she’s this object of affection and admiration for Nate, but once he gets to know her, she’s very upfront, honest, and direct. They form a deep and fast connection.”
Midthunder says she was captivated by the beautiful complexity of their relationship given that Sherry initially doesn’t expect to form such genuine feelings for Nate. “I think what makes their relationship so special is that they bring out this true version of the other person,” she shares. “Dan, Bobby, and I talked a lot about how Nate sees Sherry in a way she’s never been seen before. To Sherry, that is both alarming and disarming and that’s what makes her feel so drawn to him and feel safe with him, especially so quickly. She’s affected by that because she’s never felt that kind of safety before in her life.”
Creating the visually arresting, action-packed world of Novocaine
To land the perfect visual aesthetic for Novocaine, the filmmakers spent considerable time discussing the possibilities with the film’s cinematographer, Jacques Jouffret. Novocaine marks the first action film for Berk and Olsen after helming several thrillers and horror films, so they were set on finding a director of photography who had experience in the genre and Jouffret’s previous credits include Tom Clancy’s Jack Ryan, Gran Turismo, and American Primeval.
The impressive and imaginative non-stop stunts, fights, and gags in Novocaine were brought to the screen by Bulgarian-born Stanimir ‘Stani’ Stamatov who served as the film’s stunt coordinator, alongside co-stunt coordinator Kerry Gregg, and their team. “Stani and Kerry have done an incredible job and their team was so professional,” raves Simon. “We don’t know how they pulled it off. There were so many stunts with these bone-crunching hits.” Stamatov’s specialty has been producing brawler-type fights in projects including The Expendables and Game of Thrones, making him the natural fit for developing the specific style of fighting in Novocaine.
Like many filmmakers, Berk and Olsen have always strived to do things practically as much as they could, without relying too heavily on visual effects. “It looks more authentic and it’s also more authentic for the actors when there’s something tangible there to touch and perform with,” shares Berk. “So this movie is very prosthetics-heavy. There’s so much violence, gore, wounds, breaks, and all this wild stuff. We were really lucky to find Clinton, who has a great resume including Guardians of the Galaxy and Resident Evil. What he does is very scientific. The prep process is massive and there is so much technology behind it. He had to break Nate’s journey into the 52 different steps of physical degradation and have a plan for every one of those. He would look at the 3D scans of Jack at various times and be able to say, ‘It looks a little too messed up there’ or ‘That’s a little too scary.’
Recreating San Diego In South Africa
When Novocaine’s creative team was searching for a shooting location that could believably stand in for San Diego, California, they were drawn to the similar landscape and climate found in Cape Town, South Africa. “As we started getting into the logistics of how we were going to create the biggest feeling, most event-worthy and cinematic movie possible for our budget, we started looking all over the world,” recalls Simon. “Our story takes place over the Christmas season, but we set it in San Diego which opens the movie up in such a great way. Cape Town is a near-perfect replica of San Diego. But more than that, it also provided so much more scale to the movie. Our climactic set piece which was once set in a tunnel, became a scene at a shipping port with giant shipping crates and boats everywhere. Cape Town provided so much scope, in addition to having some of the best crews in the world. Every department, every crew, every person who worked on this movie was better than the next. It was a pleasure.”
As Novocaine explodes onto cinema screens, audiences can look forward to experiencing dynamic characters in a high-concept story that blends a variety of genres with a wildly specific action language, separating it from anything ever seen on screen before.
“This movie delivers incredible action, tons of humor, and great heart,” says Simon. “It’s a nonstop action thrill ride that will have audiences on the edge of their seats. They’re going to be laughing and crying, and in a really fun way, they’re going to be looking away from the screen at times. It’s a movie that belongs in the theaters as it feels like such a cinematic experience. When you watch a movie like this with an audience, it’s going to feel like an event and that is what movies are all about.”
Agrees Berk, “There are certain scenes you shoot and based on the reactions of those around you, you know this is what makes a theatrical experience. Novocaine will still be fun to watch on your couch, but it will be nowhere near as much fun as watching it in a dark theater with several hundred other people.”
Quaid says he’s most excited for people to experience the film’s singular tone and the journey Nathan Caine goes on over the course of the movie. “I love that Nate is ultimately a very positive character and he’s happy-go-lucky despite all of the horrific stuff that happens to him,” says the actor. “This film blends all these genres in a cool, unique way that I’ve never seen before. I hope audiences will enjoy that. It’s going to be a wild ride, and I’ll be so excited to hear the reactions inside the theater.”
Novocaine’s screenwriter agrees, adding that in addition to the non-stop action and comedy, he hopes audiences also find this to be a compelling and unique love story. “That’s how I always looked at it,” concludes Jacobson. “It’s about two very broken characters who come from different sides of the spectrum of pain. Nate can’t feel pain and feels disconnected from humanity because of it. Sherry uses pain as a way to feel connected to life and to remind herself that she’s alive. When these two characters meet, they have instant chemistry, but then they’re torn apart until they ultimately sacrifice for one another. That’s what this story is about at the end. Nate’s not just saving Sherry. Sherry is saving Nate.”
DAN BERK & ROBERT OLSEN
After meeting as roommates during their freshman year at NYU, Dan Berk and Robert Olsen quickly bonded over their mutual love for genre films. They began honing their craft in commercial work, music videos, and comedy sketches, developing a distinct visual style and a knack for blending suspense with dark humor.
Their feature filmmaking journey began with BODY (2015), a minimalist psychological thriller that gained attention on the festival circuit before securing a limited theatrical release through Oscilloscope. This was followed by The Stakelander (2017), a sequel to Jim Mickle’s cult vampire film Stake Land, which further solidified their ability to work within established genre frameworks while injecting their own voice.
In 2018, they wrote and directed VILLAINS, a darkly comedic thriller starring Bill Skarsgård, Maika Monroe, Jeffrey Donovan, and Kyra Sedgwick. The film premiered at the 2019 South by Southwest Film Festival to strong reviews and was later released theatrically by Gunpowder & Sky, earning praise for its sharp writing and unpredictable twists.
Continuing their momentum, Berk and Olsen directed Significant Other (2022), a sci-fi thriller starring Maika Monroe and Jake Lacy. Released by Paramount+ to critical acclaim, the film showcased their ability to blend intimate character drama with high-concept storytelling.
Most recently, they directed the action-comedy Novocaine starring Jack Quaid and Amber Midthunder, set for a Spring 2025 theatrical release by Paramount Pictures.
Throughout their careers, Berk and Olsen have demonstrated a keen ability to subvert genre conventions while maintaining a deep appreciation for classic horror, thriller, and sci-fi storytelling. Their films are marked by tension, sharp dialogue, and an ever-present sense of unpredictability, positioning them as two of the most exciting voices in modern genre filmmaking.
LARS JACOBSEN
Lars Jacobson is the Writer and an Executive Producer of the upcoming Paramount movie NOVOCAINE, as well as the Executive Producer of the current Peacock series FIGHT NIGHT, starring Kevin Hart and produced by Will Packer. Lars has also written and produced several podcasts under and overall at iHeart Media, including WHEEL WOMAN and FODOR’s GUIDE TO ESPIONAGE, and recently had his first graphic novel THE HORROR published by Dark Horse Entertainment.
by Daniel Dercksen·Comments Off on Black Bag – A gripping tale of passion, deception and betrayal
The idea for Black Bagfirst occurred to screenwriter David Koepp while he was doing research for the first chapter of the blockbuster Mission: Impossible franchise. He interviewed several intelligence operatives on background and found himself fascinated by their personal lives. “All the spycraft stuff was very cool, but I learned more than I ever expected about the people,” he says. “One woman told me that her job made it impossible for her to sustain a relationship. A line in the movie was inspired by my conversations with her. ‘When you can lie about everything, how do you tell the truth about anything?’”
Since they first met over 30 years ago, Steven Soderbergh and David Koepp have become two of the most successful filmmakers in Hollywood, with a string of critical hits and commercial blockbusters that has rarely been matched. Their latest film, Black Bag, the third time they have teamed up as director and writer, respectively, is an unconventional spy drama that takes audiences behind the scenes of a top-secret search for a double agent and into the personal lives of two elite espionage operatives, who are also passionately in love.
The key to their successful collaborations is what Soderbergh describes as the same amount of healthy respect and disrespect for each other. “David is obviously very good at his job and I think he generally likes my directing,” he says. “Knowing that, we’re comfortable being honestly critical with each other. Neither of us feels any need to obfuscate.”
That idea for Black Bag stuck with Koepp
“Think about it,” he says. “If you want to have an affair, it couldn’t be easier. You just say, ‘I’ll be gone for three days and you can’t ask me where I’m going because you don’t have clearance.’ You can’t trust people and people can’t trust you. For George and Kathryn, the confidential information they can’t share goes into what they call their ‘black bag.’”
Soderbergh is always looking for a script that is intelligent and has the potential to be a star-driven, commercial movie. “I love that it’s smart, like so many of David’s scripts,” he says. “And I want as many people as possible to see my work. Black Bag seemed to be the same kind of opportunity that the Ocean’s films presented.”
One of Soderbergh’s best qualities as a director is his decisiveness, in Koepp’s eyes. “Otherwise, you could drown in possibilities. He’s also not afraid of contradictions. In the world of espionage, everything’s ambiguous. Everything’s a puzzle.”
The most significant change Soderbergh suggested during development was moving the story from the U.S. to the U.K., where the main characters are all employed by the NCSC. A division of the country’s Government Communications Headquarters (GCHQ), the NCSC focuses on intelligence drawn from technology as opposed to their partners MI5 and MI6 (the latter famously the home of James Bond), which gather information from people. “It just felt like a fresher location for this story, if only because there seem to be so many series and movies set in the American intelligence world,” he says. “London is a city I find very cinematic. David agreed to that.”
As the film begins, George is given a list with five names on it, all of whom are suspected of being the traitor. All of them come from the agency’s most elite ranks. “Each of them is aware of Severus,” says Soderbergh. “Each of them has the security clearance that allows them access. There’s nobody else that knows about it. They are the suspects simply because they have knowledge of it.”
“There is a traitor high up in the organization,” adds Koepp. “Nobody’s above suspicion. Remarkably, one of the suspects is Kathryn. That’s a story I hadn’t seen. I wanted to know how two people who are supremely devoted to each other might deal with that.”
Both partners remain elusive, perhaps even mysterious to each other at times, which feeds their passion. “It is an interesting context in which to explore the idea of betrayal,” the director says. “The source of most conflict in the world is somebody feeling they have been betrayed or that a trust has been broken. In this situation, both main characters hold a kind of get-out-of-jail-free card because not only are they not obligated to share everything, in some cases they are forbidden to.”
The center of the conspiracy that George has been asked to investigate is Severus, a piece of malware with the ability to completely destabilize a nuclear facility. “Severus is a bit of dirty tricks that the agency wants kept under wraps,” explains Koepp. “In fact, many countries have already developed destructive software that can be introduced into an opponent’s infrastructure with devastating results. Perhaps most famously, a worm called Stuxnet was introduced into Iranian nuclear reactors and caused some of their components to fail.”
Conventional political thrillers often place a potential large-scale incident at the center of the story, as Soderbergh points out. “Severus functions as an inciting incident, but more importantly, it’s a way to talk about what you do if you think your spouse is violating the unspoken agreement that you made with each other,” he adds.
Koepp readily admits that spy movies are among his favorite genres to write. “People are lying,” he says. “The stakes are astronomical. There’s nothing more fun to write than that. We have all the action, suspense and tension that audiences want from a spy story, plus characters that are compelling and layered.
At times, Black Bag becomes more like Who’s Afraid of Virginia Woolf? than Mission: Impossible. That’s a big part of what audiences will respond to. It brought me back to some of the great 1970s films like Klute and All the President’s Men, which were steeped in paranoia and deceit. The feeling of being lied to was very strong in that era and it’s pretty strong in this story as well.”
Fassbender and Blanchett are authentic movie stars at the top of their professions, in Koepp’s opinion
“Both Michael and Cate bring exceptional acting skill, which is easy to say, but difficult to find,” he notes. “They both have a powerful understanding of screen acting and how to do more with less. George’s job is to withhold, to be steely. Michael’s performance is a masterpiece of minimalism. Cate’s role is much more expressive, but you often wonder what’s really going on behind her eyes.”
Soderbergh worked with Fassbender on the 2011 film Haywire and had wanted to work with him again for years. “He’s always under consideration. I knew he wouldn’t be afraid to play the interiority of George. He burrowed in deep while creating a calm surface that masks a lot of turbulence. Michael can imply a great deal without being flashy.”
The actor was equally eager to work with Soderbergh again, Fassbender says. “I read the script and said I’m in. We talked about details like what kind of spectacles George would wear and that he might have a stainless-steel kitchen. George is a very traditional, old-school character and quite an obsessive guy, so the small things were very important.”
Kathryn is a character that requires a bit of old-fashioned Hollywood glamour in addition to extraordinary acting skills. “Cate just has both these qualities,” says Soderbergh. “Over the years, she’s always kept in touch to find out if there is anything we might work on together, which I’m flattered by. When there is, she gets it immediately.”
Fassbender says that Blanchett took a note from the script to heart that is essential to the character. “It said Kathryn is the head of the table, wherever she sits. But Cate also brings something that I didn’t see on the page. There’s a lot of ambiguity in her performance. Kathryn has built a sturdy exterior wall even for George, but there is vulnerability within her as well. As their colleague Freddie says, the one thing that you can count on is that they’ll do anything for one another.”
Black Bag marks Blanchett’s third go-round with Soderbergh. She says she did not even read the script before saying yes to it. “I just said, ‘Who am I playing?’ It was written by David and directed by Steven.
That’s all I needed to know. Steven’s got amazing panache and range as a filmmaker. He doesn’t stay in the same lane. He understands the outsider’s perspective these characters have, the way they can move almost panther-like through the world.
“David knows how to make great, propulsive narrative dramas that are also really fun,” she continues. “He understands how to play with audience expectations in a delicious way, and then he delivers something even more satisfying than what you were expecting.”
The script did not disappoint her. “Black Bag has a truly satisfying thriller aspect,” she believes. “But it doesn’t use any tricks or withhold information to get your attention. The audience learns things quickly and in unexpected ways. It’s also a psychological study that will make you want to fall into their world. The marriage was something I had not seen before. George and Kathryn would literally kill for each other, which is a good premise for a movie, particularly one dealing with spies.”
The filmmakers were able to reach out directly to the real-life spies at GCHQ/NCSC’s parent organization, who agreed to help with some unclassified elements of their trade. Some cast members, including Fassbender, Burke, Abela, Brosnan and Page, met with real-life GCHQ and NCSC operatives, most of whom could only give their first names — assuming those names were even real.
Fast-moving, clever and surprisingly funny, Black Bag should first and foremost be entertaining, according to its creators
“When Cate saw the movie, she emailed me,” remembers Soderbergh. “The first three words were, ‘That was FUN!’ It would be great if the audience has fun watching it. To be good and to be smart and also fun is a worthy goal — but nowhere near as easy as it sounds. A lot of people worked hard in the aid of creating something that we thought would be really entertaining. That was always our goal.”
Koepp hopes it piques the curiosity of moviegoers. “I’d love people to come out of this movie wondering if the spy world really is like this,” he says. “Myself, I have reason to believe that it is. Anybody who has ever worked in a group situation knows that the personal lives of the people involved will bleed all over it. Then of course we all will want to talk about things like who’s sleeping with whom.”
Soderbergh emphasizes the importance of having what he calls a brain trust to collaborate with.
“You need people who will speak openly and ask questions,” he says. “I’ve been working with producer Greg Jacobs for 30 years. Casey Silver, who is also a producer, was one of the first people I met in the film business. He gave me my first screenwriting job.”
Working alongside Soderbergh is always an exciting creative experience for the producers. “Steven’s natural inclination is to be thoughtful and considerate,” says Silver. “He is totally prepared, technically proficient and completely reliable. His confidence, born of experience, allows for a productive back and forth to solve any issues. He engages gracefully and effectively with both cast and crew.”
Jacobs agrees enthusiastically, adding “Black Bag is a smart, sleek, entertaining and extraordinarily well acted film. With the breadth of experience that Steven has and the working history that we have, everything went smoothly — as usual.”
People like Jacobs and Silver help Soderbergh make sure that the ideas behind the film become the best possible version of themselves, he explains. “There is always a lot of trial and error that grows out of conversations among the brain trust and keeps improving the work and making it clearer,” the director says. Whenever I complete a film, I’m reminded of where we started and how much movement came because of those kinds of conversations. I’d rather not feel like I did it all myself. I want to know I’ve considered everything, pursued every avenue to improve it.”
STEVEN SODERBERGH (Director, Cinematographer, Editor) is a writer, director, producer, cinematographer and editor. This marks his third collaboration with screenwriter David Koepp, following the 2022 thriller KIMI and this year’s horror film Presence. In 2001 he won the Academy Award for Best Director for Traffic, with a rare second nomination in the same year (for Erin Brockovich). In 2013 he won the Emmy for Outstanding Directing for his HBO film “Behind the Candelabra.” Soderbergh previously received an Oscar nomination for Best Original Screenplay for sex, lies, and videotape, his feature film directorial debut. That film also won the Palme d’Or at the 1989 Cannes Film Festival.
Up next for Soderbergh is the comedy The Christophers, starring Ian McKellen and James Corden. The film is now in preproduction.
Soderbergh’s previous directorial credits include Magic Mike and Magic Mike’s Last Dance, No Sudden Move, Let Them All Talk, The Laundromat, High Flying Bird, Unsane, Logan Lucky, Side Effects, Haywire, Contagion, And Everything Is Going Fine, The Informant!, The Girlfriend Experience, Che, the Ocean’s trilogy, The Good German, Bubble, Equilibrium, Solaris, Full Frontal, The Limey, Out of Sight, Schizopolis, Gray’s Anatomy, The Underneath, King of the Hill and Kafka.
Also a prolific producer, Soderbergh’s film credits in this capacity include documentaries Citizenfour, Naqoyqatsi, Is That Black Enough for You?!?, The Exiles, The King, Roman Polanski: Odd Man Out, Roman Polanski: Wanted and Desired and Who Is Bernard Tapie? as well as scripted features Divinity, Bill & Ted Face the Music, The Report, Pu-239, Beats, Ocean’s Eight, Pleasantville, Magic Mike XXL, Wind Chill, Criminal, We Need to Talk About Kevin, Rebecca H. (Return to the Dogs), Keane, Solitary Man, I’m Not There, Far From Heaven, Michael Clayton, Good Night and Good Luck, Confessions of a Dangerous Mind, A Scanner Darkly, Rumor Has It…, Syriana, The Jacket, Insomnia, Welcome to Collinwood, Once Within a Time, The Daytrippers and Suture.
For the small screen, Soderbergh helmed the HBO (now Max) series “K Street,” “Mosaic” and “Full Circle” as well as web series “Command Z” and the Cinemax series “The Knick.” In addition, Soderbergh has produced or executive produced the Max unscripted series “Finding Magic Mike,” the Starz series “The Girlfriend Experience” (inspired by his own 2009 film), “Now Apocalypse” and “Leavenworth,” the Netflix limited series “Godless,” Douglas McGrath’s HBO documentary “His Way,” the Amazon series “Red Oaks” and the 2021 Academy Awards ceremony.
DAVID KOEPP (Writer, Executive Producer) has written or co-written the screenplays for more than 30 films, including notable titles such as Apartment Zero, Bad Influence, Death Becomes Her, Carlito’s Way, Jurassic Park, The Paper, Mission: Impossible, The Lost World: Jurassic Park, Snake Eyes, Panic Room, Spider-Man, War of the Worlds, Indiana Jones and the Kingdom of the Crystal Skull, Angels & Demons and Inferno.
Most recently, Koepp penned two other films directed by Steven Soderbergh, thriller Kimi and the haunted house movie Presence. Gareth Edwards’ Jurassic World: Rebirth will be released in July. Also coming this year is the thriller Cold Storage, which Koepp adapted from his debut novel. His second novel, Aurora, was published by HarperCollins in 2022 and his story “Yard Work,” narrated by Kevin Bacon, was released by Audible Originals in 2020.
As a director, Koepp’s feature credits include The Trigger Effect, Stir of Echoes, Secret Window, Ghost Town, Premium Rush and You Should Have Left. Ghost Town and Premium Rush were co-written with the enigmatic John Kamps. Koepp was born in Pewaukee, Wisconsin, and graduated from UCLA’s film school in 1986.
by Daniel Dercksen·Comments Off on The Significance of Master Harold … and the Boys
“I am deeply moved by the way the film captures the essence of the play. The performances bring to life the emotional depth and complexity of the characters, and the visual storytelling adds a new dimension to the narrative. It is a powerful reminder of the enduring impact of the story and its relevance to our ongoing struggles for justice and equality,” Athol Fugard said of Master Harold … and the Boys, a powerful and poignant exploration of the human condition, set against the backdrop of one of the darkest periods in South African history.
Athol Fugard was inspired to write Master Harold…and the Boys based on an incident from his own youth. The play is partly autobiographical, drawing from Fugard’s experiences growing up in South Africa during the apartheid era. Fugard’s relationship with Sam, a black man who worked for his family, served as the foundation for the story. The play explores themes of racism, friendship, and the complexities of human relationships in a racially divided society.
“I wrote Master Harold…and the Boys as a way to confront the pain and injustice of apartheid, using my own experiences to shed light on the human cost of racial segregation. The play is a testament to the strength of human relationships and the enduring power of love and understanding in the face of adversity,” said Fugard.
The screenplay for the 2010 film adaptation of Master Harold…and the Boys was written by Nicky Rebelo. The film was directed by Lonny Price, who had played Hally in the original Broadway cast.
The film stars Freddie Highmore, Ving Rhames, and Patrick Mofokeng. The story is set in 1950s South Africa and revolves around Hally, a white South African adolescent, and his complex relationships with two black waiters, Sam and Willie. Seventeen-year-old Hally has a strained relationship with his biological father, who is a violent alcoholic. Hally finds solace and guidance in his friendships with Sam and Willie, who work at his mother’s tea room. Sam, in particular, serves as a positive role model for Hally, exposing him to new experiences and teaching him valuable life lessons.
“To know nothing about yourself is to be constantly in danger of nothingness, those voids of non-being over which a man walks the tightrope of his life.” Athol Fugard.
Master Harold…and the Boys is a significant work for several reasons, both in the context of its historical background and its thematic depth
Written by Athol Fugard during the apartheid era, the play exposes the harsh realities of racial segregation and the profound impact it had on individuals and relationships. The setting of the play, a tea room in 1950s South Africa, serves as a microcosm of the larger societal tensions of the time.
The play directly addresses the systemic racism entrenched in South African society. Through the interactions between Hally, a young white boy, and Sam and Willie, two black men, Fugard illustrates the deeply ingrained prejudices and the societal hierarchies that were prevalent.
At its core, the play is a poignant exploration of friendship. The bond between Hally and Sam is complex, reflecting both deep affection and painful betrayal. The play examines how societal pressures and ingrained biases can fracture even the strongest of relationships.
Hally’s character is a portrayal of a young boy caught between the innocence of youth and the corrupting influences of the racist society he is growing up in. His journey is a poignant reminder of how societal norms can shape and sometimes distort a person’s identity and values.
The play is partly autobiographical, drawing from Fugard’s own experiences growing up in South Africa. This personal connection adds an authentic and heartfelt layer to the narrative.
Fugard’s use of dialogue is powerful, with every word carefully chosen to reflect the tension and the emotional landscape of the characters. Symbolic elements, such as the kite-flying episode, serve to underscore the themes of hope and shattered dreams.
Since its premiere in 1982, the play has received critical acclaim and has been studied widely for its unflinching portrayal of apartheid and its human cost. It remains a staple in discussions about South African literature and theatre.
Master Harold…and the Boys is a poignant reminder of a painful past and a call to reflect on the ongoing struggles for equality and justice. It highlights the transformative power of theatre to challenge, educate, and inspire.
Athol Fugard (1932 – 2025)
Athol Fugard, born Harold Athol Lanigan Fugard on June 11, 1932, in Middelburg, Cape Province (now Eastern Cape), South Africa, was a renowned playwright, novelist, actor, and director. He is widely regarded as South Africa’s greatest playwright and a significant figure in the world of theatre.
Early Life and Education
Fugard’s mother, Marrie (née Potgieter), was an Afrikaner who operated a general store and later a lodging house. His father, Harold Fugard, of Irish, English, and French Huguenot descent, was a former jazz pianist who had become disabled. In 1935, the family moved to Port Elizabeth, where Fugard attended primary school at Marist Brothers College. He later studied Philosophy and Social Anthropology at the University of Cape Town but dropped out in 1953, a few months before his final examinations.
Career
Fugard’s career began with his early plays, “No-Good Friday” and “Nongogo,” but it was “The Blood Knot” (1961) that established his reputation. This play, dealing with brothers who fall on opposite sides of the racial color line, was the first in a sequence Fugard called “The Family Trilogy.” The series continued with “Hello and Goodbye” (1965) and “Boesman and Lena” (1969).
Fugard’s works often addressed the injustices of apartheid, and he insisted on producing his plays in venues where audiences were not segregated. His notable works include “Sizwe Banzi Is Dead,” “The Island,” “Statements After an Arrest Under the Immorality Act,” “A Lesson from Aloes,” “Master Harold…and the Boys,” and “The Road to Mecca”.
Impact and Legacy
Fugard’s commitment to social justice extended beyond theatre. He used his platform to bring attention to the atrocities of apartheid and insisted on inclusivity and equality in his productions. His works have been adapted into films, including “Boesman and Lena,” “Master Harold…and the Boys,” “Tsotsi,” and “The Road to Mecca”.
Throughout his illustrious career, Fugard received numerous accolades, including the Order of Ikhamanga in Silver from the South African government in 2005 and a Tony Award for lifetime achievement in 2011. The Fugard Theatre in Cape Town, opened in 2010, stands as a tribute to his contributions to the arts1.
Personal Life
Fugard was married to Sheila Meiring Fugard, a novelist and poet, from 1956 until their divorce in 2015. He later married Paula Fourie in 2016. Fugard passed away on March 8, 2025, at the age of 92.
Athol Fugard’s legacy as a playwright and activist continues to inspire generations. His works remain a powerful testament to the human spirit’s resilience and the enduring fight for justice and equality.
by Daniel Dercksen·Comments Off on A visual guide to The Language Of Film: How To Read A Film
Film, like speech and writing, has a unique language
Writing, speech, and visual images all communicate within their own particular spheres.
Film Is A Visual Art
Visual art expresses its subjects in space. The art in visual art consists of how those subjects are composed in space. A painter composes with colour, shapes, and tones. A sculptor composes with shapes and spaces. A photographer composes with real and sometimes unreal objects of light. The visual side of the film is primarily in the hands of three members of the production team:
Production Designer/ Art Director: Responsible for designing sets and the total visual concept of the film.
Cinematographer: Who decides the lighting, and in some cases the composition of the shot to be photographed.
Director: Who supervises the mechanics of filming.
Film Is Also A Temporal Art
A temporal art expresses its subjects in time. The art in a temporal art consists of how those subjects are composed in time. A playwright composes with characters’ behaviour and dialogue. A poet composes with the juxtaposition of words and phrases. A novelist composes with dialogue and descriptions of words and phrases. The temporal side of the film is the responsibility of:
Director: Who must keep in mind how each action relates to the actions that come before and after it.
Film Editor: Who puts the pieces of film into interesting and coherent rhythms. His work often influences the structure of the scenes and may change the structure of the film.
Screenwriter: Who works out the temporal organisation of the film, which normally precedes the visual organisation. Working from the screenplay, the art director, director, and cinematographer then create the visual organisation.
The Art Of Collaboration
The art of collaboration in filmmaking is essential for creating compelling and memorable films. Effective communication among team members ensures that everyone understands the vision and goals of the project. Building trust and respect among team members fosters a positive working environment. A unified vision helps keep everyone on the same page. It’s essential for the director and key creatives to clearly articulate the desired outcome and ensure that all team members are aligned with this vision. Filmmaking involves balancing different perspectives and ideas. By embracing the Art Of Collaboration, filmmakers can create a cohesive and dynamic team that produces exceptional films.
Have a look at this terrific scene from Stanley Kubrick’s The Shining and see how he masterfully manipulates the senses through visual storytelling
Visual dynamics are important in Novels as well
Here’s how J.R.R Tolkien’s used Visual Dynamics in his novel The Hobbit:
Now if you wish, like the dwarves, to hear news of Smaug, you must go back again to the evening when he smashed the door and flew off in rage, two days before.The men of the lake-town Esgaroth were mostly indoors, for the breeze from the black East and chill, but a few were walking on the quays, and watching, as they were fond of doing, the stars shine out from the smooth patches of the lake as they opened in the sky.
J.K. Rowling –Harry Potter and the Sorcerer’s Stone
Harry had never even imagined such a strange and splendid place. It was lit by thousands and thousands of candles that were floating in midair over four long tables, where the rest of the students were sitting. These tables were laid with glittering golden plates and goblets. At the top of the hall was another long table where the teachers were sitting. The hundreds of faces staring at them looked like pale lanterns in the flickering candlelight. Dotted here and there among the students, the ghosts shone misty silver.
F. Scott Fitzgerald –The Great Gatsby
In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon, I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motor-boats slit the waters of the Sound, drawing aquaplanes over cataracts of foam.
The Visual Dynamics of Film
Films are created in bits and pieces and put together in an order that the filmmaker hopes will make sense to the viewer. When the filmmaker begins to create the film itself, he or she has a choice of a great variety of techniques to tell the story or communicate the ‘bits and pieces’.
Camera Work
The basic element in all films is the shot. This is a single piece of film that may be as short as one frame or as long as the entire film. The shot continues until the filmmaker decides to change to another shot. In a finished film, the shot becomes a scene. Scenes are the building blocks of sequences, which make up the entire film. They can be compared to sentences which make up paragraphs that create an entire story. The filmmaker uses different kinds of shots to create variations. An establishing shot often comes at the beginning of a sequence to orient the audience with the general surroundings. Other shots are the medium shot, the close shot, the point of view shot. These different shots are used to create various feelings and moods in the audience.
Another series of shots used by filmmakers involves camera angles. There are three basic angles: High-angle shots look down on the subject; low-angle shots in which the camera looks up; and flat-angle shots or eye-level shots.
Here’s Terrence Mallick’s Tree of Life, where the film becomes a meditative visual experience.
The camera can also move; there have been several developments in the area: the steadicam, the fly-cam; remote head cameras and different cranes.
Here’s the flight scene from Man Of Steel, capturing the thrill, excitement and adventure of Superman’s first flight, something we all dream about.
Optical Effects
Filmmakers use optical effects to influence how audiences see films.
Fade in: At the beginning of a new segment, the scene starts out black and grows brighter until it reaches the proper exposure.
Fade out: At the end of several sequences, telling us that a segment has ended; the image grows darker until it is black.
Dissolve: A fade-out and fade-in overlapped to create the image that appears to mix one into the other. This is used to show the passage of time from one scene to the next.
Slow-motion: This is used to describe details better, to emphasise violence and action sequences, to show the beauty of a subject and to highlight the emotional impact of a scene.
Wipes: When one scene ‘wipes’ or moves another scene off the screen.
Freeze frame: To emphasise a particular frame or image.
Swish pan: The camera pans rapidly from one character to another in a scene, creating rapid pacing and increasing tempo.
Here’s the classic fight scene from The Matrix Reloaded, using optical effects to plunge us into the action.
Point Of View (P.O.V)
The filmmaker, similar to the author of a novel, can use various points of view.
In Witness, an 8-year-old Amish boy whose father has just died is exploring the Philadelphia Amtrack station. We see him glance towards his mother, waiting on a bench, an unfamiliar sight in her black coat and bonnet. Then the camera moves at child’s-eye level, letting us see what the boy sees. We ‘walk’ as he walks, looking at a gigantic gold-covered statue. Next, the camera cuts to an overhead shot, looking down from high up the rafters, at the statue and the small boy. We, the audience, become involved and identify with the boy.
In Road to Perdition, Sam Mendes brilliantly uses point of view to accentuate a young boy’s realisation that his father is a killer.
Editing
Next to the actual photography, editing shots into the order a filmmaker wants is perhaps the most important part of creating a film. A group of scenes that are edited together make up the sequence. The cut is used to change our attention from one scene to another. The joining of one scene with another scene, how scenes follow one another, may seem a simple notion, but the cut in a film is one of the most powerful of the filmmaker’s techniques.
Creative editing involves cutting scenes so the action flows smoothly.
Matching action: We see a character walk to a door, open it, and start to go through to the other side. The viewpoint changes to inside the room, and we see the character continue on into the room. The action is smooth. There is one continuous flow of movement from outside to inside.
Montage: Each of the scenes passes quickly, but each scene is connected by similar ideas. One classic montage occurs in Citizen Kane. Orson Welles and Ruth Warrick, playing husband and wife, start the sequence by having breakfast at opposite ends of a conventionally sized dining table. As the sequence progresses, the table becomes longer and more stretched out. By the end of the scenes, we see the couple reading separate newspapers and obviously paying no attention to each other. The montage gives viewers a quick understanding of the couple’s growing indifference, to tell without dialogue the reason behind the marriage break-up.
Blind Editing: When the editor joins to scenes so that you cannot see where the cut is made. In The Color Purple several scenes are masterfully linked with visual and sound-editing.
The editor must be aware of the rhythm, tempo and pacing of the film.
Rhythm: The beat that we feel as we see the edited images pass by.
Tempo: The rate of the rhythm, or how fast the rhythm moves.
Pacing: The various changes in tempo and rhythm that take place in the film.
The film editor uses two basic techniques:
Cut-ins: Some detail of the main action is cut into the middle of another scene. For instance, a medium shot shows several characters talking. Suddenly one of them steps back in terror. At this point there is a cut-in of the actor’s face. The cut-in is also a close-up.
Cut-away: Cuts to another bit of action which involves the first scene. In the same shot as in the example above, one of the characters turns and looks off screen in terror. What she sees is what we see next – a cut-away to a man entering a room, holding a gun.
By juxtaposing bits and pieces of film that have been carefully planned and shot, a film editor can do all sort of tricks.
Here’s the classic shootout in Brian de Palma’s The Untouchables, an ultimate feat in editing to manipulate the physical and emotional action.
Lighting
Lighting placed low can give actors a sinister look. If it is dimmed it may make the same actors look depressed or sad. A shadow of a knife across a face and the shadow of a murderer stalking his victim are examples of shadow techniques.
Stanley Kubrick filmed Barry Lyndon using only natural light, drawing us into the world of the story.
Colour
Filmmakers can use the intensity or brightness of colour, as well as the lack of colour to paint a story.
Colour is a powerful tool in filmmaking, influencing the visual storytelling and emotional impact of a film.
Setting the Mood and Atmosphere – Colour can create a specific mood or atmosphere in a scene. For example, warm colours like red and orange can evoke feelings of warmth, passion, or tension, while cool colours like blue and green can create a sense of calm, sadness, or detachment.
Conveying Emotions – Colour can be used to represent the emotions of characters or the overall emotional tone of a scene. For example, a character experiencing anger might be surrounded by red hues, while a character in a melancholic state might be depicted in muted or desaturated colours.
Enhancing Visual Storytelling – Colours can be used to highlight important elements in a scene, guide the viewer’s attention, and enhance the storytelling. For example, a bright colour might be used to draw attention to a key object or character.
Symbolism and Themes – Colours often carry symbolic meanings and can reinforce themes within the film. For example, the use of white might symbolize purity or innocence, while black might represent evil or mystery. Filmmakers can use colour symbolism to add depth and layers of meaning to the narrative.
Creating Visual Contrast – Contrasting colours can create visual interest and highlight differences between characters, settings, or time periods. For example, a character dressed in bright colours might stand out against a dull background, emphasizing their uniqueness or importance.
Establishing Time and Place – Colour palettes can be used to distinguish different time periods, locations, or realities within a film. For example, a sepia tone might be used to represent a historical setting, while vibrant colours might indicate a futuristic world.
Continuity and Cohesion – Consistent use of colour can help create a cohesive visual style and enhance the overall aesthetic of the film. A carefully chosen colour palette can create a sense of unity and harmony throughout the film.
Eliciting Audience Reactions – Colour can evoke specific psychological responses from the audience. For example, the use of red can create a sense of urgency or excitement, while blue can have a calming effect.
Supporting Character Development – Colours can be used to represent a character’s journey or transformation. For example, a character might start the film dressed in dark, muted colours and gradually transition to brighter colours as they experience personal growth or change.
Creating Memorable Visuals – Striking use of colour can create iconic and memorable visuals that leave a lasting impression on the audience. Colourful and visually distinctive scenes can become iconic moments in film history.
Here’s the classic ‘girl with the red jacket’ scene from Steven Spielberg’s Schindler’s List, brilliantly showing the effect war has on children.
Composition
There is no rule in composition. Usually, the frame or image is composed so that it pleases the eye, emphasises something, or so that it will describe a tension between colours, shapes, and vertical and horizontal figures.
Composition in filmmaking is a fundamental aspect of visual dynamics, shaping how scenes are framed and presented to the audience. It involves the deliberate arrangement of elements within the frame to create a visually compelling and coherent image.
Examples of Effective Composition in Film
Wes Anderson: Known for his meticulous use of symmetry and color palettes, Anderson’s films like “The Grand Budapest Hotel” showcase precise and visually striking compositions.
Stanley Kubrick: Kubrick’s use of one-point perspective, as seen in “2001: A Space Odyssey” and “The Shining,” creates a sense of depth and visual impact.
Alfred Hitchcock: Hitchcock’s use of framing and leading lines, particularly in “Vertigo” and “Psycho,” guides the viewer’s eye and enhances suspense.
Composition is a powerful tool in filmmaking, allowing directors and cinematographers to craft visually engaging and emotionally resonant scenes. By mastering the principles of composition, filmmakers can create memorable and impactful visual storytelling.
Tim Burton is a master when it comes to composition. Here’s a scene from Sweeney Todd. Every frame is carefully composed to contribute to the theme of passion and desperation.
Sound
Sound design has become an integral part of filmmaking. With the development of sound design, filmmakers can fully involve audiences in the visual action.
Sound plays a crucial role in filmmaking, significantly impacting the audience’s experience and emotional engagement.
Setting the Mood – Sound design, including background scores, ambient sounds, and effects, helps set the tone and mood of a scene. For example, suspenseful music can create tension, while a serene soundtrack can evoke calmness.
Enhancing Realism – Natural sounds like footsteps, rustling leaves, or city noises contribute to the authenticity of the film’s environment. These sounds immerse the audience in the setting, making the experience more believable.
Supporting the Narrative – Dialogue is a primary means of conveying the story and character development. Clear and well-executed dialogue helps the audience understand the plot, motivations, and emotions of the characters.
Creating Emotional Impact – Music and sound effects can evoke strong emotional responses from the audience. A powerful score can amplify the emotional intensity of a scene, whether it’s joy, sorrow, fear, or excitement.
Guiding the Audience’s Focus – Sound can direct the audience’s attention to specific elements within a scene. For example, a sudden sound can draw attention to a particular action or object, enhancing the visual storytelling.
Building Atmosphere and World-Building – Sound design helps create a unique atmosphere and world within the film. For instance, the futuristic sounds in sci-fi films or the eerie ambiance in horror movies contribute to the overall world-building.
Supporting Transitions – Sound bridges can smoothly transition between scenes or sequences. Music or sound effects can help maintain continuity and flow, making the film more cohesive.
Reinforcing Themes and Motifs – Recurring musical themes or motifs can reinforce key elements of the story. For example, a character’s theme music can signify their presence or emotions, adding depth to the narrative.
Creating Immersion – Surround sound and spatial audio techniques can create a more immersive experience for the audience. These techniques make the viewer feel like they are part of the action, enhancing the overall impact of the film.
Adding Layers of Meaning – Sound can add subtext and layers of meaning to a scene. For example, the use of contrasting music can create irony or highlight underlying emotions that are not explicitly shown on screen.
In summary, sound is an integral part of filmmaking, contributing to the overall storytelling, emotional impact, and audience engagement. It works in harmony with visual elements to create a memorable and immersive cinematic experience.
What better example than the opening from Francis Ford Coppola’s Apocalypse Now, where sound and image collide
Special and Visual Effects
With the advent of more realism in films of the 90s, and especially computer-generated effects, Special Effects companies now take audiences where they have never been before.
Visual Effects (VFX)
Visual effects are created using computer-generated imagery (CGI) and other digital techniques to enhance or create scenes that cannot be achieved through traditional filming methods. VFX are often used to create fantastical elements, extend environments, or simulate complex actions.
Special Effects (SFX)
Special effects are practical effects created on set during filming, using physical methods rather than digital techniques. SFX include makeup, prosthetics, animatronics, pyrotechnics, and more. Special effects involve real physical elements, such as explosions, squibs, and fire. These effects are created and captured on camera, adding a sense of realism and tangibility. Mechanical effects include animatronics, puppetry, and mechanical rigs that create realistic movements and actions. These effects are often used for creatures, vehicles, and other dynamic elements. Stunt coordinators and performers use SFX to safely execute complex and dangerous actions, such as fight scenes, car chases, and falls. This adds excitement and authenticity to action sequences. Physical sets, miniatures, and props are created to enhance the visual storytelling. These tangible elements provide a sense of scale and detail that can be captured on camera.
Modern filmmaking often involves a combination of VFX and SFX to achieve the desired visual impact. This collaboration allows for the best of both worlds, blending digital and practical techniques to create visually stunning and immersive experiences.
Visual and special effects are integral to filmmaking, expanding the creative possibilities and enhancing the visual storytelling. By mastering these techniques, filmmakers can create memorable and impactful cinematic experiences
Watch this hilarious clip from Robert Zemeckis’ Death Becomes Her, where visual effects contribute to the delightful humour
Exposition as a Visual Dynamic
Exposition is usually, but not always achieved through dialogue; characters talk about what happened in order to establish the next direction in the storyline. Primary exposition is the telling and showing to the audience the time and the place of the story, the names and relationships of the characters, and the nature of the conflict.
Exposition, in the context of visual storytelling, is the technique used to convey background information about the characters, setting, and plot to the audience. It’s essential for providing context and helping the audience understand the story. While exposition is often delivered through dialogue or narration, it can also be conveyed visually, making it a powerful tool in filmmaking.
Visual Clues and Symbols -Using visual elements to provide information can be more engaging than traditional exposition. For example, showing a character’s worn-out shoes and cluttered room can hint at their struggles and personality without needing explicit dialogue.
Props and Set Design – The objects and environment around the characters can tell a lot about their history and situation. For instance, a room filled with family photos and mementos can convey a character’s attachment to their past and loved ones.
Costume and Makeup – A character’s appearance can provide insights into their background, status, and personality. For example, a character wearing an old, patched-up uniform might suggest they have been through many battles.
Montages – A sequence of images or scenes edited together can efficiently convey a significant amount of information in a short period. For example, a montage showing a character’s childhood, training, and journey can provide context for their current situation.
Flashbacks and Flash-forwards – Using visual flashbacks or flash-forwards can reveal crucial information about a character’s past or future. These sequences can be visually distinct, using different color palettes or styles to indicate the time shift.
Environmental Storytelling – The surroundings and setting can provide context and background information. For example, a post-apocalyptic world can be conveyed through desolate landscapes, destroyed buildings, and scattered remnants of civilization.
Character Actions and Behaviors – How characters interact with their environment and other characters can reveal important information. For example, a character’s hesitation before entering a particular location can suggest past trauma associated with that place.
Visual Metaphors – Using visual metaphors can convey complex ideas and themes. For example, showing a character trapped in a small, confined space can symbolize their feeling of being trapped in their life or circumstances.
Examples of Effective Visual Exposition in Film:
Up: The opening sequence of Pixar’s “Up” is a masterclass in visual exposition. Through a montage of images, it tells the entire life story of Carl and Ellie, their dreams, struggles, and love, all without a single word of dialogue.
Blade Runner 2049: The film’s set design, including the futuristic cityscape and decaying environments, provides rich context for the world and its social dynamics.
Mad Max: Fury Road: The visual storytelling in this film conveys the harshness of the post-apocalyptic world and the characters’ desperation through environmental details and character designs.
By using visual exposition effectively, filmmakers can create a more immersive and engaging experience for the audience. It allows for storytelling that is both subtle and powerful, making the information feel organic and integral to the visual narrative.
Here’s how Hitchcock uses Exposition in Spellbound (1954)
by Daniel Dercksen·Comments Off on The Significance of Babette’s Feast
Danish filmmaker Gabriel Axel not only directed Babette’s Feast but also wrote the screenplay. His dedication to faithfully adapting Karen Blixen’s novella for the screen played a crucial role in the film’s success. By taking on both roles, Axel ensured that his vision for the story was meticulously translated into a cinematic experience, capturing the depth, themes, and atmosphere of the original work.
Babette’s Feast is a beautiful and thought-provoking film based on a short story by Isak Dinesen, also known as Karen Blixen.
It tells the story of Babette Hersant, a French refugee who finds herself in a small, austere Danish village. Babette, a skilled chef, prepares a lavish feast for the villagers, which brings about unexpected transformations in their lives and relationships. The film features strong performances from its cast, with Stéphane Audran delivering a standout performance as Babette. The film als stars Birgitte Federspiel as Martine, and Bodil Kjer as Filippa as two elderly sisters who live a pious and austere life.
The film adaptation of Babette’s Feast was released in 1987. It has received wide acclaim and is considered a classic. Winning the Academy Award for Best Foreign Language Film in 1988, it was also honored with several other prestigious awards and nominations, solidifying its status as a significant work in cinematic history.
Gabriel Axel was also motivated by a desire to showcase Danish cinema on the international stage. The success of Babette’s Feast contributed to the recognition and appreciation of Danish filmmaking and opened doors for other Danish films in the global market. By drawing from these inspirations, Gabriel Axel created a film that not only stayed true to Blixen’s novella but also elevated it to new heights through the power of cinema.
Axel’s direction, along with the cinematography by Henning Kristiansen, creates an atmospheric and immersive experience. The film’s use of lighting, composition, and pacing effectively conveys the story’s mood and themes.
A deeply moving and thought-provoking film that offers a unique perspective on the role of food in our lives.
The film’s depiction of the feast is a testament to Axel’s appreciation for culinary art. He understood the significance of food as a medium for storytelling and transformation.
The film stands out among food-themed films for its unique blend of culinary artistry and profound storytelling. Set in a remote Danish village in the 19th century, the film has a quiet, contemplative atmosphere that reflects the austerity and simplicity of the villagers’ lives.
Exploring themes of sacrifice, grace, and the transformative power of art and food, it delves into the spiritual and emotional impact of a shared meal. The characters undergo significant emotional and spiritual growth as a result of the feast. Babette’s generosity and skill challenge their preconceived notions and bring about unexpected changes. The film highlights the meticulous preparation and artistry involved in creating a lavish French meal. It showcases the power of food to convey love and appreciation.
The film is known for its exploration of themes such as sacrifice, grace, and the power of art and food to bring people together. It’s a deeply moving and visually stunning work that has resonated with audiences since its release,
Set in a remote 19th-century Danish village, the film offers a glimpse into a different time and place, appealing to those who appreciate historical and cultural narratives.
The movie invites viewers to reflect on philosophical and spiritual questions, making it a thoughtful and intellectually stimulating experience.
The film, like the novella, explores themes of generosity, transformation, and the interplay between the spiritual and the sensual. It delves into the cultural and religious dynamics of the village, and how Babette’s feast becomes a catalyst for change and renewal.
Gabriel Axel, born Axel Gabriel Erik Mørch on April 18, 1918, in Aarhus, Denmark, was a renowned Danish film director, actor, writer, and producer. He spent much of his childhood in Paris before returning to Denmark at the age of 17 following his family’s economic collapse. Axel initially trained as a cabinet maker before being admitted to the acting school at the Royal Danish Theatre in Copenhagen in 1942.
After graduating in 1945, Axel returned to France, where he spent five years on stage in Paris, including at the Théâtre de l’Athénée under theatre director Louis Jouvet. He returned to Denmark in 1950 and broke through as a stage director in the early 1950s. Axel started directing for television in 1951 and directed numerous television dramas over the years.
His debut feature film, “Nothing But Trouble” (1955), was highly praised, and he gained further recognition with the TV film “A Woman Not Wanted” in 1957. Axel directed a variety of films, including comedies, farces, and the epic Nordic saga “The Red Mantle” (1967), which was selected for competition at the Cannes Film Festival.
Gabriel Axel is best known for his masterpiece “Babette’s Feast” (1987), which he wrote and directed. The film won the Academy Award for Best Foreign Language Film in 1988 and received widespread acclaim. Axel continued to work on various projects, including directing for French television, until his retirement. Gabriel Axel passed away on February 9, 2014, in Copenhagen, Denmark, at the age of 95.
by Daniel Dercksen·Comments Off on The Significance of True Lies
“I wanted to make a film that was a rollercoaster ride of action and comedy, something that would keep audiences on the edge of their seats while also making them laugh,” says writer-director James Cameron of True Lies, masterfully creating a unique hybrid genre.
True Lies stands out as a significant film for its innovative genre blending, cultural impact, and exploration of relatable themes. It’s a movie that has left a lasting legacy in the world of cinema.
James Cameron was inspired to make the film True Lies after Arnold Schwarzenegger introduced him to the 1991 French spy farce La Totale! Cameron and Schwarzenegger wanted to create an American version of the film, with the idea of blending the action and intrigue of a James Bond movie with the complexities of modern marriage.
“When Arnold brought me the French film La Totale!, I saw the potential to create an American version that combined thrilling action with the dynamics of a modern marriage. It was an opportunity to explore the balance of a spy’s life with family responsibilities.”
Cameron described True Lies as a metaphor about modern marriage, exploring the balance between a spy’s double life and familial duties.
“At its core, True Lies is about the balance between a spy’s double life and familial duties. It’s a metaphor for modern marriage, exploring the complexities of trust and communication.”
The collaboration between James Cameron and Arnold Schwarzenegger, two titans of the action genre, brought considerable star power and drew a wide audience, helping to cement the film’s legacy.
James Cameron’s ability to excel in different genres, from the high-octane action of True Lies to the epic romance and tragedy of Titanic, demonstrates his exceptional storytelling and directorial skills. His dedication to pushing the boundaries of technology and visual effects has left a lasting impact on the film industry.
True Lies holds significance in several aspects:
The film masterfully combines elements of action, comedy, and drama, creating a unique hybrid genre. This blending of genres helped pave the way for future films that mix action with humor and personal storytelling.
Released in 1994, True Lies was notable for its high production value and groundbreaking special effects. It set new standards for action films of its time, influencing subsequent blockbuster movies. Cameron pushed the boundaries of visual effects, incorporating cutting-edge technology to create spectacular action sequences.
The seamless blend of high-octane action with sharp comedic elements was relatively rare at the time. This fusion set a new benchmark for action-comedy films, influencing future productions.
The movie delves into themes that resonate with many, such as the complexities of marriage, the struggle to balance work and family life, and personal transformation. These themes add depth to the film, making it more than just an action spectacle.
Both Harry and Helen undergo significant character growth. Harry learns to prioritize his family and be more honest, while Helen discovers her inner strength and confidence. Their personal journeys make the characters relatable and memorable.
The performances of Arnold Schwarzenegger and Jamie Lee Curtis, along with the supporting cast, were widely praised. Curtis’s portrayal of Helen, in particular, showcased her versatility and earned her a Golden Globe Award.
James Cameron is a renowned Canadian filmmaker, known for his expansive vision and innovative special-effects films.
James Francis Cameron was born on August 16, 1954, in Kapuskasing, Ontario, Canada. He is the eldest of five children. His father, Philip Cameron, was an electrical engineer, and his mother, Shirley (née Lowe), was an artist and nurse.
Cameron moved to the United States in 1971. He studied physics at California State University, Fullerton, but eventually dropped out to pursue a career in filmmaking. He worked various jobs, including as a truck driver, while honing his skills in screenwriting and directing.
Cameron’s breakthrough came with the 1984 film The Terminator, which he wrote and directed. The film’s success established him as a prominent filmmaker and led to further successes with Aliens (1986), The Abyss (1989), and Terminator 2: Judgment Day (1991).
Cameron directed, wrote, co-produced, and co-edited Titanic (1997), which won 11 Academy Awards, including Best Picture and Best Director. He also directed Avatar (2009) and its sequels, which became some of the highest-grossing films of all time.
Innovations: Cameron is known for his pioneering work in special effects and 3D technology. He co-founded the production companies Lightstorm Entertainment, Digital Domain, and Earthship Productions. He also contributed to underwater filming and remote vehicle technologies.
In addition to filmmaking, Cameron is a National Geographic explorer-in-residence. He has produced documentaries on deep-ocean exploration, including Ghosts of the Abyss (2003) and Aliens of the Deep (2005). In 2012, he became the first person to do a solo descent to the bottom of the Mariana Trench in the Deepsea Challenger submersible.
James Cameron’s films have grossed over $8 billion worldwide, making him one of the highest-grossing film directors of all time. His contributions to the film industry and his passion for exploration have left a lasting legacy.
by Daniel Dercksen·Comments Off on The significance of Titanic
“I always knew I wanted to make films that people could escape into and get lost in,” says writer-director James Cameron of Titanic, a landmark film that has left an indelible mark on both cinema and popular culture. It was a project that allowed James Cameron to merge his interests in filmmaking, history, and ocean exploration, resulting in one of the most iconic films of all time.
James Cameron was inspired to make Titanic due to his deep fascination with shipwrecks and ocean exploration. He had a long-standing interest in the Titanic disaster and saw the film as an opportunity to combine his passion for filmmaking with his love for underwater exploration. Cameron once mentioned that making Titanic allowed him to fulfill a “boyhood fantasy” of diving to the wreck of the Titanic.
The work of Jacques Cousteau, a renowned oceanographer and filmmaker also influenced Cameron. Cousteau’s documentaries about the ocean and underwater exploration captivated Cameron as a child and inspired him to pursue scuba diving and oceanography.
“Imagination is a force that can actually manifest a reality. Don’t put limitations on yourself. Others will do that for you.”
Titanic is significant for several reasons:
Box Office Success: Titanic became the highest-grossing film of all time at its release, earning over $2 billion worldwide. It held this record for over a decade until it was surpassed by James Cameron’s own Avatar in 2009.
“I had to balance a fictional love story with the actual events of the disaster. This way, the film could resonate emotionally while staying true to the history.”
Critical Acclaim: The film received widespread critical acclaim and won 11 Academy Awards, including Best Picture and Best Director for James Cameron. It tied with Ben-Hur (1959) for the most Oscars won by a single film at the time.
“I never thought the film would have the cultural impact that it did. I just wanted to make the story of this shipwrecked love affair. The audience’s response surpassed all expectations.”
Cultural Impact: Titanic became a cultural phenomenon, with its iconic scenes, memorable quotes, and the unforgettable love story between Jack and Rose. The film’s soundtrack, featuring Celine Dion’s “My Heart Will Go On,” also became a massive hit.
Historical Interest: The film rekindled public interest in the actual sinking of the RMS Titanic in 1912. It brought the story of the Titanic to a new generation and highlighted the human stories behind the disaster.
“The Titanic disaster was real; it occurred, and that’s why people are fascinated by it. If you talk about the human experience, it’s a way to bring history to life.”
Technological Innovation: James Cameron’s dedication to historical accuracy and groundbreaking special effects set new standards for filmmaking. The film’s realistic sets, meticulous attention to detail, and advanced CGI techniques were revolutionary for their time.
“I’ve always pushed the limits of technology to tell stories in more immersive and impactful ways. With Titanic, the special effects weren’t just about spectacle; they helped bring an epic, emotional journey to life.”
Legacy: Titanic continues to be a beloved and influential film. Its blend of romance, tragedy, and historical drama has inspired numerous parodies, references, and discussions in popular culture. The film’s success also solidified James Cameron’s reputation as a master filmmaker.
“Great stories have characters you can empathize with, obstacles they must overcome, and high stakes that make their journey compelling. Titanic had all of these elements.”
James Cameron is a renowned Canadian filmmaker, known for his expansive vision and innovative special-effects films.
James Francis Cameron was born on August 16, 1954, in Kapuskasing, Ontario, Canada. He is the eldest of five children. His father, Philip Cameron, was an electrical engineer, and his mother, Shirley (née Lowe), was an artist and nurse.
Cameron moved to the United States in 1971. He studied physics at California State University, Fullerton, but eventually dropped out to pursue a career in filmmaking. He worked various jobs, including as a truck driver, while honing his skills in screenwriting and directing.
Cameron’s breakthrough came with the 1984 film The Terminator, which he wrote and directed. The film’s success established him as a prominent filmmaker and led to further successes with Aliens (1986), The Abyss (1989), and Terminator 2: Judgment Day (1991).
Cameron directed, wrote, co-produced, and co-edited Titanic (1997), which won 11 Academy Awards, including Best Picture and Best Director. He also directed Avatar (2009) and its sequels, which became some of the highest-grossing films of all time.
Cameron is known for his pioneering work in special effects and 3D technology. He co-founded the production companies Lightstorm Entertainment, Digital Domain, and Earthship Productions. He also contributed to underwater filming and remote vehicle technologies.
In addition to filmmaking, Cameron is a National Geographic explorer-in-residence. He has produced documentaries on deep-ocean exploration, including Ghosts of the Abyss (2003) and Aliens of the Deep (2005). In 2012, he became the first person to do a solo descent to the bottom of the Mariana Trench in the Deepsea Challenger submersible.
James Cameron’s films have grossed over $8 billion worldwide, making him one of the highest-grossing film directors of all time. His contributions to the film industry and his passion for exploration have left a lasting legacy.
by Daniel Dercksen·Comments Off on In The Lost Lands -An Epic Fantasy
“It’s been a long trek to the big screen. To me it was a wonderful opportunity to make a quest movie, with a witch and a gunslinger going on an adventure together and falling in love along the way,” says writer-director Paul W.S. Anderson of In The Lost Lands, optioning George R.R. Martin short story in 2018.
Constantin Werner, a German producer and screenwriter, brought the story to Anderson, who had optioned three stories from George R.R. Martin even before “Game of Thrones” was made. “That was before George became the biggest thing on television,” Anderson offers. “All three stories are about love, but the George R.R. Martin version of love, a twisted form of love with unhappy endings.”
Of said three stories Anderson felt that In The Lost Lands was by far the strongest. It tells the story of a witch who is hired by a queen to go hunting for a werewolf. The filmmakers put their heads together and spent about three years developing a screenplay and then started on the production.
“What I really liked about the short story was just that – that it’s a twisted love story with a quite surprising ending,” Anderson says. It reminded him of movies he loved as a kid, especially spaghetti westerns of the sixties and seventies. “I love the stories of people being forced on an adventure together, even though they don’t trust each other, like for example in The Good, The Bad And The Ugly or Two Mules For Sister Sarah.”
Also, there from the start was the movie’s star, Milla Jovovich, who is married to Anderson and has quite some experience in the action genre, having starred in her husband Paul W.S. Anderson’s franchises like Resident Evil, Monster Hunter or The Three Musketeers. So, who better to tell what In The Lost Lands is about than Jovovich, who asserts herself as one of the great female action actors of our time as Gray Alys, the witch.
“In The Lost Lands is a very dark fairy tale, but it’s an action adventure as well. It’s like the Brothers Grimm meets sci-fi. We tell the story of a witch that hires a guy to take her to the Lost Lands to hunt down and kill a werewolf, to take possession of his magical skin,” says Jovovich.
Jovovich says the film is set in a unique landscape all of its own: “The Lost Lands, a wasteland that’s alive with magic and just takes people and drives them mad. It’s alive, really, full of these monsters and creatures that can get you and kill you. It’s a very dangerous place: If you go out into the Lost Lands, it’s very rare that people come back alive. I would describe it as very beautiful and stylized, a true fairy tale story at its heart.”
Also, it tells a love story. “Paul has given George R.R. Martin’s short story his own very special spin, turning this not very long book into a quite epic and grand action adventure like only he can do. It has all the elements you need to make a story like this work: very romantic imagery, beautiful dialogue, great character, but always told with the punch and the impact of a Paul Anderson movie. It’s a lot of fun.”
Jeremy Bolt, Anderson’s long-time producing and business partner, got involved early on as well. “His wife, the actor Milla Jovovich, had shown the script to him two years before that,” Bolt remembers. They both liked what Constantin Werner, the original writer, had made of the story, so Paul approached him, “and told him that he loved the idea of the project and that he would love to work with him on the script, work out its kinks, make it bigger and more cinematic.”
That’s when Anderson brought In The Lost Lands to Bolt and told him that he would love to make this movie. “It was something special, something he had never done before, based on a short story by George R.R. Martin no less,” Bolt remembers. “I was very confident we would be able to make the movie work and raise the budget. So, I took the project to our friends at Constantin Film, and they got on board. Next, we approached FilmNation, the sales company.”
Adapting the Short Story
As Bolt explained, to make In The Lost Lands into a feature film, a lot had to be added to the story. It was important to Paul W.S. Anderson to keep to the basics of the short story.
“First Gray Alys is hired by the Queen to go get the power to become a werewolf. Then she is hired by Jerais, who is the Queen’s protector, to fail the Queen. So, she’s given two separate quests, two separate wishes she has to grant. And she agrees to both of them, even though the two of them are mutually exclusive. “If she does one, how can she possibly do the other?” Anderson says. “That’s one of the great things about the movie because the audience have to ask themselves exactly that question: How is she going to achieve this?”
“In many ways Gray Alys is the human version of the monkey’s paw. It’s the basis of George’s short story, but it is a theme that goes back all the way to the Brothers Grimm, to the Bible. It’s a classic story, only now we have a completely fresh landscape and a completely fresh set of characters to tell that story,” Anderson adds.
“Alys is a witch, a mystical creature,” she says. “She has the ability to grant people their wishes, their greatest desires. It is a very special gift but also a curse because people come to her and for a price she will give them what they want. But sometimes you don’t really know what it is that you wish for. So, you can get whatever you want from Gray Alys but it’s better not to ask.” Jovovich goes on to describe Alys as a “really lonely character. She hides from people in these dark in-between places. Only the truly desperate can find her. If you are able to find her it means that she has to give you what you want. But it’s also very dangerous and sometimes the price is not worth getting what you want.”
“Gray Alys is a very interesting character,” Anderson posits. Alys is a witch, and she is obliged to grant wishes. But she warns everyone that comes to her that they may not like what they get. In many ways the people that come to her and make these wishes are people that would be better off not wishing for things. “They are often driven by their own self-interest, their own hubris,” Anderson says. “The Queen is asking for power that she really shouldn’t have. She basically wants to buy the love of a man who doesn’t love her. And Jerais is also in love, he’s in love with the Queen,” the director and producer points out.
He continues, “But he sees that the Queen loves somebody else. So, there is someone competing for the Queen’s love.” He hires Gray Alys to fail the Queen, so the Queen will eventually fall in love with him. All of these people get what they want. “And all of them get what they deserve at the end,” states Anderson. “Which is pretty dark because, you know, it’s a George R.R. Martin story. Ironically the only person who really gets what they want in the end, because they are quite selfless, is Gray Alys.”
Enter Boyce. Boyce is a hunter, an expert in the Lost Lands. The Lost Lands are basically the eradiated wastelands that surround the one remaining city that’s left on earth which is called the City Under the Mountain.
“Very few people travel out there, it’s very dangerous, filled with creatures, filled with bandits,” declares Anderson. “The few hunters that are out there are very prized and very tough. Boyce is one of them, and Gray Alys hires him as a guide on her quest to find and kill the werewolf. The werewolf lives in the far stretches of the Lost Lands in a place called Skull River.”
Boyce is a mysterious man; one doesn’t really know anything about his backstory. He’s a loner. “That’s the great thing about the story,” says Anderson. “Gray Alys and Boyce are essentially very similar. They’re both extremely good at what they do, but they are lonely people. They don’t really trust anybody. They don’t really love anyone. They don’t get close to anyone. Because getting close to somebody usually results in their death. These are two people who don’t have anyone in their lives”. And they realize they have this in common when they go on this journey together. In The Lost Lands shows them slowly starting to fall in love with each other, even though at the end of the movie there’s a big surprise waiting.”
To play that imposing role, the filmmakers turned to Dave Bautista, the former wrestling superstar who has made a name for himself in films as an action hero, but also as a very interesting actor. “Boyce is a hunter with a secret. He’s kind of a free spirit, an animal, a gambler and a drinker. He’s a cowboy, a gunslinger, which was what really drew me to the character. It’s really fun to play him,” Bautista says about his character. “When we first meet Boyce, he’s a bit of a womanizer but I think he is just trying to have fun. Actually, he is looking for something else, his equal, and I think he finds that once he is guiding Alys into the Lost Lands. He becomes quite obsessed with her, and she also develops feelings for him. They have a connection. At the same time, both are hiding things from each other.”
Bautista immediately was taken by the story. “I am a big fan of the fantasy genre,” he explains. “We have werewolves, vampires, demons. I love that. But what I particularly liked was the fact that In The Lost Lands basically is a western, and I always wanted to be in a western.”
He had actually told his agent that he was looking for a western. “Next thing I know they send me the script with a note saying it’s not exactly a western but it reads like one. I loved it from the word go, especially my character, who reminded me of Clint Eastwood.” Also, he was intrigued by the story, which he describes as “really fun and dark and twisted. I then took a deep dive into Paul’s work and was immediately taken by his feel for visuals and atmosphere. And of course, I was a massive fan of Milla’s work through the years. In fact, on our first day of shooting I couldn’t stop pinching my arm because I couldn’t believe I was shooting with Milla Jovovich.”
A world you’ve never seen before
The world depicted in In The Lost Lands is populated by characters created by George R.R. Martin. Anderson finds, “So, they are well drawn characters, they are very dark, they are very surprising. They all have hidden depths, which is a hallmark of George’s writing. In the short story the original world was very much a ‘Lord of the Rings’, post-medieval style world. It really reminded me a lot of the world of Westeros. But that world is very well established. It’s on television an awful lot. So, I felt for this story I wanted to take all the George R.R. Martin tropes but set them against a different kind of background.”
The filmmakers pushed the movie into a postapocalyptic world where it’s quite recognizably our world, the remnants of our world. “But our world has been destroyed by a war, a long time ago, so long that people don’t really remember who fought it and what it was about,” explains the director and producer. “They only remember the old world because they live in the shattered remnants of it. There are pieces of technology that are left over. And there are also these mythological creatures that could well be creatures that have been with us throughout time.” They were hiding when mankind was strong. And now that mankind has become weak, they are coming out of the shadows and taking their place in the world. “So, it’s everything that people like from George R.R. Martin,” Anderson declares. “You have the dark, twisted characters. You have the mythological creatures. But it’s against a totally fresh backdrop, a postapocalyptic world that is filled with fabulous imagery.”
“We shot this movie in a very different way,” says Anderson, talking about his directorial vision for In The Lost Lands. “I didn’t want to go out and shoot on a real location. The last movie I did, Monster Hunter, was set entirely on location. We never went indoors, we never went on a soundstage. And I felt I had pushed practical location photography as far as I could. And I was looking for a completely different look for the world of In The Lost Lands.” He got very into the idea of building this world entirely digitally and giving the audience something, they have never seen before.
Paul W.S. Anderson finally states, “I think the movie above anything else is incredibly theatrical. It’s got everything you could want from a theatrical movie: the big imagery for starters. I don’t think any movie looks like this. It’s got a very unique look. You can’t see anything like it on television. It’s got an amazing sound, it’s got big action, big emotion, big visual effects. I think that’s what the cinema needs right now. We need to make movies that make people want to leave their homes, to stop streaming. I’m not knocking streaming, but there is something to be said about the experience on the big screen. When the right movie comes along. And I feel that In The Lost Lands is just that, the right movie for a great experience at the movies.”
PAUL W.S. ANDERSON (director, screenwriter, producer) has made a name for himself internationally as a director of action-packed and extremely exciting films. Together, his works have grossed more than two billion dollars worldwide, often opening at number one in the cinema charts in every conceivable territory – an achievement that not many filmmakers can claim for themselves. Anderson turns epic stories into must-see events. He has already launched four successful franchises and has tackled genres as diverse as classic literature, science fiction, video game franchises and historical fiction in his films. He also puts his talents at the service of the advertising industry. He has directed award-winning commercials for the likes of Audi, Volkswagen and Deutsche Telekom.
Anderson was born in Newcastle-upon-Tyne in England, where he also grew up. He graduated from the University of Warwick with a Bachelor of Arts in Film & Literature; he went on to study further and was the youngest student at the university ever to complete an MBA.
Anderson’s first film was the 1994 low-budget hit “Shopping,” which he wrote and directed and which starred Sadie Frost and Jude Law (as well as a guest appearance by legendary singer Marianne Faithfull). This gritty film about British teenagers who steal cars to use for their daring heists was not shown in some cinemas in the UK, but made Anderson a name for himself as an exciting filmmaker with a penchant for high-impact action.
“Shopping” also paved Anderson’s way to Hollywood. “Mortal Kombat” was his first number one cinema hit in the USA in 1995. It was also the first successful film adaptation of a video game. The triumph of “Mortal Kombat” established Anderson as a man who could take games from the TV screen and translate them into successful franchises on the big screen. Nevertheless, he turned down offers for a sequel, preferring to focus on science fiction for the time being. His next directorial projects were “Soldier,” written by David Peoples as a “sidequel” to his dark screenplay for “Blade Runner”, as well as “Event Horizon,” starring Laurence Fishburne, Sam Neill, Jason Isaacs and Joely Richardson, which has long since been considered a classic.
Anderson returned to adapting video games for the big screen with the survival horror film “Resident Evil,” starring Milla Jovovich and Michelle Rodriguez. Anderson wrote, directed and produced the film, which proved to be a worldwide commercial success, Anderson’s second successful franchise, which also included “Resident Evil: Apocalypse,” “Resident Evil: Extinction,” “Resident Evil: Afterlife,” and “Resident Evil: Retribution”. Anderson wrote and produced the sequels with his partner at Impact Pictures, Jeremy Bolt. He also returned to the director’s chair himself for “Afterlife” and “Retribution”.
Anderson doubled down on his box office power with “AVP: Alien vs. Predator,” which proved to be his third successful franchise. The film opened at number one and became the highest-grossing film in both the “Alien” and “The Predator” series.
In 2008, Anderson’s “Death Race” starring Jason Statham and Joan Allen was released in cinemas, a remake of the cult classic “Death Race 2000,” which was released by Universal and produced by Anderson with Bolt through Impact Pictures. In 2009, Anderson also produced the science fiction horror film “Pandorum” with Dennis Quaid and Ben Foster with Bolt, another Impact Pictures production.
“Resident Evil: Afterlife,” the fourth installment in the increasingly successful series, was released in 2020, with Milla Jovovich once again playing the lead role in the film, which used the Vincent Pace 3D system developed for James Cameron’s “Avatar”. The film was Anderson’s first global number one and remained at the top of the international box office for a month.
Anderson followed up this highpoint in the relentlessly evolving “Resident Evil” franchise with something completely different, announcing a stylish and action-packed update of the Alexandre Dumas classic “The Three Musketeers” for Constantin Film and Summit Entertainment. Shot in 3D, the historical epic boasts an all-star cast including Milla Jovovich, Orlando Bloom, Christoph Waltz and Logan Lerman as well as Luke Evans, Ray Stephenson and Matthew Macfadyen as the charismatic title characters. The film was celebrated worldwide and grossed 150 million dollars.
That same year, Anderson returned to his blockbuster franchise, writing, producing and directing “Resident Evil: Retribution”, the highly anticipated fifth installment in the “Resident Evil” brand. The clever metamorphosis of the series mixed familiar faces with hot newcomers and grossed a whopping $240 million worldwide after its cinema release in September 2012.
In 2014, Anderson launched “Pompeii” with an outstanding cast including Kit Harington from “Game of Thrones”, Kiefer Sutherland, Emily Browning, Adewale Akinnuoye-Agbaje, Carrie-Anne Moss and Jared Harris. “Pompeii” tells a classic story of love, friendship, greed and betrayal against the backdrop of the spectacular eruption of Mount Vesuvius. The visually stunning extravaganza grossed more than 120 million dollars.
Paul W.S. Anderson then turned his attention back to his flagship franchise and tackled the conclusion of the billion-dollar “Resident Evil” saga, “Resident Evil: The Final Chapter” (2016). The plot threads of the last 15 years are brought together in an intelligent way, and the beloved characters have to face new monstrous adversaries in order to give the incomparable Alice a worthy farewell. Shot in South Africa, the eagerly awaited, action-packed finale was released in cinemas in January 2017 and grossed more than 315 million dollars worldwide. This made “The Final Chapter” the highest-grossing of all “Resident Evil” films, which grossed more than 1.2 billion dollars in total.
In 2018, the sci-fi horror series “Origin” was launched on You Tube Red, with Anderson serving as executive producer. He also shot the pilot film and a few other episodes. Left Bank Pictures was co-producer. The main roles are played by Tom Felton and Natalia Tena from “Game of Thrones”.
2021 saw the release of Anderson’s next epic game adaptation: Milla Jovovich starred in “Monster Hunter” opposite an international star cast including martial arts legend Tony Jaa as well as Ron Perlman.
Paul W.S. Anderson is one of the select few directors to have scored #1 US theatrical openings with his films over each one of the last four decades, from “Mortal Kombat” in 1995 to most recently “Monster Hunter” in 2020, with AVP and several Resident Evil films in between.
CONSTANTIN WERNER (screenwriter, producer) is a multihyphenate talent, a German artist who has worked as a writer, director and producer of film, TV, theater and music videos.
Constantin Werner’s first feature film “Dead Leaves” had its premiere at the 1998 AFI International Film Festival in Los Angeles. This was followed by “The Pagan Queen” (2009), a historic drama with fantasy elements based on the legend of Libuše, the Slavic queen of 8th century Bohemia.
His producing credits include the action TV series “Puma,” directed by martial arts legend Donnie Yen, for the German network RTL, the independent film “Fireflies,” starring Kate Mara, Dan Frazer and Isabel Glasser, as well as “Bettie Page: Dark Angel”. His stage directing credits include his play “Box” for La MaMa ETC in 1996, and the 2002 West Coast premiere of Pulitzer Prize nominee Adam Rapp’s play “Blackbird” at Theater Theater, Los Angeles.
His music video credits include works for the LA bands Scarling, Versailles (musician), Gliss, The Deep Eynde, Punk Bunny, Jasmine Ash and the Sixth Chamber. He is the creator and writer of the graphic novel “One Night in Prague,” which was illustrated by Tadd Galusha.
by Daniel Dercksen·Comments Off on Deceptively Delightful: A Scam Called Love – A South African Romcom for the Ages
“At its core, A Scam Called Loveis a love letter to South African humor, resilience, and reinvention,” says writer-director Carla Fonseca Mokgata. “We hope audiences walk away laughing, maybe even thinking a little, and most importantly feeling seen. And if you ever consider scamming your way to love, well… make sure you get the right partner in crime.” Says writer-director Nthato Mokgata “We wanted to make a film that wasn’t just funny, but cleverly chaotic, deeply South African, and effortlessly stylish—a romcom that hits with both sharp wit and real heart.”
Directed and written by husband-and-wife duo Carla Fonseca Mokgata and Nthato Mokgata, A Scam Called Love promises a blend of romance, comedy, and heartfelt moments set against the stunning backdrop of Cape Town.
The inspiration behind A Scam Called Love comes from the directors’ desire to create a film that is both funny and deeply rooted in South African culture. Nthato Mokgata shared that they wanted to make a “cleverly chaotic, deeply South African, and effortlessly stylish film—a romcom that hits with both sharp wit and real heart”.
Their goal was to create a film that resonates with audiences, making them laugh, think, and feel seen. The film’s unique blend of romance, comedy, and cultural representation aims to capture the essence of South African life and humor.
The film is deeply South African, celebrating the country’s humor, resilience, and reinvention. It aims to create a film that is not just funny but also “cleverly chaotic, deeply South African, and effortlessly stylish”
The film explores themes of love, family, and deception, making it relatable to a wide audience. It highlights the complexities of relationships and the lengths people go to for love and survival.
A Scam Called Love is poised to captivate audiences with its perfect blend of romance, comedy, and relatable charm.
Zola (Didintle “Didi” Khunou), an ambitious chef with big culinary dreams, and Julian (Tobi Bamtefa), a free-spirited line cook who thrives on risk, find themselves in a financial bind. To solve their problems, they hatch a wild plan: a green-card marriage. What starts as a simple scheme quickly spirals into a web of hilarious mishaps, tangled emotions, and unexpected family drama. With government officials on their tail and their own families growing suspicious, Zola and Julian must keep up appearances without catching real feelings.
Carla Fonseca Mokgata and Nthato Mokgata, also known as Spoek Mathambo, have worked on several notable projects: The indie full-length dramatic feature Burkinabe (2019) and Kizazi Moto: Generation Fire (2023 )directed and written by Nthato Mokgata (Spoek Mathambo).
Carla Fonseca-Mokgata is a multi-disciplinary artist hailing from the rich cultural tapestry of South Africa and Mozambique. She is a director, writer, actress, and musician, known for her audacious and thrilling ideas that have captivated audiences worldwide. Carla graduated from the University of Cape Town in 2010 with a BA in Theatre and Performance. She also attended Pro Arte High School of Arts, where she matriculated with additional drama subjects. Carla is a tireless advocate for cultivating a vibrant storytelling and artistic culture within South Africa. Her creative arsenal spans a diverse range of mediums, all meticulously wielded to achieve her visionary objectives. She draws inspiration from personal experiences, African history, traditions, and global affairs. Carla’s work is deeply rooted in exploring the historical and contemporary societal traumas of South Africa. She has transported her storytelling prowess to numerous countries, leaving her mark on audiences globally. Co-writer and co-director of this highly anticipated South African romantic comedy A Scam Called Love.
Known by his stage name Spoek Mathambo, Nthato Mokgata is a multifaceted South African artist, producer, singer-songwriter, and rapper. Mokgata grew up in Rockville, Soweto, and later moved to Sandown, Sandton. He attended St John’s College in Johannesburg and initially studied medicine at the University of Cape Town before switching to graphic design. Mokgata’s musical career began in the local rap and electronic music scene in Cape Town. He collaborated with artists like Waddy Jones (Die Antwoord), Simon Ringrose (SiBot), and Markus Wormstorm. Mokgata was named the 2020 Standard Bank Young Artist for Music at the Virtual National Arts Festival. He directed “Future Sounds of Mzansi,” a documentary exploring South Africa’s cultural landscape 20 years into democracy.
by Daniel Dercksen·Comments Off on Anora – A raw and honest portrayal of the complexities surrounding sex work and human relationships
Stylistically thrilling, hugely entertaining and emotionally genuine, Anora is a singular variation on a Cinderella story that could only come from writer-director Sean Baker. Set in 2018, it follows the wild odyssey of its titular protagonist, a young Russian American sex worker who is swept out of her everyday life as an erotic dancer by the impetuous, free-spending son of a Russian oligarch.
REVIEW: Anora draws from real-life experiences and societal themes to add depth and authenticity to their narratives. By incorporating elements from real-world scenarios, filmmakers can create stories that resonate on a deeper emotional and intellectual level, making their work relatable and thought-provoking. It’s always fascinating to see how creative minds interpret and present the complexities of human life and societal issues through the medium of film. It challenges societal norms and perceptions, making viewers reflect on their own biases and understanding of these issues. It’s a thought-provoking film that doesn’t shy away from difficult topics, and it does so with a sense of empathy and realism. The story is a reflection on how genuine relationships can emerge from brokenness and the struggle for self-worth in a society that often devalues certain professions. It won the Palme d’Or at the Cannes in 2024.
The origins of Anora lie in Baker’s career-long collaboration with actor Karren Karagulian, who has worked with the filmmaker since his debut feature, Four Letter Words (2000). He knew that Karagulian is married to a Russian-American woman from Brooklyn, which gave him a starting point for Anora. “I’ve wanted to find a vehicle for Karren Karagulian for a while now,” Baker affirms. “I knew I wanted to do a story about Russian-speaking populations in the Brighton Beach/Coney Island area, being that Karren has ties to the community. Eventually, I came up with this story and it developed approximately over a year.”
4 Time Oscar winner: writer-director Sean Baker
The centerpiece of the film would be a home invasion overseen by Karagulian’s character, Toros, who is acting on orders from his boss, a powerful Russian oligarch. The operation goes spectacularly, chaotically off the rails for Toros and his two back-up men. Says Baker, “I knew that I wanted to show the home invasion taking place in real time in the middle of the film, so the screenplay was structured around that. It was all about how we got there and how it resolved.”
That was where Ani – short for Anora – came in. Baker conceived the character as a Russian-American dancer and sex worker from Brighton Beach who impulsively marries the oligarch’s son, Ivan. The clock starts ticking on the newlyweds when Ivan’s parents in Russia get wind of the union and decide to come fetch their errant child. Meanwhile, Toros has dispatched his friend and associate Garnick and a Russian named Igor to stand guard on the couple. That plan backfires when Ivan escapes and Ani proves to be a ferocious combatant who is defiant in the face of a threatened annulment. With Ivan’s parents en route, Ani is forced to join Toros, Garnick and Igor in an all-night hunt for her fugitive husband, all the while fighting to hang on to her new life.
Casting Anora
Before Baker has a script, he typically casts his lead roles.
Mikey Madison, best known for playing Pamela Adlon’s eldest daughter in “Better Things”, first caught Baker’s eye in Once Upon a Time… in Hollywood (2019). “Although Mikey’s screen time in Once Upon a Time … in Hollywood was brief, she made such a big impact,” Baker comments. The development process began to gain speed in January 2022, when Baker and Samantha Quan, his producing partner and wife, went to see the horror reboot Scream V which cemented the decision that Mikey was perfect to play “Ani”. Baker continues, “Seeing her playing different roles, her ability to change her emotions on a dime, her sense of humor, her ability to make brave choices, and her amazing SCREAM. It was at that point that we reached out to her. After meeting with Mikey, finding out she was a budding cinephile with similar tastes and her expressing interest in my idea, the character was then written with her in mind.”
Madison was thrilled by the outreach – and surprised. “I was floored that Sean wanted to meet me, but I wasn’t about to question it,” she recalls. “I’m a big fan of his work. Sean asked my opinion and if I’d be interested in making the film. I immediately said yes. I felt like the luckiest actress in the world that he wanted to work with me.”
With Baker at the helm, she had no hesitation about taking on the role of a sex worker. Sex work has figured in half of Baker’s films, the iPhone-shot Tangerine (2015) is about a pair of Los Angeles trans sex workers out to avenge a cheating boyfriend, in The Florida Project (2017) a single mother turns to sex work to support herself and her daughter in an Orlando motel, and Red Rocket (2021) comically captures a washed-up porn star.
For Madison, what stands out in those films – and in Baker’s work as a whole – is a clear-eyed, nonjudgmental, non-condescending, non-exploitative gaze. Says Madison, “Sean has dedicated his career to destigmatizing sex work and telling stories about marginalized people. And he’s always done it in a very honest way – and in a funny way, too. He deals with a lot of dark subject matter, but he’s constantly flipping that on its head and injecting it with humor. So I trusted Sean completely and knew he would be a true collaborator with me.”
Ani isn’t necessarily looking for a prince to come to rescue her from her job at a Manhattan gentlemen’s club; she certainly isn’t expecting him to arrive in the form of a coltish Russian who has asked for a Russian-speaking dancer. She takes the assignment reluctantly, putting on her game face as she’s introduced to Ivan Zakharov, played by Mark Eydelshteyn. “There’s a little trepidation on Ani’s part,” Madison says. “She’s been told that Ivan has money, which is unusual for a young person coming into a club. A lot of dancers and sex workers told me that young men are not big spenders and are generally trying to get the most out of their buck. But Ivan turns out to be this refreshing character. He’s not threatening at all; he’s fun and he’s funny and also around Ani’s age. And Mark plays his character so sincerely at first that she’s just charmed by him.”
Eydelshteyn put himself in Ivan’s blithely confident, throwaway mindset. “For Ivan, life is very easy because he is rich. If he wants it he can have it. So I thought like that and I did the tape totally naked in bed,” the actor recalls. “I smoked vapes and wore a Russian hat. I tried to mix English and Russian, mostly I talked in Russian. I did some rap. And then I sent it to Sean. It didn’t seem possible that he would choose me, but I was very happy when he said he wanted me in the movie.”
Eydelshteyn’s take on Ivan was not only convincing, it shaped how the film took shape. As Baker explains, “Once we met Mark and saw his tape, there was NEVER any other choice for Ivan. He is incredibly funny, sensitive, energetic and intellectually facile. The character of Ivan was fleshed out more than originally intended after Mark got involved in the project because I wanted to see more of Mark on screen.”
Ivan has been living in the United States for about six months, ostensibly so he can study. But he mostly spends his time partying with his friends, playing video games and enjoying all the perks his parents’ vast wealth can buy. Eydelshteyn sees his character as somewhat adrift, even if Ivan doesn’t fully realize it. “Ivan is living a very fast life in Brighton Beach, drinking, smoking, doing drugs. But there’s nothing interesting in this kind of life after three months. I think he’s tired of it but he hasn’t found anything to pick him up. Nothing has really focused him, until Ani. When he meets her, life becomes brighter. I think he wants to be with Ani from the very beginning but he can’t be honest with himself and he’s scared of responsibility. So he asks her to be his honey-girlfriend for a week. It’s a strange form of love.”
While writing the script, the two stayed in regular connection, talking through and gradually forming the central character with the help of consultant Andrea Werhun, author of the memoir “Modern Whore.” Baker, whose work apartment includes a kitchen stocked with Blu-rays in the cabinets, also gave Madison a handful of movies, including Federico Fellini’s “Nights of Cabiria.”
Meanwhile, Baker looked at things like “The Taking of Pelham One Two Three” for shooting New York at night. Later, he shot on the same stretch of Brooklyn road beneath the elevated subway immortalized by the chase scene in “The French Connection.” He and his production designer, Stephen Phelps, decided to put a hint of red in every shot, a nod to films like Jean-Luc Godard’s “Contempt.” In the credits, Baker thanks the director Jesús Franco for the red scarf and colors of “Vampyros Lesbos.”
“Even though my films are taking place pretty much now, they’re contemporary stories, I want it to feel like it’s shot in 1974,” Baker says.
During production, Baker would sometimes lean into guerrilla filmmaking techniques, sending Madison into a pool hall or restaurant to interact with those inside. (“The scene could go in any direction because it’s not really a scene,” says Madison.) For the sex scenes, Baker and Quan would themselves model the movements for Madison and Eydelshteyn.
“He was really dedicated to creating a safe space for us to be able to do those scenes and feel comfortable,” Madison says. “He wanted us to see what the positions would look like, so they would show us — obviously fully clothed and everything. It was funny and kind of broke the tension a little bit. Sean’s a one-of-a-kind director.”
By the time Baker finished the screenplay, he had a film sense of how he wanted Anora to look and feel. Among the key decisions: he wanted to shoot the film in 35mm using anamorphic lenses. “Primarily I was influenced by cinema of the 70’s,” he explains. “Not only the New Hollywood films but also from the Italian, Spanish and Japanese films of the era – in both style and sensibility. This mash-up is what I found inspirational—a formal and controlled aesthetic with choreographed camera moves caught with anamorphic wide-screen images, a deliberate color scheme and unobtrusive but stylish lighting. Essentially I wanted to give a polished presentation to a story that hasn’t really gotten one in American cinema since the 70’s.”
To help him achieve that goal, he re-teamed with his Red Rocket director of photography, Drew Daniels. Daniels had shot Red Rocket on 16mm film and was excited to join Baker on a fresh creative adventure. “This project felt right up my alley from the beginning,” he comments. “I was hooked in by the story and the setting and the fact that Sean wanted to shoot on 35mm with anamorphic lenses. I feel like it’s a rite of passage as a filmmaker to make a New York City film, and that’s what this was for me. It was a dream come true.”
He goes on to describe the overall strategy they developed: “Sean and I were going for a cold, gray version of a New York winter contrasted by the saturated reds and flashy colors of the club and Vegas. We were not very dogmatic about our approach and we tried to stay open to what was happening in front of us, so being able to adapt and follow the feeling of the scene was important. That said, we tried to be very deliberate about our compositions and camera movements and we tried to avoid handheld unless the scene called for it. We generally aimed for an objective point of view and realism but we also let the camera have fun and tried to bring a sense of humor to the film. The film eventually does take a turn towards the subjective so I don’t think you can pin this movie down and describe it easily as one thing. As the story and feeling changes, our approach and the language changes also.”
The cinema of the 1970s was a touchstone for practical choices and specific references. Says Daniels, “In general, I tried to approach the film the way an independent filmmaker would have in the 1970s. I kept the tools very simple. The camerawork was grounded; we pushed the film, flashed it, pulled it, underexposed it, used Russian 70s anamorphic prime lenses and zooms. We shot out in the streets with the actual light of New York City and Brooklyn, and I particularly tried to channel the way Owen Roizman shot The Taking of Pelham 123 and The French Connection. From Italian cinema I tried to borrow the use of zooms and from films like Jean Luc Godard’s Contempt, we were inspired by the use of color and composition.”
Locations and production design underscore the themes of class and access that are subtly woven into the film. Everything about Ivan’s lifestyle is worlds away from how Ani lives and works. On her first private engagement with Ivan, a town car is sent to pick her up at the typical Brighton Beach duplex she shares with her sister. Gliding past ordinary homes on a residential street near the water, she arrives at a huge concrete-and-glass structure with a security booth just past its gated entrance. It’s Ani’s introduction to a level of privilege she could scarcely have imagined before meeting Ivan. And there’s more to come. When Ivan decides on a whim to take Ani and his friends to Las Vegas, they travel by private plane and make themselves at home in their hotel’s most expensive penthouse – the guest who occupied it having been relocated. In contrast, the search for Ivan that unfolds in the second half of the film is carried out in the accessible-to-all spaces of Brooklyn and Manhattan; that is, the places Ani already knows.
When production designer Stephen Phelps first met with Baker, they discussed a color palette that was primarily white, black and gray, with pops of red punctuating the interiors. Often Phelps had to work with existing decor, as in the case of the club location on the far west side of Midtown Manhattan. While the club’s two levels of public spaces had defined, visually interesting aesthetic styles, other areas were quite spare, with little to attract the eye. “There were a lot of dead spaces, so I brought in red tinsel to liven up those areas. For the panning shot that opens the film, I put the red tinsel across that section of the club. When Drew did the shot on the dolly, the mirrors in the room and lights reflected all that red.”
In outfitting the location that served as the Zakharov mansion, Phelps focused on a handful of rooms where the action would take place. He used some of the large on-site furnishings, like the sprawling camel-colored sectional in the open plan living space near the entrance. Then he brought in key pieces – tables, artwork, lamps – which would tell a story about the home’s owners, who want to telegraph their wealth and status with furnishings they consider tasteful and stylish. “I wanted there to be a cold kind of feeling to the interiors – big empty spaces and a lot of space between people,” he remarks. “It feels more like a showplace than a home. There’s a lot of glass and neutral colors. That kind of expensive, austere style worked with the outside of the building, which is almost Brutalist in its architecture.”
The Las Vegas getaway portion of the film was shot at The Palms Hotel and Casino. The production was able to film multiple scenes within the one building. The kitted-out, glass-filled penthouse did give Phelps a moment’s pause, however. As he explains “I was a little nervous about it because it looked kind of like the inside of the mansion. But that actually made sense and it was funny – they go all the way across the country to then hang out in a very similar-looking space.”
Anora began production in January 2023 and shot for 37 days in New York City and 3 days in Las Vegas. The logistics of the shoot were challenging – there were many different locations, a multilingual story and characters, an ambitious schedule and the vagaries of winter weather. Nonetheless, everyone involved describes it as an extraordinary experience. Says Madison, “Every single person – every actor, every crew member as well as Sean – poured their heart and soul into making this movie. It was amazing to be around that kind of energy.”
Karagulian has known Baker for nearly 30 years, having met him when he was a student at NYU. Reflecting on their long collaboration, he says, “Every time Sean finishes a film, I tell him it’s his best one yet. During the years we’ve worked together, I’ve seen how he matures from film to film. For one of our first projects, Prince of Broadway, he was behind the camera, directing, editing, and producing everything. Then came Tangerine, with his genius use of the iPhone to shoot that project for pennies. Sean is a filmmaker from head to toe – he breathes it, he lives for it. He has become one of the true masters of this craft.”
Adds Tovmaysan, “With every step, you could feel the film getting better and better, and that was because of Sean’s passion. I also enjoyed how he mixed three different cultures (American, Russian, and Armenian) in this film and worked with actors from totally different backgrounds. It’s very challenging to work with actors from such diverse backgrounds, but Sean was able to get the best out of everyone. He created a synergy among the actors that was very beneficial for the film.”
Baker was grateful for the unwavering commitment and creativity of the cast. Says Baker, “This cast was primarily comprised of seasoned, professional actors. They gifted me on a daily basis with nuance, ideas and inspiration. It was a joy to work with all of them.”
The actors also found joy in working together, onscreen and off. Madison and her co-stars Eydelshten and Borisov spent many hours together, getting to know one another, talking about their characters and establishing the rapport that would fuel their scenes. Madison is effusive in her praise for the two actors. “Mark and Yura are incredibly dedicated, talented actors and just very kind people,” she comments. “It was important for Mark and me to build this trust together in order to shoot some of the things we did. When I first met Mark, we were not able to communicate very well because of the language barrier. But we were still laughing together because I think we already had that kind of chemistry. Mark’s a very adventurous actor, very clever and quick. He has a way with physical comedy that reminds me of Charlie Chaplin. He’d come up with fantastic, crazy ideas, like doing the backward somersault onto the bed in the first sex scene. There’s a lot of real laughter in the movie – and that’s all Mark, because of the bond that we built and how far he was willing to go to make me laugh.”
“Mikey!,” Eydelshteyn exclaims when asked about working with Madison. “Mikey is a brilliant partner, a brilliant actress, a brilliant girl. She’s one of the best people I’ve ever worked with, and very professional. At a certain point I realized that Mikey and I are kind of the same. I mean, we are from different cultures and speak different languages, but we have the same sense of humor. She’s joking and I can understand her, and it’s very funny. And she can understand my stupid jokes and she’s laughing. I remember the first time she laughed at one of my jokes, I was so happy.”
Madison’s onscreen interactions with Borisov naturally had a different tenor. Ani spends much of the film either physically fighting with Igor or slinging profanity and insults at him. Igor doesn’t lose his temper and in Borisov’s hands, the character was both funny and soulful. Comments Madison, “I would turn to Yura in a scene and the emotion in his eyes would almost shock me. He brought so many interesting personality traits to Igor, and was always surprising me. As an actor, Yura has an interesting relationship with time. He never sacrifices the integrity of the character during a scene, even if the camera is running out of film. He takes his time, which adds so much to the character because Igor ponders. And he has this dry sense of humor, which he brings to the character. ”
Borisov was equally impressed by his co-star. “Mikey is very powerful as an actress, as a woman, as a human. I could look over at her and see she was ready for anything. She gives very deeply of everything she has to the scene, to the film. She was like a sister to me during the making of the film. I have so much respect for her.”
Ten of the film’s 37 shooting days were spent filming the pivotal home invasion/fight sequence, approximately 25 minutes of nonstop action that plays out in real time. It was an enormous undertaking, with any number of shifting variables to be accommodated in the pursuit of seamlessness. As Daniels explains, “I had to make it look like everything was happening in continuity. This was made harder by the fact that we were very daylight dependent, our house had windows and huge mirrors in every direction, and we were shooting in the winter with only about 8 hours of shootable light at best. We had to be very clever about shooting order, looking towards windows or away from them; making daylight from scratch when the light faded; and finding scrappy low budget ways to control the daylight as much as we could – because of course during the 10 days we had every weather imaginable and it had to look like 25 continuous minutes. It was very stressful but we pulled it off and I’m really proud of the sequence.”
Improvisation is an important part of Baker’s approach to filmmaking. Sometimes improvisation is a matter of going off-script and making up dialogue. It can also entail building out a scene from a brief description of a character’s actions. Explains Madison, “The way that Sean writes, there might be a paragraph that says, ‘Ani’s at the club and she walks up to customers.’ And I would then bring that to life. I’ve never experienced anything like that – a 10-minute-long scene where I’m just going from customer to customer and talking to them in character, and they’re recording me. It’s a completely live set and feels absolutely real. That’s just how Sean Baker does it. That’s how he’s able to create these incredible moments of reality.”
Those kinds of interactions also happened out in the world, in Las Vegas, Brooklyn, and Manhattan. While filming the extended search for Ivan, Madison, Borisov, Karagulian and Tovmaysan shot scenes in the venerable Brighton Beach restaurant Tatiana’s, a pool hall and video arcade, among other locations. “Those docu-style scenes were exhilarating to do,” says Madison. “To bring a camera into a restaurant or a street full of unsuspecting people and shoot a scene in character is something I will never forget.”
Of course, the search for Ivan eventually ends and Ani’s soon-to-be ex-husband is brought to heel by his implacable parents. Baker’s films often have ambiguous conclusions, ending with scenes that are startling in their beauty and emotional heft. That is certainly true of Anora, and its final moments that find Ani sitting in a car with her erstwhile captor, Igor, who has driven her back to her Brighton Beach home.
Recalls Madison, “In the script there was a paragraph describing that scene. It changed a bit; the story evolved as we were shooting because of what everyone was bringing to the film. It’s such an important scene and Yura and I really wanted to do it justice. What I love about it is that each audience member will be able to decide what they think.”
SEAN BAKER, Director, Writer, Producer, Editor
Sean Baker is an award-winning writer, director, producer and editor who has made eight independent feature films over the course of the past two decades. Baker, the son of a patent attorney, grew up in New Jersey outside New York City. He attended film school at NYU. When he began, he envisioned himself making “Die Hard.” But as his exposure to arthouse and international film expanded, so did his interests as a filmmaker. Still, his Richard Linklater-influenced first feature, 2000’s “Four Letter Words,” drew heavily from his suburban upbringing.
Baker, a resolutely independent filmmaker, is less comfortable at center stage than he is behind the camera. His movies, likewise, relish the communities of seldom-chronicled American subcultures. Samantha Quan, a producer of “Anora” and Baker’s wife, says he has always been interested in “people and situations that are always there but people choose not to see them.” He is an unconventional path for a filmmaker. He has no interest in television or franchise movies, remaining devoted to the big screen. He makes scrappy indie movies built from real-life experience and research that balance both screwball comedy and social realism.
His most recent film Red Rocket (2021) premiered in competition at the Cannes Film Festival and was distributed by A24 in the U.S. and by Focus Features internationally. His previous film The Florida Project (2017) premiered in the Director’s Fortnight section at the Cannes Film Festival to widespread critical acclaim. Among the many accolades the film received — including an Oscar nomination for Willem Dafoe for Best Supporting Actor — Sean was named Best Director by the New York Film Critics Circle. Sean’s previous film Tangerine (2015) premiered at the Sundance Film Festival and won an Independent Spirit and two Gotham Awards. Starlet (2012) was the winner of the Robert Altman Independent Spirit Award and his previous two features, Take Out (2004) and Prince of Broadway (2008), were both nominated for the John Cassavetes Independent Spirit Award.
by Daniel Dercksen·Comments Off on The Great Lillian Hall: A Poignant Journey Through Memory and Legacy
“In writing The Great Lillian Hall, I wanted to capture the essence of my aunt, Marian Seldes, and her incredible journey in the world of theater. It’s a tribute to her legacy and the impact she had on so many lives,” says screenwriter Elisabeth Seldes Annacone.
Elizabeth Seldes Annacone’s screenplay captures the essence of her aunt’s experiences, particularly her dedication to the craft of acting and her struggles with dementia in her later years. The character of Lillian Hall is a fictional representation, but many aspects of her journey are inspired by Marian Seldes’s real-life challenges and triumphs.from a screenplay by Elisabeth Seldes Annacone, following the story of Lillian Hall, a legendary Broadway actress grappling with dementia while preparing for her final performance in The Cherry Orchard , exploring themes of memory, identity, and the passage of time.
Lillian Hall is a fictional character from the film The Great Lillian Hall.portrayed by Jessica Lange and is inspired by the life of American stage actress Marian Seldes.
Marian Seldes was an esteemed American actress known for her remarkable career in theater, film, and television. Making her Broadway debut in 1948 in a production of Medea, she won the Tony Award for Best Featured Actress in a Play for A Delicate Balance in 1967. She received subsequent nominations for Father’s Day (1971), Deathtrap (1978–82),”Ring Round the Moon (1999), and Dinner at Eight (2002). She received the Special Tony Award for Lifetime Achievement in 2010. Seldes brought a profound emotional depth to the character of Lyubov Ranevskaya, capturing the complexities of a woman facing the loss of her family estate and the changing social landscape. Her performance received critical acclaim, with reviewers praising her for her skillful interpretation of Chekhov’s work and her ability to bring the character to life in a compelling and authentic manner.
The Great Lillian Hall is loosely inspired by the life of American stage actress Marian Seldes. It is not a biopic but rather a fictional story that captures the essence of Marian Seldes’s life, her love for theater, and the challenges she faced.
You can watch The Great Lillian Hall on HBO and stream it here.
Writing the Screenplay
Annacone, the niece of the renowned stage actress Marian Seldes, drew inspiration from her aunt’s life and career while writing the screenplay for The Great Lillian Hall. The film is a tribute to Marian Seldes’s legacy and her contributions to the world of theater.
Annacone’s screenplay captures the essence of her aunt’s experiences, particularly her dedication to the craft of acting and her struggles with dementia in her later years.
The character of Lillian Hall is a fictional representation, but many aspects of her journey are inspired by Marian Seldes’s real-life challenges and triumphs.
In an interview, Annacone mentioned that she wanted to honor her aunt’s memory and share her story with a wider audience. She aimed to highlight the emotional depth and resilience of a legendary actress facing the inevitable decline of her mental faculties while preparing for her final performance.
The screenplay blends elements of drama and poignancy, creating a narrative that resonates with audiences and pays homage to the indomitable spirit of Marian Seldes. Annacone’s personal connection to the story adds authenticity and emotional weight to the film, making it a heartfelt tribute to her aunt’s remarkable life and career.
Directed by Michael Cristofer, the drama film paints a poignant picture of Lillian’s fight against herself and others for a final chance to do what she loves. She looks back at her life and legacy, tries to make amends with her daughter, and asks friends to remind her who she truly was. The vivid and heartfelt portrayal of Lillian’s journey generates questions about the possibility of a real story behind the HBO movie.
Cristofer expressed his admiration for the cast and the story, highlighting the emotional depth and complexity of the characters.
“Directing ‘The Great Lillian Hall’ was a deeply personal and fulfilling journey. The story of Lillian Hall, inspired by the incredible Marian Seldes, allowed us to explore themes of memory, identity, and the passage of time. Jessica Lange’s portrayal of Lillian was nothing short of extraordinary, and her dedication to the character brought a profound emotional resonance to the film.”
Cristofer also emphasized the importance of capturing the essence of the theater world and the challenges faced by aging actors. He aimed to create a visually and emotionally compelling narrative that would resonate with audiences and honor the legacy of Marian Seldes.
Legendary Broadway actress Lillian Hall (Jessica Lange) faces her final performance as she grapples with the onset of dementia. Preparing to take the stage in a production of “The Cherry Orchard,” Lillian’s journey is a poignant exploration of memory, identity, and the inevitable passage of time. With the support of her devoted friends and colleagues, Lillian confronts the challenges of her fading mental faculties while holding onto her passion for the theater. Directed by Michael Cristofer and written by Elisabeth Seldes Annacone, the film pays tribute to the indomitable spirit of Marian Seldes, capturing the emotional depth and resilience of an aging actress determined to leave her mark on the world of theater.
Jessica Lange, a theater legend and a real-life Broadway star, portrays Lillian Hall in the film.
Jessica Lange described the role as one of the most challenging and rewarding of her career. Lange mentioned that portraying a legendary actress grappling with dementia required her to delve deep into the character’s emotional and psychological complexities.
“You see her coming up to the brink of that [dementia] and her struggle of trying to keep going, do what she’s always done, do what she loves more than anything in the world and the struggle, the courage and her fortitude and perseverance. Those were the main elements that I really had to find with this character”
The character was earlier slated to be played by Meryl Streep but was ultimately taken on by Lange. ‘The Great Lillian Hall’ is a heartfelt fictional work that bears resemblances to Marian Seldes’s life. Through its vivid portrayal of Lillian’s journey, the film tells its own story while using personal experiences as a jumping-off point.
Michael Cristofer is an accomplished American actor, playwright, and filmmaker. Cristofer began his theatrical career as an actor, primarily on stage. He transitioned to playwriting and achieved significant success with his play “The Shadow Box,” which won the Pulitzer Prize for Drama and the Tony Award for Best Play in 1977. He has written numerous screenplays, including “Falling in Love” (1984), “The Witches of Eastwick” (1987), “The Bonfire of the Vanities” (1990), and “Gia” (1998), which earned him a Directors Guild Award. Cristofer directed several films, including “Gia,” “Body Shots” (1999), and “Original Sin” (2001). He also directed stage adaptations of classic films like “Love Me or Leave Me” and “Casablanca”. Cristofer served as artistic advisor and co-artistic director of River Arts Repertory in Woodstock, New York, where he produced and directed numerous plays. He collaborated with trumpeter Terence Blanchard to write the libretto for the boxing opera “Champion,” which premiered in 2013. After a hiatus, Cristofer returned to acting, appearing in productions such as “Romeo and Juliet” (NY Shakespeare Festival), “Three Sisters” (Williamstown Theater), and the Broadway revival of “A View from the Bridge”.
Elisabeth Seldes Annacone is an accomplished screenwriter and producer with a diverse career in the film industry. She received her M.F.A. in screenwriting from the UCLA School of Theater, Film, and Television. Annacone began her career working with notable filmmakers such as Oliver Stone, Francis Ford Coppola, and Caroline Thompson. She served as a senior vice president at MGM, overseeing films like “Moll Flanders,” “Mulholland Falls,” “Get Shorty,” and “Two Days in the Valley.” As a producer, she was responsible for films like David Nutter’s cult thriller “Disturbing Behavior,” Caroline Thompson’s “Buddy,” and Bruce Wagner’s “White Dwarf.” Annacone co-wrote the screenplay for “The Great Lillian Hall,” a film inspired by her aunt Marian Seldes. The film was released by HBO in 2024 and received critical acclaim. She created a one-hour drama for Universal TV called “Weekends,” with Debra Martin Chase producing.
by Daniel Dercksen·Comments Off on Rule Breakers: Defying Expectations and Shaping Futures
“In a nation where educating girls is seen as rebellion, a visionary woman dares to teach young minds to dream,” says Elaha Mahboob, co-screenwriter of the screenplay for Rule Breakers. She brings a personal touch to the story, having been closely involved with the Afghan Dreamers and their journey.
Rule Breakers follows the journey of a group of young Afghan girls who, against all odds, pursue their passion for robotics and innovation. Led by a visionary woman, these girls defy societal norms and challenges to participate in international competitions, showcasing their talent and determination.
It was inspired by the true story of the “Afghan Dreamers,” Afghanistan’s first all-girls robotics team. The film highlights the journey of these young women who, under the guidance of their visionary teacher Roya Mahboob, defied societal norms and pursued their passion for science and technology. Despite facing immense challenges and opposition, their determination and ingenuity captured global attention and sparked hope for a better future.
The story of the Afghan Dreamers is a testament to the power of education, resilience, and the importance of breaking barriers to create positive change. The film aims to inspire audiences by showcasing the courage and unity of these young women as they navigate obstacles and strive to make a difference in their community and beyond.
The film highlights the importance of empowering young girls and providing them with opportunities to succeed. The story emphasizes the transformative power of education, especially for girls in regions where it is often undervalued. The film showcases the resilience of the girls and their mentor as they navigate through obstacles and opposition and celebrates the strength of unity and teamwork in overcoming challenges and achieving greatness.
The idea for the film was sparked by the real-life story of the Afghan Dreamers.
Director Bill Guttentag and screenwriters Jason Brown, and Elaha Mahboob worked together to craft a screenplay that would do justice to the incredible journey of these young women. They focused on capturing the essence of their struggles, triumphs, and the impact they made on the world.
Once the script was finalized, the pre-production phase began. This involved assembling a talented cast and crew, scouting locations, and planning the logistics of the shoot. The filmmakers aimed to create an authentic portrayal of Afghanistan, so they paid close attention to cultural and historical details.
The casting process was crucial in bringing the characters to life. Ali Fazal, Nikohl Boosheri, and Fahim Fazli were selected for their ability to embody the spirit and resilience of the real-life figures they portrayed. The cast underwent extensive preparation to understand their roles and the context of the story.
Principal photography took place in various locations to authentically depict the setting of the story. The filmmakers faced challenges such as recreating the environment of Afghanistan and ensuring the safety and comfort of the cast and crew. Despite these obstacles, the team remained dedicated to capturing the essence of the story.
Rule Breakers stands out for several compelling reasons
Based on the real-life journey of the Afghan Dreamers, Afghanistan’s first all-girls robotics team, the film highlights the importance of education, gender equality, and the power of dreams. It serves as an inspiration to audiences around the world, showing that with determination and support, individuals can break barriers and achieve greatness.
By focusing on the experiences of young women in Afghanistan, the film sheds light on the challenges they face and the resilience they exhibit. It brings attention to the broader issues of women’s rights and access to education in regions where these opportunities are limited.
The story of the Afghan Dreamers resonates with audiences worldwide. It emphasizes the universal themes of hope, perseverance, and the importance of supporting and uplifting each other, regardless of geographical or cultural differences.
Rule Breakers is significant because it tells a poignant and inspiring true story that highlights the power of education, resilience, and the importance of breaking barriers to create positive change. It’s a film that not only entertains but also educates and inspires, leaving a lasting impact on its audience
Bill Guttentag directed Rule Breakers. He is a seasoned filmmaker and two-time Academy Award winner. His previous works include acclaimed documentaries and films such as Soundtrack for a Revolution and Nanking. Guttentag is known for his powerful storytelling and ability to bring compelling true stories to the screen.
The Screenwriters
Jason Brown is one of the screenwriters. He has worked on several notable projects, blending drama and inspirational themes in his writing.
Elaha Mahboob, co-writer of the screenplay, brings a personal touch to the story. She is the sister of Roya Mahboob and has been closely involved with the Afghan Dreamers and their journey. Her insights and experiences add authenticity and depth to the script.
“The story of the Afghan Dreamers is not just about robotics; it’s about breaking barriers and challenging societal norms. It’s about showing the world what young women can achieve when given the opportunity. Through this film, we aim to highlight the importance of supporting and empowering young women, especially in regions where their potential is often overlooked. Their success is a testament to the strength and determination of girls everywhere.”
Mahboob’s personal connection to the story adds an extra layer of authenticity and depth to the screenplay. She is the sister of Roya Mahboob, who played a pivotal role in guiding and mentoring the Afghan Dreamers. Elaha’s first-hand experience with the challenges and triumphs faced by the team provided invaluable insights that shaped the narrative of the film. Elaha has been deeply involved in the efforts to promote education and technology for girls in Afghanistan. Her understanding of the cultural, social, and educational landscape in the region enabled her to bring a nuanced and heartfelt perspective to the script. By incorporating her personal experiences and observations, Elaha ensured that the film accurately represents the spirit and resilience of the Afghan Dreamers. This personal connection helps the film resonate on a more intimate level, as it captures the genuine emotions and struggles of the characters. Elaha’s contribution to the screenplay highlights the importance of telling stories that come from a place of authenticity and lived experience. Is there anything specific you would
Together, these talented individuals have crafted a film that aims to inspire and shed light on the incredible achievements of the Afghan Dreamers.
by Daniel Dercksen·Comments Off on Mickey 17: A Riveting Blend of Sci-Fi, Humor, and Social Commentary
Mickey 17 is the eighth feature film from the acclaimed Bong Joon Ho, the Oscar winning writer/director of Parasite, “I was fascinated by the concept of human printing and just captivated by the character of Mickey, who is not a superhero, who is this everyman, normal, average man going through this crazy journey,” says Bong Joon Ho of his unlikely hero, whose employer demands the ultimate commitment to the job… to die, for a living.
Mickey 17 is a groundbreaking, original film that seamlessly weaves together sci-fi, action, and audacious humour to deliver a genre-defying big-screen event – as only Director Bong can do. Robert Pattinson reinvents himself as Mickey in a film that offers an entertaining, insightful, and subversively humorous look at the expendability of life; revealing a deeply human story of an ordinary man who unintentionally becomes the extraordinary hero his world needs.
The story is based on the 2022 novel Mickey7 by Edward Ashton. It follows Mickey Barnes, a clone worker on a human colony who undertakes dangerous assignments. The film explores themes of identity, survival, and the nature of being expendable.
Bong Joon-ho’s unique approach to filmmaking often involves blending and subverting genres, which is part of what makes his work so compelling.
“I have a complex feeling about genre. I love it, but I hate it at the same time. I have the urge to make audiences thrill with the excitement of a genre, but I also try to betray and destroy the expectations placed on that genre.”
It’s a science fiction black comedy, blending humor with social commentary, a hallmark of Bong Joon-ho’s work. Bong Joon-Ho travels to the future – and outer space – to tell the story of Robert Pattinson’s title character… or rather, to tell the story of Robert Pattinson’s at least 17 title characters. Because, see, Mickey is a clone.
Bong cites “so many, so many” when asked what his favorite sci-fi film is, but John Carpenter’s The Thing and Ridley Scott’s Alien are at the top of the pile. (He also shouts out a low-budget indie about giant insects called Infestation: “I love that film.”) As for the future of the genre, he’s optimistic.
“The masters of the sci-fi genre are getting old, and it would be great to see new up and coming sci-fi directors make a splash,” he says. “I definitely see directors continuing that lineage, like Alex Garland, and [Fede Álvarez’s] Alien: Romulus was great. There’s a particular excitement that comes from sci-fi, and I would love to just see more of these traditional sci-fi films, because if you look at my films, I’m kind of an exception [as a] sci-fi filmmaker. It’s sci-fi, but it doesn’t really feel like sci-fi. I kind of like to pull down the genre to the realm of pit stains and sweat stains!”
Sitting Down With Bong Joon Ho (Writer / Director / Producer)…
Q: You continue to create thoughtful, singular films that explore culture in ways that feel wholly original. What inspires you, and more specifically, what do you look for when you set out to choose your projects?
BONG JOON HO: To seek inspiration, I think you have to keep your antennas up in your personal life. Of course, you can get inspiration from films, comic books and novels, but I try to stay receptive to my everyday surroundings. That’s where I get most of my inspiration, so I try to stay alert.
Q: Once you’ve chosen a project, can you tell us a bit about your writing process and how you know when your script is ready to shoot?
BONG JOON HO: The writing process? It’s very lonely and very painful. [Laughs] Sometimes I don’t want to do it at all. It’s tough. But of course, I have to do it. I’ve been a writer-director for many years now, and I write all my scripts myself, so you could say it’s fate. But I always know it’s going to be over in six or eight months, so I face it head-on with that in mind. I try to make myself as lonely as possible. I tend to write better when I’m isolated.
Q: What drew you to the story of Mickey 17 and made you decide to make this movie?
BONG JOON HO: Just from the summary of the original novel, I was instantly captivated. And of course, as I read page by page, I was even more engrossed in the story, because I thought that it had such a unique concept, which is human printing, and that’s very different from human cloning. It’s like you’re printing out humans as if human beings are just pieces of paper, documents to be printed out. And I thought that human printing—even in the expression itself—we could sense the tragedy of that condition and that profession. And so, I started thinking about what it would be like to actually be that person being printed out. All these thoughts came to me and I was completely in that world instantly.
And I also found the character of Mickey Barnes so captivating and appealing. Even in the original novel, Mickey is quite an average person… but I wanted to make him even more average, even lower class, even more of a loser. And so, all these ideas for adapting the story came to me instantly. I was fascinated by the concept of human printing and just captivated by the character of Mickey, who is not a superhero, who is this everyman, normal, average man going through this crazy journey.
Q: A hallmark of your work is blending, bending and defying that idea of genres when you take on a new project. Can you tell us about the tones you’re balancing in this film? And maybe the tools that you use to accomplish that balance?
BONG JOON HO: I get this question a lot during interviews. They say my films are a mix of various genres and wonder how I plan all that. Or they ask how I plan all the tonal shifts that happen in my films. But actually, I don’t make those decisions consciously. I just depend on my instincts when I write, and once I’m done, even I end up wondering what genre the story could be.
Q: Can you tell us about Robert Pattinson—when did he first catch your attention?
BONG JOON HO: We’ve all known him since “Harry Potter and the Goblet of Fire,” but I started seeing him under another light as an actor through “Good Time” with the Safdie brothers and his riveting performance in “The Lighthouse” with Willem Dafoe. He became an actor on another level with those two works. Same goes for “The Batman,” when I saw him take on such an iconic character and make it completely his own with a refreshing take. I thought playing both Mickey 17 and Mickey 18 would ignite his ambitions as an actor and we’d be able to have fun and inspire each other.
Q: Can you tell us a little bit about how Robert added to the character you’d written—the voice, the demeanor? How did he breathe life into this Everyman character?
BONG JOON HO: As I was adapting the story into my script, I added a lot of detailed descriptions about the character. But no matter how detailed they are, in the end, they’re just words on a page. It’s really up to the actor to breathe life into these characters. And really, Rob brought in so much of his own creativity and so much of his own ideas to add detailed nuances to the characters. I was so surprised and impressed by everything he contributed to the characters and the film.
With Mickey 17, it was more like he was great at actualizing the detailed ideas I had for the character—but it was really Mickey 18 that Rob just took to a whole new dimension. He really surpassed the boundaries I had set for this character, added so many specific ideas and brought such a new energy, things that I never even imagined, really. So, he would improvise a lot of really quirky dialogue and fun moments on set, and it was just great watching him bring Mickey 17 to life on set. And I’m really grateful, especially for what he did for Mickey 18.
Q: The rest of the cast is quite incredible as well. Can you tell us a little bit about Mark Ruffalo, Steven Yeun, Toni Collette, Naomi Ackie?
BONG JOON HO: Mark plays a very key character, the villain and dictator, you could say. But he’d never really played that kind of villain before, so he was quite surprised when I first sent him the script. He was like, “Why are you sending this to me? I’m not familiar with this!” But eventually, he found it refreshing and enjoyed the process. He was happy to take on a villain role. His character’s tied to the political satire and comedy aspects of this film. It’s a side of him we haven’t seen before, so it was great to watch his performance and I think he had fun, too. Toni Collette plays his wife, Ylfa, and there’s a specific dynamic between the couple that’s another small engine that drives the story. Steven Yeun plays Timo. As I mentioned earlier, this film is sci-fi, but it doesn’t really feel like sci-fi. And Steven really adds to this not sci-fi aspect. He makes this film feel very unique, and he’s like this special sauce that really adds to the film’s tone and texture. The character’s very funny. And Naomi brings the heart. She has such an explosive energy as an actor. Of course, she plays Nasha, a role who Mickey really relies on throughout the story. And it’s the opposite of the traditional female-male relationship that we’re used to seeing onscreen. Nasha is actually the more powerful, the more charismatic and valiant character.
Q: Can we talk a bit about the world building? Can you discuss working with your creative team to create and craft things like the world, the characters, the creatures and the invented, future tech?
BONG JOON HO: I was already experienced with creating VFX creatures from my previous film “Okja.” In this film as well, the creepers aren’t just creatures, but one of the main characters that also has a lot to do with Mickey. We had to invent a new creature that would feel alive, so we assembled the best VFX team for the job. I got to work with Dan Glass, a supervisor I’d worked with on “Okja,” and two amazing VFX vendors, Double Negative and Framestore. We also had the great cinematographer Darius Khondji, a true artist who also did “Okja” with me, and production designer Fiona Crombie, who’d recently done amazing work with Yorgos Lanthimos. I was very happy to depend on these great artists. Our composer’s Jung Jaeil, who did “Parasite” and “Okja” with me. This is our third film together, so it was an opportunity to explore familiar but new territory. And costume designer Catherine George—she’s a longtime colleague. We did “Snowpiercer” and “Okja”together. She has her own unique approach in understanding characters, so it’s always a joy to see all the costumes she comes up with.
Q: A theme that seems to recur in your work is an exploration—or satirizing—of the inequities and hypocrisies that exist in our world… shining a light on the corrupt or hegemonic society. Do you want to say anything about that and how that may have shaped your telling of this story?
BONG JOON HO: I don’t make films just for the sake of political satire. I’d never want films to just become propaganda. So, I try to make films that are beautiful and entertaining on their own. “Mickey 17” is just part of that effort. But I think all the things that happen to Mickey, his situation, and the way he gets treated in the film are political in themselves. It has to do with how we treat and respect a human being. It’s not that there’s this separate grand political layer to the story. If you just watch all the struggles Mickey 17 and Mickey 18 go through, you naturally get a sense of the political context.
Q: And in terms of your process for shooting and editing, there is a lot of preparation with storyboards and concepting—then, you only shoot the performance necessary for the shot, no extra coverage. Can you talk a bit about that technique and how you are able to get the performances this way?
BONG JOON HO: Yeah, I’m very obsessed to make my own storyboards with my own drawing. Of course, it’s a lot of hard work mentally and physically. But I can’t make films without it. I have to have all the shots composed in my head to feel safe and then actually shoot the film. When I’ve completed the storyboards, personally I feel like the film is completed. My storyboards are quite exact in the way shots are framed and camera movements are noted. And I tend to stick with it 99 percent of the time, so the finished film isn’t that different from the storyboards. But in terms of the actors’ performances, I try to stay as open as possible. I always welcome improvisation from the actors. So, it’s a contradiction, in a way. I have the camera placement and framing firmly established from my storyboards, but I tell the actors to be as comfortable and as free as possible within that. It’s a paradox, but that’s how I work.
Q: Can you tell us anything about the tone and the aesthetic of the film and if there’s anything you’ve been able to accomplish with “Mickey 17” that you haven’t done before?
BONG JOON HO: Overall, there are many familiar elements that I’ve dealt with before, but actually it’s the first time I’m delving into just how silly and foolish people can be, and how that foolishness can actually make them more lovable. People have been commenting on how warm this film feels, compared with some of my previous works. My films have always been received as being quite ruthless and cynical. Maybe it’s because I’m getting older, but it’s not so bad hearing these new reactions. This is a sci-fi film where people go to alien planets, and there’s a spaceship and everything, but it’s about a lot of silly people. So, it’s very funny. It’s not a big space epic where people shoot laser beams. It’s more about these silly losers. [Laughs] The film’s packed with people who are endearingly silly.
Q: From your perspective, what makes this story so pertinent to the moment we’re living in right now?
BONG JOON HO: Because it’s a story of young people, working class people. It’s about someone who’s powerless, but he unexpectedly becomes a hero. You can say it’s a story about an average person who unintentionally becomes a hero all of a sudden. And the way he becomes that hero is also unique. I thought, “That’s the kind of story contemporary audiences would want to see.”
Q: The story takes place in a future that probably none of us wants to live in. Can you tell us a bit about this cautionary tale—about the Earth, the state of it and the people—from your perspective?
BONG JOON HO: Well, it’s not that the Earth goes extinct—it just becomes a harsh place to live in, so people end up leaving. It’s an everyday matter. They get on a spaceship like it’s a red-eye flight from LA to New York. It’s not a mass migration or exodus. The film’s tone and mood make it feel quite matter-of-fact. Leaving Earth and migrating to another planet seems like quite a common choice. So, people in this film roam around without a destination in life, and they’re lonely. They don’t have families, but they still find love. This film’s also a love story between Mickey and Nasha. This aspect of wandering people finding relationships is a big part of the story.
Q: This film has garnered much fan attention and excitement. Why do you think it resonates with people and what do you hope audiences will love about it?
BONG JOON HO: First of all, [Laughs] Robert Pattinson is a very charming actor, so I think that’s why people are interested. But I’m not joking. We really see a new side of him in this film, a side we’ve never seen from him. And that naturally blends with the film’s story and theme. It’s one of the best parts. This is a sci-fi film, but it’s also a comedy and a very human story, so I hope the audience enjoys it for what it is. And when they go home after watching it, I hope they spend a brief moment thinking about what makes us human, what we must do to stay human. Just briefly, three minutes maybe [Laughs].
Q: And why is it important that they see the film on a big screen with a great sound system?
BONG JOON HO: We live in the streaming era, but there are still certain things you can only feel when you watch a film on a big screen in the theater. Of course, a big screen is great for watching spectacular extraterrestrial spaces and creatures, but I think it’s a powerful experience to watch the actors’ delicate expressions and big closeups on the big screen. The human face carries its own landscape. As I mentioned, we have such a great cast. Rob, Mark Ruffalo, Toni Collette, Steven Yeun, Naomi Ackie and all these actors show such rich expressions and nuanced performances that will be great to watch on a big screen. Rob Pattinson in IMAX, that’s a great experience to have.
In Conversation with Robert Pattinson (Mickey Barnes)…
Meeting and working with Director Bong…
ROBERT PATTINSON: I think nowadays there are very few directors in the world who are on Bong’s level, and have the audience that Bong has as well. He’s living in very rarified air. I’ve just been such a huge fan of his. And it just came out of nowhere—“There’s a Bong project.” I met him and really loved him. Then the script came in, and it is one of the craziest things I’d ever read. It felt risky, but in a really nice way, and it was wonderful to do it with someone by whom you’d feel supported as well. I walked into it not knowing what to expect. And it’s funny, because you wouldn’t be able to judge his personality from his filmography at all. He’s a really sweet guy, very funny, very engaging, very self-deprecating. Not really what I expected. But, he has a very powerful aura. You don’t really realize how powerful it is at first. It spreads to every level of production, which is very, very impressive.
Describing the story of “Mickey 17”…
ROBERT PATTINSON: I think that it’s a combination of things. I could feel it from the first read, there are elements of enormous scale, for one thing. And then extremely niche humor at the same time. And a lot of elements that at first glance, you’re like, “How can these things go together?” And some parts that feel almost like a dare. [Laughs] It’s one of those scripts where I haven’t read anything like it in a long time, and I don’t think I’ll ever read anything like it again. Then to know that it’s someone with his level of pedigree coming to this script which, in some ways, is also like a sci-fi farce. Actually, I have no idea how to describe it to people at all. Even just the beginning: “So, it’s about a pastry chef in the future. He has a macaron shop. And he takes out a very risky loan with loan sharks and then he gets onto a mission to space, where he gets reprinted over and over again.” [Laughs] You go off the rails almost immediately trying to describe it. At first, I thought it was a risk, but as soon as I started doing it, it didn’t feel like a risk at all. Bong just has such extreme certainty about what he wants to shoot and so much confidence that you get into his rhythms really quickly.
The character of Mickey Barnes…
ROBERT PATTINSON: Mickey is a deceptively complicated character. At first glance, he kind of seems like a sort of simpleton, but he’s not. He has quite specific desires. He’s quite innocent and naïve in lots of ways. He comes from a place of extreme hurt and he’s trying to deal with a lot of trauma, but it manifests itself looking quite silly to other people. But it’s not silly to him. It does read sort of innately comedic, and very heightened to me. He’s an orphan who’s protected by his best friend he met in the orphanage when he was a kid. Mickey’s been following him his entire life and doesn’t really have a lot of self-confidence. It’s kind of a story about him finding his own autonomy in some ways. I guess it’s an extreme version of taking a good look at yourself in a mirror. [Laughs]
The deaths of Mickey…
ROBERT PATTINSON: You know what? It was pretty funny in the script when I was reading it, and then I saw some of it put together and it’s horrific. [Laughs] But it’s just like, “Well, it’s just one of those things.” It felt like we were shooting it for laughs, and then you watch it… Bong does that tone really well, where’s it deceptively painful, and then—you can never see it coming. It is a horrendous story for Mickey. An absolutely horrendous life. [Laughs] But, I think you need that level of extremity and their treatment of him to highlight the heroic aspects of the character. It’s just interesting having a hero who is incapable of seeing himself as a hero. He literally doesn’t value himself at all. It’s to the point where it’s a pretty extreme fault in his personality—he doesn’t even recognize he’s being tortured—because he wants to be accepted by the group so much and have purpose. I think the audience will see that as the story goes on.
Mickey 17, meet Mickey 18…
ROBERT PATTINSON: It’s almost like Mickey 17 doesn’t realize that he’s alive. He’s accepted the situation. I guess, in the simplest terms, it’s a ‘you don’t know what you’ve got until it’s gone’ kind of thing. And then, Mickey 18 comes along and really wants to live, and can’t stand the way Mickey 17 has been devaluing himself. It forces 17 to actually see his worth, because he’s going to be exterminated by the next iteration, even though he already has been killed many, many times before. It’s strangely complicated to explain to people. In my mind, it’s just two parts of your personality, where one is trying to progress and develop, and that progressive part is looking at the kind of lazy, procrastinating part and is just absolutely disgusted. But you don’t realize that they’re both you. And you just can’t decide to torture and murder that other part. [Laughs]
Differentiating 17 and 18…
ROBERT PATTINSON: I came to London a few months before it started, and experimented with so many different voices for both of them. It’s a strange thing, because you’re playing two characters who have to be very much delineated, but at the same time, no one else can tell that they’re actually different. It’s a delicate line to walk. But it’s also starting with, “Who is Mickey Barnes?” You’re a macaron chef in the future, so you’ve somehow got to take that into account. Plus, a million other things. It’s incredibly complicated. But I started out doing an extremely different performance. Then, when we did the read-through, Bong came up to me and said, “That voice you’re doing. Don’t do that.” [Laughs] And I was like, “Okay, dropping it right now.” Then the makeup department came up with these cheeks, because Bong initially wanted 18 to have chubby cheeks. So, we experimented with all these cheek plumpers, which I never would have thought of in a million years. And then it ended up being just a snaggletooth. We made it so small, and it slightly tilted my face. I thought, “That’s just enough.” You just have basically nothing. You can’t tell that anything’s really even there. Then, it made me speak differently. Which made me walk differently. Which made me behave differently… just having a tiny little tooth in. So, tons of experiments, and it looks like a shadow self could come from having a snaggletooth.
Shooting in the Bong style…
ROBERT PATTINSON: Bong kind of warned me at the beginning, saying that it’s quite a shock to the system for actors when you don’t shoot coverage… which is like every movie you’ve ever worked on. It’s quite a particular way of working. And it’s right from Day One. We were shooting one line and moving on—and genuinely like one line from the middle of the scene. You really have to get with the program pretty quickly. This way is really good for energy levels, when you know it’s going to be shot like that. You can pace yourself. And Bong edits at the same time, and he was very open with showing me. You can really watch what you’re doing, if it’s fitting into the scene. It’s an extremely collaborative process, and you don’t feel disconnected from it at all.
How you would describe Director Bong’s films…
ROBERT PATTINSON: I definitely see the wittiness. I think he’s an extremely witty director. And the themes? Definitely the brutality of humans towards each other. It’s strange, because it’s not comedic… Take “Memories of Murder.” The thing that appeals to me the most, really outside of the themes and stuff, is what he does with the performances. He manages to capture the duality of these characters so well that you find yourself rooting for people your instincts are telling you not to root for. Someone is presented as a good character and then the rug is suddenly pulled out from underneath you. I think that becomes a theme itself in his work: nothing is what it seems.
Mickey 17 is the eighth feature film from the acclaimed Bong Joon Ho (Writer / Director / Producer), following on from BARKING DOGS NEVER BITE (2000), MEMORIES OF MURDER (2003), THE HOST (2006), MOTHER (2009), SNOWPIERCER (2013), OKJA (2017) and PARASITE (2019). The modern-day classic MEMORIES OF MURDER delves into the investigation behind a well-known serial murder case that was never solved, depicting the authoritarian era of the time with satire and sharp insight. THE HOST takes as its basis the abduction of a young girl by a strange creature that crawls out of the Han River, turning the monster movie genre on its head while also issuing stinging social commentary. MOTHER, the story of a woman trying to protect her son from a murder charge, is a dark portrait of motherly love taken to the extreme, while the sci-fi film SNOWPIERCER portrays the last remnants of humanity in a future world that has been frozen over due to mankind’s overdone efforts to fix global warming. OKJA tells of the country girl Mija’s adventure to rescue the genetically engineered “super pig” she raised from the profit-driven corporation that owns it. Finally, PARASITE, which won the Palme d’Or and the Academy Award for Best Picture, among many other accolades, follows the newly formed symbiotic relationship between the wealthy Park family and the destitute Kim clan. Known for his cutting, socially incisive wit and twisting of genre conventions, Bong Joon Ho has continually raised questions about the system and societal inequalities with his unique blend of humor, emotion and suspense. MICKEY 17 marks a continuation of these themes for Dir. Bong, blending biting and character-driven social satire with high-concept tentpole science fiction. The Academy Museum of Motion Pictures exhibition, “Director’s Inspiration: Bong Joon Ho,” opens to the public on March 23, 2025, and runs through January 10, 2027. This is the first-ever museum exhibition dedicated to the Oscar-winning director, tracing his creative development through his films and the films that most influenced him.
by Daniel Dercksen·Comments Off on The Coen Brothers’ Masterclass in Absurdity: Raising Arizona
“We wanted to create characters that were endearing despite their flaws and mistakes. H.I. and Ed are just ordinary people in extraordinary circumstances, and that’s what makes them so relatable, says filmmaker Ethan Coen about Arizona Dream. “We were inspired by the screwball comedies of the past, .to have that same kind of fast-paced, witty humor, but with our own unique twist,” says Joel Coen.
Directed by the Coen Brothers and released in 1987, Raising Arizona is significant for its innovation, memorable performances, and lasting impact on both audiences and the film industry.
The film’s blend of zany humor, quirky characters, and heartfelt moments set it apart from traditional comedies of its time. The Coen Brothers’ distinctive storytelling style, with its blend of absurdity and sentimentality, is on full display.
“At its core, Raising Arizona is about the lengths people will go to for family and love. It’s a story about redemption and the idea that even the most flawed individuals can find a sense of purpose and belonging,” says Ethan Coen.
“Making Raising Arizona was a chance for us to experiment with different genres and styles. We wanted to push the boundaries of what a comedy could be, both visually and narratively,” says Joel Coen.
The film tells the story of H.I. “Hi” McDunnough (Nicolas Cage), a small-time repeat offender, and Edwina “Ed” (Holly Hunter), a former police officer. The unlikely pair fall in love and get married. Despite their desire to start a family, they discover that Ed is infertile, and they are unable to adopt due to Hi’s criminal record. Desperate to have a child, they hatch a plan to kidnap one of the Arizona Quints, the newborn quintuplets of wealthy furniture magnate Nathan Arizona (Trey Wilson). They hope that the large family won’t miss just one baby. The couple successfully snatches Nathan Junior, and chaos ensues as they attempt to raise the baby while evading law enforcement, a pair of escaped convicts (John Goodman and William Forsythe), and a relentless bounty hunter (Randall “Tex” Cobb) who is determined to return the baby for a hefty reward.
Joel and Ethan Coen’s inspiration for Raising Arizona
Raising Arizona is a product of the Coen Brothers’ creative vision, blending their personal experiences, cinematic influences, and desire to experiment with different genres to create a memorable and beloved film.
The Coen Brothers have mentioned that their own lives and experiences influenced the characters and themes in “Raising Arizona.” For example, they were inspired by the idea of people trying to start a family and the lengths they would go to for their loved ones.
They were inspired by the screwball comedies of the 1930s and 1940s, such as the work of Preston Sturges. They wanted to create a film that combined fast-paced, witty dialogue with slapstick humor and absurd situations.
The Coen Brothers have cited various literary influences, including the works of Flannery O’Connor, whose darkly comic stories often feature eccentric characters and moral dilemmas. This influence is evident in the film’s blend of humor and poignancy.
After the success of their debut film, “Blood Simple,” which was a dark and gritty thriller, the Coens wanted to explore a completely different genre. They aimed to showcase their versatility as filmmakers by creating a light-hearted, comedic film that contrasted sharply with their previous work.
The Coens were interested in creating a film centered around unique, larger-than-life characters. The eccentric and endearing personalities of H.I. and Ed, as well as the colorful supporting cast, allowed them to explore human nature and relationships in a humorous and heartfelt way.
Raising Arizona explores several significant themes
Family and Parenthood: At its heart, the film is about the desire for family and the lengths to which people will go to create and protect their own. H.I. and Ed’s journey to become parents, despite their unconventional methods, reflects the deep longing for family and the challenges of parenthood.
Redemption and Transformation: The characters in the film, particularly H.I., undergo personal growth and transformation. H.I.’s journey from a repeat offender to a dedicated husband and potential father highlights themes of redemption and the possibility of change.
Moral Dilemmas: The film presents characters with complex moral choices, such as the decision to kidnap a baby in the hope of providing it with a loving home. These dilemmas force the characters and the audience to grapple with questions of right and wrong.
Absurdity and Humor: The Coen Brothers use absurd situations and humor to explore the chaos and unpredictability of life. The film’s quirky and exaggerated scenarios highlight the absurdity of human behavior and the often unpredictable nature of life’s events.
Love and Commitment: The relationship between H.I. and Ed is a central focus of the film. Their love for each other and their commitment to building a life together, despite numerous obstacles, underscore the importance of loyalty and perseverance in relationships.
Societal Expectations: The film also critiques societal expectations and norms, particularly regarding family and success. H.I. and Ed’s non-traditional approach to starting a family challenges conventional views and highlights the pressure to conform to societal standards.
These themes, combined with the film’s distinctive humor and storytelling, make Raising Arizona a thought-provoking and entertaining exploration of human nature and relationships
In Raising Arizona, humor plays a crucial role in exploring and softening the impact of moral dilemmas
Alleviating Tension: Humor helps to diffuse the tension surrounding the serious and sometimes dark situations the characters find themselves in. For instance, the absurdity of H.I. and Ed’s decision to kidnap a baby is highlighted through comical scenes and over-the-top characters, making the moral dilemma more palatable for the audience.
Humanizing Characters: By using humor, the Coen Brothers make their characters more relatable and endearing. H.I.’s bumbling nature and Ed’s intense determination are exaggerated for comedic effect, but they also reveal the characters’ genuine desires and flaws. This humanization allows the audience to empathize with the characters, even when they make questionable choices.
Highlighting Absurdity: The film’s humor often underscores the absurdity of the situations and the characters’ actions. For example, the chaotic chase scenes and the exaggerated behavior of the bounty hunter, Leonard Smalls, highlight the ridiculousness of the circumstances. This use of humor prompts the audience to question the logic and morality of the characters’ decisions.
Balancing Serious Themes: The Coen Brothers skillfully balance the film’s comedic elements with its more serious themes. While the humor provides entertainment, it also serves to emphasize the underlying messages about family, redemption, and societal expectations. The comedic tone ensures that these themes are explored in a way that is engaging and thought-provoking without becoming overly heavy or preachy.
Satirical Commentary: The humor in “Raising Arizona” often includes satirical commentary on societal norms and expectations. The film pokes fun at the idealized image of the American family and the pressures to conform, using humor to critique these conventions while also exploring the characters’ struggles to navigate them.
Overall, the humor in Raising Arizona enriches the film’s exploration of moral dilemmas by making the characters’ experiences more relatable, highlighting the absurdity of their actions, and balancing the serious themes with a light-hearted and engaging tone.
Relevance of the film today
Raising Arizona remains relevant today for several reasons:
Timeless Themes: The film’s exploration of family, love, and redemption are universal and enduring themes that continue to resonate with audiences. The desire for family and the challenges of parenthood are experiences that many can relate to, regardless of the era.
Unique Style: The Coen Brothers’ distinctive storytelling, with its blend of humor, absurdity, and heartfelt moments, still stands out in the landscape of contemporary cinema. Their ability to balance dark comedy with emotional depth makes “Raising Arizona” a unique and memorable film.
Character Depth: The quirky and endearing characters, such as H.I. and Ed, remain relatable and engaging. Their struggles, flaws, and growth reflect the human condition, making them timeless and relevant to modern audiences.
Cultural Impact: The film has left a lasting mark on popular culture, influencing subsequent comedies and filmmakers. Its memorable quotes, distinctive style, and cult following have solidified its place in the pantheon of classic films.
Satirical Commentary: The film’s satirical take on societal norms and expectations continues to be relevant. The critique of the idealized American family, the pressures to conform, and the absurdity of certain social conventions are themes that still resonate in today’s world.
Rewatchability: Raising Arizona has a high rewatchability factor due to its humor, clever writing, and visual style. Audiences can continue to find new layers and nuances upon repeated viewings, keeping the film fresh and relevant.
More about the Coen Brothers
The Coen Brothers, Joel and Ethan Coen, are an iconic American filmmaking duo known for their distinctive style and versatility. Here’s a bit more about them:
Early Life and Education
Joel Coen was born on November 29, 1954, and Ethan Coen on September 21, 1957, both in St. Louis Park, Minnesota.
Joel studied film at New York University, while Ethan studied philosophy at Princeton University.
Career Highlights
They made their directorial debut with the neo-noir thriller “Blood Simple” in 1984.
Some of their most acclaimed works include “Fargo” (1996), “The Big Lebowski” (1998), “No Country for Old Men” (2007), and “Inside Llewyn Davis” (2013).
The Coen Brothers have been nominated for 13 Academy Awards together and have won several, including Best Original Screenplay for “Fargo” and Best Picture, Best Director, and Best Adapted Screenplay for “No Country for Old Men”.
Distinctive Style
Their films often blend genres and subvert traditional storytelling conventions.
They are known for their dark humor, quirky characters, and intricate plots.
The Coens frequently collaborate with a regular group of actors, including Frances McDormand, John Goodman, and Steve Buscemi.
Solo Projects
In recent years, the brothers have also pursued individual projects. Joel directed “The Tragedy of Macbeth” (2021), while Ethan directed “Jerry Lee Lewis: Trouble in Mind” (2022) and “Drive-Away Dolls” (2024).
Contributions to Other Films
Besides their own films, the Coen Brothers have written and produced for other directors, including Sam Raimi’s “Crimewave” (1985) and Steven Spielberg’s “Bridge of Spies” (2015).
Their unique vision and storytelling prowess have left an indelible mark on the film industry, making them one of the most influential filmmaking duos of our time.
by Daniel Dercksen·Comments Off on Exploring the Boundaries of Reality: Kusturica’s Arizona Dream
Emir Kusturica is known for his distinctive and unconventional filmmaking style. Arizona Dream embodies his penchant for surrealism and eccentric storytelling, blending comedy and drama with fantastical elements.
The film’s symbolism and surreal imagery invite viewers to interpret and find deeper meanings within the story. Arizona Dream stands out for its artistic approach and the way it challenges conventional storytelling, making it a significant film in the indie and cult cinema landscape.
“Making movies is a dangerous job. Because you are always the one who stands at the center of the universe when making movies.”
The story follows Axel Blackmar (Johnny Depp), a young man who works tagging fish in New York City. He is coaxed by his cousin Paul (Vincent Gallo) to attend their uncle Leo’s (Jerry Lewis) wedding in Arizona. Axel encounters two eccentric women: Elaine (Faye Dunaway), who dreams of building a flying machine, and her stepdaughter Grace (Lili Taylor), who dreams of being reincarnated as a turtle.
Emir Kusturica’s inspiration for Arizona Dream was multifaceted.
One significant influence was his time teaching at Columbia University, where he met David Atkins, a student who provided the basic storyline for the film. Kusturica’s perceptions of America, filtered through his experiences and position in the Balkan War, also played a crucial role. The film reflects his unique perspective as a European auteur, offering a cultural and political analysis of the United States.
Kusturica’s fascination with dreams and surrealism is evident in the film’s narrative and visual style. The film explores themes of dreams, reality, and the human condition, which are recurring motifs in Kusturica’s work.
He experienced a significant breakdown during the filming of Arizona Dream. The intense pressure and challenges of making the film, combined with personal and professional stress, led to a difficult period for him. After completing the film, Kusturica took a break from filmmaking and focused on his music career with his band, The No Smoking Orchestra.
This period of his life highlights the immense pressure and emotional toll that filmmaking can have on directors, especially those with a strong personal and artistic vision like Kusturica. Despite these challenges, he returned to filmmaking and continued to create impactful and memorable films.
Arizona Dream often blurs the lines between dreams and reality
Creating a surreal, dreamlike atmosphere that is a signature of his storytelling, Kusturica’s characters often have dreams and aspirations that drive their actions.
One of the memorable surreal sequence that exemplifies his unique narrative style involves Axel Blackmar (played by Johnny Depp) and his eccentric love interest, Elaine (Faye Dunaway). During a fantastical dream sequence, Elaine imagines herself flying in a propeller plane built by her late husband, a manifestation of her grief and desire to escape her reality. The plane crashes, symbolizing her own emotional struggles.
Axel dreams of a world where Eskimos live in the Arizona desert and fish swim through the air. This surreal vision reflects his longing for adventure and a life beyond the confines of his mundane reality. Later in the film, Axel builds a fantastical flying machine, embodying his desire to break free from societal norms and explore new horizons.
These dreamlike sequences, though filled with whimsical elements, serve a deeper purpose by highlighting the characters’ inner turmoil and aspirations. Axel’s transformation throughout the film demonstrates how pursuing one’s dreams, however fantastical, can lead to profound personal growth and a better understanding of oneself.
Kusturica uses whimsical and surreal imagery throughout the film to reflect the inner worlds of his characters, merging reality with fantasy in a way that challenges viewers to interpret the deeper meanings behind these fantastical elements. The dreamlike quality of Arizona Dream creates a unique and immersive narrative experience.
While Kusturica’s films often delve into dreams, they also confront harsh realities. When Father Was Away on Business deals with political repression, and Underground explores the complexities and tragedies of war in the Balkans.
Emir Kusturica’s film process and screenplay writing are deeply intertwined with his unique vision and storytelling style
Kusturica often collaborates with other writers and artists to bring his vision to life. He worked with David Atkins on the screenplay for Arizona Dream and with Dušan Kovačević on Underground.
He places a strong emphasis on visual storytelling. His films are known for their rich and imaginative visuals, which often include surreal and fantastical elements.
His films are deeply rooted in the cultural and historical context of the Balkans. This adds layers of meaning and authenticity to his work.
Kusturica is known for allowing a degree of improvisation during filming. This approach helps capture spontaneous and genuine performances from his actors.
His screenplays often explore themes such as dreams, reality, identity, and the human condition. These themes are woven into the narrative and visual elements of his films. His screenplays focus on complex and eccentric characters. The characters’ journeys and interactions drive the plot and provide emotional depth.
Kusturica uses symbolism and metaphor to convey deeper meanings. This adds layers of interpretation and invites viewers to engage with the film on multiple levels. Many of his films incorporate elements of magical realism, blending the fantastical with the mundane. This creates a unique and immersive cinematic experience.
His approach to filmmaking and screenplay writing is a blend of meticulous planning and creative spontaneity. His films are a testament to his ability to craft compelling narratives that resonate with audiences on both an emotional and intellectual level.
Emir Kusturica is a renowned Serbian filmmaker, screenwriter, actor, and musician
Born on November 24, 1954, in Sarajevo, Bosnia and Herzegovina, he is celebrated for his unique and surreal storytelling style, which often blends elements of comedy and drama. Kusturica graduated from the prestigious Academy of Performing Arts (FAMU) in Prague in 1978. His student film “Guernica” won an award at the Karlovy Vary International Film Festival. He has directed several acclaimed films, including “Do You Remember Dolly Bell?” (1981), “When Father Was Away on Business” (1985), “Time of the Gypsies” (1988), “Arizona Dream” (1993), “Underground” (1995), and “Black Cat, White Cat” (1998)2. Kusturica has won numerous awards, including two Palme d’Or awards at the Cannes Film Festival for “When Father Was Away on Business” and “Underground”. He also received the Silver Bear at the Berlin Film Festival for “Arizona Dream” and the Silver Lion at the Venice Film Festival for “Black Cat, White Cat”. Kusturica built a traditional village called Drvengrad (also known as Küstendorf) in Serbia for his film “Life Is a Miracle” (2004). The village has since become a cultural hub, hosting the annual Küstendorf Film and Music Festival. He is also a musician and the founder of the band “The No Smoking Orchestra,” which has gained international recognition. Kusturica published his autobiography “Smrt je neprovjerena glasina” (“Death Is an Unverified Rumour”) in 2010.
How does Kusturica’s approach compare with other directors?
Emir Kusturica’s approach to filmmaking can be compared to other notable directors in terms of style, themes, and narrative techniques.
Both Kusturica and Federico Fellini incorporate surreal and fantastical elements into their films. Fellini’s “8½” and “La Dolce Vita” are known for their dreamlike sequences and vivid imagery, similar to Kusturica’s work. Both directors focus on eccentric and deeply flawed characters, exploring their personal journeys and inner worlds.
Like Kusturica, Terry Gilliam (known for “Brazil” and “The Fisher King”) uses a distinctive visual style that often includes exaggerated and whimsical elements. Both directors blur the lines between reality and fantasy, creating a unique cinematic experience that challenges conventional storytelling.
David Lynch, known for “Mulholland Drive” and “Blue Velvet,” also employs surreal storytelling techniques and explores the darker, more enigmatic aspects of human nature. Both directors create atmospheric films with a strong sense of mood and tone, using visual and auditory elements to immerse the audience.
Wes Anderson (known for “The Grand Budapest Hotel” and “Moonrise Kingdom”) and Kusturica share a love for quirky, eccentric characters and settings. Both directors use distinctive stylistic choices, such as meticulous set designs and unique color palettes, to create a visually cohesive and recognizable aesthetic.
Finnish director Aki Kaurismäki, known for “The Man Without a Past” and “Le Havre,” often blends humor and pathos in his films, similar to Kusturica’s approach. Both directors focus on the lives of ordinary people, highlighting their struggles, dreams, and resilience.
by Daniel Dercksen·Comments Off on Brave The Dark – Finding Light in the Dark
“I have had a passion for making movies for as long as I can remember. I believe in writing what you know, and what do we know better than our own story?,” says screenwriter Nate Deen of Brave the Dark, a poignant reminder of what truly matters in life: kindness, understanding, and resilience.
Brave the Dark is inspired by the true story of Stan Deen, a compassionate high school teacher, and his transformative relationship with a troubled teenager named Nate. The film delves into the impact of mentorship, resilience, and the power of empathy in overcoming personal struggles. Stan Deen’s unwavering support and belief in Nate helped him navigate through his dark past and find hope for a better future.
The story champions the idea of standing up for the underdog. It’s a theme we all can relate to—whether it’s in our communities, schools, or workplaces. Brave the Dark reminds us that being a hero doesn’t always mean wearing a cape. Sometimes, it’s about standing beside someone who feels invisible and letting them know they’re not alone.
The story, set in 1980s rural Pennsylvania, is based on true events and explores the transformative relationship between a compassionate high school teacher, Stan Deen, and a troubled teenager, Nate. Stan discovers that Nate has been living out of his car and decides to bail him out, offering him a place to stay and helping him graduate high school. As their relationship develops, Stan becomes increasingly involved in uncovering the dark secrets of Nate’s past, which include witnessing a tragic murder-suicide involving his parents.
The story highlights the importance of small acts of kindness and the profound difference they can make in someone’s life. It serves as a reminder that everyone has the potential to make a positive impact on others, even in the face of adversity.
One of the film’s most profound messages is the importance of getting to know someone’s story. Brave the Dark reminds us that understanding breeds empathy. When we take the time to truly listen to others and understand their experiences, barriers begin to break down, and we see the humanity in one another.
True Heroism Is Selfless
Perhaps the most powerful takeaway from Brave the Dark is this: a true hero is someone who gives without expecting anything in return. In a culture that often celebrates self-interest, the film serves as a timely reminder of the quiet strength in selflessness.
Based on a true story, Brave The Dark powerfully portrays the transformation of a 1980s small-town teacher as he is drawn into the mysterious past of a student suddenly arrested outside his classroom. Long sustained by a quiet belief that no student is a lost cause, Stan Deen (Jared Harris, Chernobyl, Mad Men)) discovers the profound and direct impact he can have on another life. But as Stan attempts to figure out how troubled, secretive Nate (Nicholas Hamilton, Captain Fantastic, It) wound up living alone in his car, without any family, their relationship will test his deepest convictions and become a life-changing journey through doubt and betrayal towards trust and redemption.
Director Damian Harris shares his thoughts on the film
The film clearly benefited from having Nate there. It was helpful for me personally to have Nate as the touchstone. I think it was an emotional experience for him at times. He was essential in setting up the infrastructure, such as the Garden Spot School where Nate went to and Stan taught, getting us access to filming in the school and many of the locations. It was all hands on deck, pulling together.
We were making a period film with two timelines: one set in 1985 and the other in 1973. That was a lot to do. He was instrumental in getting as many resources out of the community as he could. Derek Dienner, the producer – without whom there would be no film – gathered the community together, brought them in to raise the money for the film. It was the epitome of an independent movie in that it had no money from the industry whatsoever. It was a ‘little train that could’ type production.
Harris mentioned that having Nate involved in the production was emotionally significant. Nate served as a touchstone for the film, helping to ensure the authenticity of the story. Harris noted that it was an emotional experience for Nate at times, but his presence was invaluable in setting up the infrastructure for the film, such as gaining access to filming locations like the Garden Spot School where Nate attended and Stan taught.
When Nate was 17, he found himself in a courtroom standing in front of a judge. If he didn’t straighten out, the judge said, Nate would be spending the next 10 years in jail. Thirty years later, Nate was back in front of a judge: this time, to change his last name from Busko to Deen, to honor Stan, who died in 2016 after suffering a stroke.
Nate and Stan had discussed telling their story before Stan passed away — and, with writer John Spencer, worked on a script. Nate told Spencer his story and after hearing it, Spencer went home and immediately began work on the script.
Spencer and Nate continued work on the script and eventually sent it out to Hollywood. They didn’t get a response. Then, one day, a movie producer from Inspiring Films was at Sight & Sound, and randomly inquired if anyone happened to know anyone with a good story. Nate’s name came up.
Grant Bradley, one of the producers for Inspiring Films, was working out in London and actually moved to Lancaster for a while. After the COVID-19 pandemic began, Bradley, out of convenience, decided to partner with Make/Films. Now, the two companies will produce the film.
The script has gone through a few changes, and other script writers have gotten involved to flesh out the story. They have the challenge of condensing a narrative that spans 30-years into two hours, but Spencer will receive the screenwriting credit.
honour“I don’t want to do this project for credits, or money or fame or any of that stuff,” Nate says. “I’m doing this because I want to tell Stan’s story and the Lancaster County story. I can never repay Stan, but this is my honor to show what type of man he was.”
“A small act of kindness changed my whole trajectory. I’m the person I am because of him, and the things that I’m doing moving forward are because of him and the things that he did for me. He never gave up on me. He always encouraged me. What an honour, to change my name, to have a real name that feels like mine…to be Nate Deen; I’m proud of that. I’m just so excited to get this story out into the world, even though it’s very difficult at times. It’s an important story that I think the world needs to hear.”
The screenplay for Brave The Dark was written by Dale G. Bradley, Lynn Robertson-Hay, Nathaniel Deen, John P. Spencer, and Damian Harris
Dale G. Bradley is a film and television producer, director, and screenwriter. He has worked on various projects, including “Lost Valley,” “Terror Peak,” and “The Lovers.” Dale has established one of New Zealand’s largest film production companies, Daybreak Pacific, and is now active in Queensland, Australia, with his production company, Limelight International.
Lynn Robertson-Hay is a writer and actress known for her work on “The Impact,” “Brave the Dark,” and the TV series “Doctors.” She has also written over 15 professional theatre productions and won the Writers’ Guild of Great Britain award for Best Children’s Theatre in 1995 for her stage adaptation of “The Borrowers”
Nathaniel Deen is a screenwriter and producer whose personal story inspired the film Brave the Dark. He has faced significant challenges in his life, including homelessness and trauma, but found hope and support through the mentorship of Stan Deen. Nathaniel’s journey is a testament to the power of compassion and resilience.
John P. Spencer is a writer, director, and assistant director known for his work on “Frayed,” “High Stakes,” and “Den of Lions.” He has contributed to various film projects and has a background in storytelling and filmmaking.
Damian Harris is a British film director and screenwriter. He is the son of the famous actor Richard Harris and socialite Elizabeth Rees-Williams. Damian has two brothers, Jared Harris and Jamie Harris, who are also actors. Damian Harris began his career in the film industry in the 1980s. He is known for directing and writing several films, including “The Rachel Papers” (1989), “Deceived” (1991), and “Gardens of the Night” (2008). His work often explores complex human relationships and emotional struggles. In addition to his work in film, Damian Harris has also directed television episodes and documentaries. He continues to be an influential figure in the film industry, known for his unique storytelling and ability to capture the intricacies of human emotions.
by Daniel Dercksen·Comments Off on A Street Cat Named Bob – A touching tale of friendship and redemption
“The film has brought Bob and me into contact with people all over the world. It’s amazing to see how our story has resonated with so many people and inspired them to make positive changes in their own lives,” says James Bowden about A Street Cat Named Bob an inspiring film based on the true story of Bowen, a homeless man and a recovering drug addict whose life dramatically changes after a stray cat named Bob wandered into his life.
The film showcases the bond that develops between James and Bob as they navigate life’s challenges together. Bob becomes not just a companion, but a source of hope and inspiration for James, ultimately helping him to turn his life around.
The impact that a small, unexpected encounter can have on a person’s life
James Bowen was a homeless busker and recovering drug addict living on the streets of London. One day, he encountered an injured stray cat, whom he later named Bob. The bond that formed between James and Bob had a profound impact on James’s life. Bob provided companionship, motivation, and a sense of purpose, helping James to overcome his addiction and rebuild his life. Their story gained widespread attention when James wrote a memoir about their experiences, which became a best-selling book titled A Street Cat Named Bob.
The book’s success and the heartwarming tale it told inspired the creation of the film, bringing their story to an even wider audience and highlighting the transformative power of friendship and compassion.
The screenplay was written by Tim John and Maria Nation who were drawn to the heartwarming and transformative journey of James and Bob, as depicted in James Bowen’s memoir.
Tim John and Maria Nation have worked on various screenplays throughout their careers. Tim John is known for his work on films such as “The Railway Children” and “The Railway Children Return.” Maria Nation has worked on several screenplays, including “The Two Mr. Kissels” and “The Gabby Douglas Story”
Bowen and Bob’s story is one of overcoming adversity, finding hope in unexpected places, and the extraordinary bond between a human and an animal. The screenplay aimed to capture the essence of this relationship and the impact it had on both their lives. The authenticity and emotional depth of James and Bob’s story provided a rich foundation for the film’s screenplay.
Actor Luke Treadaway with Bob The Cat and James Bowen
Filming Bob the cat in A Street Cat Named Bob was quite an interesting process. Director Roger Spottiswoode and his team used a combination of techniques to capture Bob’s scenes effectively.
One of the challenges was that animals, especially cats, don’t always perform the same action twice. To address this, they used several cameras to capture different angles and moments simultaneously. This allowed them to get the best shots without needing Bob to repeat his actions.
For most of the filming, only one cat was playing the role of Bob, and he didn’t work long hours. In some scenes, like when Bob had to jump off a bus, they used a cat stunt double because the main Bob didn’t want to do that.
The filmmakers’ approach ensured that Bob’s natural behavior and charm were captured authentically on screen, making the film even more heartwarming and genuine.
Luke Treadaway and Bob with director Roger Spottiswoode during the filming of A Street Cat Named Bob.
The significance of A Street Cat Named Bob extends beyond its heartwarming storyline. It highlights several important themes and messages:
Redemption and Recovery: James Bowen’s journey from homelessness and addiction to finding hope and purpose through his bond with Bob serves as a powerful testament to the possibility of redemption and recovery. It underscores the impact that companionship and responsibility can have on someone’s life.
Companionship and Connection: The film emphasizes the profound connection that can exist between humans and animals. Bob provides emotional support and a sense of purpose for James, demonstrating how animals can play a crucial role in our well-being.
Awareness of Homelessness and Addiction: By showcasing James’s struggles and triumphs, the film raises awareness about the challenges faced by individuals experiencing homelessness and addiction. It encourages empathy and understanding toward those going through similar situations.
Inspiration and Hope: The story of James and Bob serves as an inspiration to many, showing that even in the darkest times, hope can be found in the most unexpected places. It reminds us that positive change is possible and that we all have the strength to overcome adversity.
Overall, A Street Cat Named Bob is significant for its ability to touch hearts, raise awareness, and inspire positive change. It’s a testament to the transformative power of love, friendship, and compassion.
Bob the cat, also known as A Street Cat Named Bob, was a remarkable feline who played a significant role in the life of James Bowen. Bob was a stray cat who James found injured and in poor health in the hallway of his building in London.
James, who was a homeless busker and recovering drug addict at the time, decided to take care of Bob, nursing him back to health and eventually adopting him.
Bob’s presence had a profound impact on James’s life. The bond between them provided James with companionship, motivation, and a sense of purpose. Bob would accompany James while he busked on the streets and sold the Big Issue, becoming a familiar and beloved figure in the community. Their story gained widespread attention when James wrote a memoir about their experiences, which became a best-selling book titled A Street Cat Named Bob. Bob’s story continued to inspire many, leading to the publication of several more books, including “The World According to Bob,” “A Gift from Bob,” and “The Little Book of Bob”. Their story was also adapted into two films, “A Street Cat Named Bob” and its sequel, “A Gift from Bob.”
Sadly, Bob passed away in June 2020 after being struck by a car. He was believed to be around 14 years old at the time of his passing. Despite his untimely death, Bob’s legacy lives on through the books, films, and the countless lives he touched with his story of hope and resilience.
James Bowen is an English author and street performer, best known for his memoirs about his life with his cat, Bob. Born on March 15, 1979, in Surrey, England, James had a challenging childhood. After his parents’ divorce, he moved to Australia with his mother, where he faced bullying and struggled to make friends. He eventually dropped out of school and returned to the UK in 1997, where he experienced homelessness and addiction.
In 2007, James encountered a stray ginger cat, whom he named Bob. This meeting marked a turning point in his life. James took care of Bob, and the two formed a strong bond. Bob began accompanying James while he busked and sold The Big Issue in London. Their story gained attention, leading to the publication of James’s first book, “A Street Cat Named Bob,” in 2012.
The book became an international bestseller, and James went on to write several more books about his life with Bob, including “The World According to Bob” and “A Gift from Bob.” A film adaptation of the first two books was released in 2016, with a sequel following in 2020.
James now dedicates his time to supporting various charities related to homelessness, literacy, and animal welfare.
by Daniel Dercksen·Comments Off on The Gods Must Be Crazy – A gift from the gods
“Comedy is a great way to reach people. It’s an international language. If you can make people laugh, you can make them understand. Comedy is the most painless way of getting a serious message across,” says filmmaker Jamie Uys about The Gods Must Be Crazy.
Jamie Uys wrote, produced, edited, and directed The Gods Must Be Crazy. The film was an international co-production between South Africa and Botswana.
Uys saw this as an opportunity to explore themes of cultural clash and the impact of foreign objects on indigenous cultures. His goal was to create a lighthearted yet thought-provoking film that would entertain audiences while also shedding light on the challenges faced by traditional societies in the modern world.
The film was a commercial and critical success, particularly in South Africa, where it broke several box office records. It was later released internationally by 20th Century Fox in 1984. The film’s success led to several sequels, including The Gods Must Be Crazy II (1989), which continued the story of Xi and his encounters with modern society. The series expanded to include several unofficial sequels, further cementing its place in cinematic history.
“I didn’t expect the film to be so successful. I thought it was just a small, funny film, but it seems to have touched a lot of people around the world. I think it’s because it shows that even in our crazy world, there is still room for kindness and innocence.”
“It’s just slapstick comedy, with no message. I’ve been making comedies most of my life, and I’ve never put a message in – it’s bad for business. It’s arrogant to put messages in. You rob your audiences of putting in their own messages.”
Jamie Uys was inspired to make The Gods Must Be Crazy in 1980 by his fascination with the San people of the Kalahari Desert and their unique way of life
He wanted to create a film that humorously highlighted the contrast between their simple, natural lifestyle and the complexities of modern civilization.
Uys conceived the premise of The Gods Must Be Crazy while making the 1974 documentaryAnimals Are Beautiful People. The documentary was filmed partially on the Kalahari Desert, where Uys first encountered the San people and “fell in love with them”.
Uys chose a Coca-Cola bottle as the object that the San people would discover and covet in The Gods Must Be Crazy because he felt that the bottle was representative of “our plastic society”, and because it “is a beautiful thing, if you’ve never seen glass before”
“Making a film is never easy. There are always obstacles and problems to overcome, but I believe that if you have a good story and are passionate about it, you can make a great film. You just have to be persistent and never give up.”
Uys noted that he modelled the character of Andrew Steyn after himself: “I used to be awkward like that, especially with women. But then, I think most young guys knock things over with their first girl”.
After writing the script for The Gods Must Be Crazy, Uys reportedly spent three months traversing the Kalahari Desert with an interpreter, searching for a San person to play the role of Xi in the film. Visiting areas of the desert inhabited by the San, Uys took photographs of individuals he felt he might cast, and then “marked the longitude and latitude, so we could find them again”.
Uys decided to cast Namibian San farmer Nǃxau ǂToma as Xi, and later recalled that “At first [Nǃxau] didn’t understand, because they have no word for work. Then the interpreter asked, ‘Would you like to come with us for some days?'” N!xau agreed and flew with Uys by aeroplane to Windhoek, Namibia, which served as a base for the film’s production. Uys stated “the airplane didn’t impress him at all. He thinks we are magicians, so he believes we can do anything. Nothing impressed him”. In his hotel room, N!xau agreed to use the toilet, but slept on the floor rather than on the provided bed.
According to Uys, N!xau would be flown back to his home in the Kalahari Desert every three or four weeks to prevent him from suffering from culture shock. During his time in urban areas, N!xau learned to smoke and acquired an affinity for liquor and sake. Uys said that he paid N!xau $300 for his first 10 days of work, but that the money was reportedly blown away by wind. N!xau was then compensated with 12 head of cattle. In 1985, Uys said that he had sent N!xau $100 a month since filming, which N!xau used at a trading store 100 km (60 miles) from his hunting ground, Uys also stated that a $20,000 trust account in N!xau’s name had been established.
The film stars Namibian San farmer Nǃxau ǂToma as Xi, a hunter-gatherer of the Kalahari Desert. The story begins when Xi’s tribe discovers a glass Coca-Cola bottle that has fallen from an airplane, believing it to be a gift from their gods. As the bottle causes unforeseen conflict within the tribe, Xi decides to embark on a journey to return the bottle to the gods. Along the way, Xi encounters various characters, including a biologist named Andrew Steyn (played by Marius Weyers), a newly hired village school teacher named Kate Thompson (played by Sandra Prinsloo), and a band of guerrilla terrorists. The film humorously contrasts Xi’s simple, natural lifestyle with the complexities and conflicts of modern civilization.
by Daniel Dercksen·Comments Off on Beyond the First Draft: Mastering the Craft of Rewriting and Polishing
It’s remarkable how writers often get confused between rewriting and polishing, sometimes overlooking one in favour of the other, with disastrous consequences. Neglecting either process can result in a piece that lacks depth or polish, ultimately falling short of its potential. Balancing both rewriting and polishing is crucial for crafting compelling, well-rounded writing.
Rewriting and polishing are both crucial, but they serve different purposes and require different mindsets. Overlooking one can lead to a manuscript that’s either structurally unsound or filled with small errors that distract from the story.
Without thorough rewriting, the story might have plot holes, weak character arcs, or pacing issues. The overall tone might be uneven, confusing readers and diluting the story’s impact. Characters might lack depth and development, making it hard for readers to connect with them.
Overlooking Polishing can pull readers out of the story and affect the manuscript’s professionalism. Unrefined sentences and dialogue can make the text hard to read and less enjoyable. Small inconsistencies in details, timelines, or character traits can confuse readers and break immersion.
Writers often face criticism from those who accuse them of never finishing a project, taking years, sometimes even decades, to complete a story
This scrutiny can be frustrating for writers who are deeply committed to their craft and the process of perfecting their work. It’s important to understand that writing is not just about putting words on paper; it’s about creating something meaningful and profound. Each story has its own rhythm and timeline, and the journey to completion can be as significant as the finished product itself. Patience and perseverance are essential for writers as they navigate the intricate process of bringing their stories to life.
Those who are not writers, or who overlook the intricacies of aiming to create the ‘perfect’ story, often fail to grasp the relentless demands of perfection
The pursuit of excellence in writing is a meticulous and arduous journey, requiring an immense amount of dedication, patience, and passion. The process involves countless revisions, a constant search for the right words, and an unyielding commitment to crafting a narrative that resonates deeply. This quest for perfection can be both a burden and a blessing, driving writers to push their limits and produce work of unparalleled quality, while also subjecting them to misunderstandings and misconceptions from those who haven’t experienced the writer’s path.
Rewriting
This stage involves major changes to the structure, plot, characters, or themes. It’s about rethinking and sometimes even overhauling significant parts of the story. The goal is to improve the overall story, making it more compelling, coherent, and emotionally engaging.
Rewriting is a critical phase that can transform your screenplay or novel into something truly exceptional. It can be a daunting task, but with a structured approach, you can elevate your story to new heights.
Remember, every great work of literature or film has gone through countless revisions.
Polishing
Polishing is about fine-tuning the manuscript, focusing on the small details to ensure the final product is as perfect as possible. The goal is to enhance readability and ensure a professional presentation. It involves: Correcting grammar, spelling, and punctuation errors, improving sentence structure and word choice, ensuring consistency in character names, settings, and timelines, and refining dialogue to sound more natural and true to character.
Polishing is all about perfecting the finer details of your screenplay or novel. Polishing your manuscript takes time and patience, but it’s a crucial step to make your story shine.
In short, rewriting involves major, structural changes, while polishing is about perfecting the details. Both are crucial stages, but they require different mindsets and approaches.
The Write Journey course offers valuable insights into the art of rewriting, providing writers with the tools and techniques needed to transform their initial drafts into polished works of art.
Complementing this, our Story Editing and Polishing service assists writers in refining their screenplays or novels, ensuring that their narratives are cohesive, engaging, and professionally presented. Together, these resources empower writers to bring their creative visions to life with clarity and precision, making their stories shine.
by Daniel Dercksen·Comments Off on The Monkey – An absurdist comedy and blood-soaked thrill ride
“The world is getting pretty dark and serious, and a little bit of relief getting served up as a horror movie feels like good medicine. We tried for an adorable horror movie. Everything is sort of ironic or dystopian or negative, and this felt more adorable than that,” says writer-director Osgood Perkins of The Monkey, based on the 1980 short story of the same name by Stephen King.
The Monkey is the latest genre experience from writer and director Osgood Perkins, most recently famous for helming the staggeringly successful Longlegs of 2024, but known for years as a singular, uncompromising stylist in the horror genre. With horror as his canvas, Perkins paints scenes of dread replete with terrible places and haunting characters that feel like shared hallucinations experienced by audiences. While Perkins’ films are notably often quiet, he knows how to puncture the silence with a blade as sharp as the devil himself.
With The Monkey, longtime fans of the filmmaker will be treated to a Perkins work unlike any other that has preceded it. This master of subtle conveyance comes out of the shadows with a cartoon hammer in his latest film, and while the writer-director has always had a sense of humour in his work, The Monkey is as much an absurdist comedy as it is a blood-soaked thrill ride following the travails of one cursed family.
The Monkey is based on the 1980 short story of the same name by Stephen King. It follows a man named Hal Shelburn, who is terrorized by a cymbal-banging monkey that rains misfortune down on whoever possesses it. Hal first found the object among his father’s belongings in a storage closet, and after the discovery he started losing loved ones to tragic accidents. Believing the monkey is connected to the catastrophes, Hal throws it in a dry well, but it resurfaces somehow decades later to haunt Hal again. In order to break the curse, Hal teams up with his son to try and dispose of it once and for all.
Adapting King’s work and crafting the screenplay
The idea for adapting King’s work came to Perkins from James Wan’s Atomic Monster and The Safran Company, headed by Peter Safran. The two parties presented Perkins with the short story and a draft of the script. His interest was piqued, and he agreed to come on and start a screenplay from scratch. After reading through the source material once he didn’t consult with it again. This was meant to be a jumping off point for Perkins, and the producers weren’t interested in a “copy paste” job.
The adaptation that arose from Perkins’ new take kept the broad strokes of the King’s short story in place with details added that personalised it to the writer-director.
The most significant change is that Hal became one of two with a twin named Bill; Perkins wanted a brotherly dynamic at the centre of the film since that’s how he grew up. “In developing it early on, you’re always tasked with figuring out what the mythology is or what the monster is and why it works or how it works, and it’s tricky because this is an inert character,” says Perkins. “It’s not like Chucky or Gremlins or M3gan. It plays its drum and people around it die, so I had to figure out what made sense to me. Because I’m always trying to, in the movies I make, to make it about me.” The dynamic of Bill and Hal, their history together and their reconciliation, was like a biographical insert for the filmmaker.
“It’s pretty well known that I have experienced some pretty shocking stuff in my life, the loss of both of my parents being pretty wild events,” says Perkins. “I was eager to use this property as a key to sort of healing those experiences by applying a comic and absurdist touch to it. It just felt like the image of the monkey being this sort of iconic indicator of bad things to come, but also kind of approachable and bizarre and surreal in its own right. It just seemed like all those things went together.”
Theo James and Oz Perkins on the set of The Monkey Courtesy of NEON
So what is this monkey? That’s a tough question
It’s not a toy; never call it a toy. But what the monkey contains is vast. On the one hand it is an emotionless merchant of death that seems to function like a bingo ball hopper when it comes to picking victims.
The monkey himself — or is it a her? Or is it no gender at all? Probably the latter,” says Theo James, who plays the grown versions of Hal and Bill. “This monkey has a Malvolian force behind it, a kind of ability to cause death and carnage around it at any turn. It also has a strange and opaque way of granting wishes, wishes of death. The monkey is a parable for mortality, and death is chasing or looming over us at all times. We can’t outrun it. We all kind of get there in the end, but the thing about humanity — perhaps it’s a blessing or is it a curse? — we think for most of our relative youth that death doesn’t exist in our zeitgeist, but it’s been there since the day we were born. So, it’s how you deal with the specter of death and what that does to a person.”
James even questions whether the monkey is literally there at all, or if it’s just a manifestation of the Shelburn family trauma, a symbol for the cycle of pain or dysfunction they’re too immobilized by to break, no matter what further damage it perpetuates in the process.
There is also special attention paid to the relationship between the Shelburn boys and their single mother, Lois, played by Tatiana Maslany, who offers another possibility that fits neatly within Perkins’ recurring theme of what’s passed from parent to child, and how our histories inform our futures. “The monkey is a lot of things,” she says. “It’s what do we inherit from the parents we didn’t know, or the parents that we did know? What’s the legacy that’s passed down to us, the things that we can’t help but be or the bad luck we can’t help but carry with us? What is the stuff that people leave us, both emotionally and physically?”
And Perkins has his own read on the creature: “It became this almost absurd quality of the monkey that it doesn’t really do anything. People die all the time. In fact, everybody dies sooner or later, one way or another, and sometimes it’s totally normal and natural and sometimes it’s totally terrible and crazy.” The writer-director continues, “In my own personal life I’ve had a share of both. I’ve had some pretty extreme, tragic deaths in my life. I’ve had some strange things happen. So, I sort of took from there and said, ‘What if the monkey is kind of just there?’ Of course it’s causing these things to happen, but I leaned into the universal concept of everybody dies, it’s just a question of when.” In that way it’s just like the box says right on the top: ORGAN GRINDER MONKEY LIKE LIFE.
And like life, the monkey does not take requests. You turn the key, and then you take a chance on what happens next.
If this all sounds like the height of absurdity, a little monkey with a drum that rains hell down on and around its chosen stewards, Perkins agrees with you.
And the story elements taken together provided the perfect avenue for the director to change gears when it came to mood. A thing about Perkins is that, even if the bulk of his filmography does not wave this attribute around like a flag, he is very funny. He’s quick on his feet and adept with a witty turn of phrase. The Monkey production designer Danny Vermette says that while working on Longlegs, he and cinematographer Andres Arochi talked about Perkins finally focusing a script on humour, “We were like, Oz needs to write a comedy. He’s just such a funny dude. He holds nothing back and he’s so giving. He just lets you know what he’s thinking and feeling all the time, and it’s just rooted in humour.”
Horror and comedy are also united when it comes to the commentary texture that Perkins is compelled by, and Maslany says she sees these same blended elements in the writings of King.
“There’s so much fun in [Stephen King’s stories], and there’s so much real stuff being talked about in a way that is scary and disturbing, but he always does it with this sense of humour,” says Maslany. “And I think what Oz pulled out of it in such a big way was that sense of humour, that dark humour, which he has in spades.”
While horror and its fans have always been good to Perkins as a filmmaker, his family’s history makes for something of a path predetermined with the director going into the family business. But as he’s gained more experience and gotten older, the filmmaker says he feels called by something a little bit different right now. “I think I kind of started making horror movies — I don’t want to say by default — but sort of because of my dad and it felt like something I would do. And there were horror movies I really loved, so I did it a few times, and it’s not that I don’t like it, it’s just that the honest truth is I don’t go for horror, especially new ones. I go for old movies, like Eyes Without A Face or Don’t Look Now,” explains Perkins, who cites madcap moves like Death Becomes Her and Malignant — which the director calls “fucking funny” and is helmed by his producer Wan — as tonal core texts for The Monkey.
“But horror movies in general make me feel kind of bad. So I have always been aware of that, like, ‘Am I making people feel bad with what I’m potentially doing? I know they like it, but do I like it?’ So, the idea of making something that makes me laugh feels like a natural evolution. I’ll see what I feel like doing next, but it feels like it might be hard to go back to serious.”
Adorable. Spielbergian. A tribute to the first heyday of Robert Zemeckis. A callback to the magic of seeing Gremlins as a child. These aren’t the most expected descriptors from a filmography like Perkins’, but in addition to the all-out fun of The Monkey, all that combined is what makes it so exciting as the next step in an established artist’s career. It’s a gift of surprise in a cinematic landscape that can feel like it is serving up so much of the same sometimes. It’s a movie that understands the darkness we battle while refusing to give up on keeping a tender heart. Which sounds a lot… like life.
As far as horror goes, which The Monkey has plenty of, Perkins is not leaving it behind even making those feel-bad kinds of movies isn’t resonating with him right now.
Horror, he says, is probably what will be packed into the time capsule of humanity so that “in a billion years” the aliens can find it and see “what humans couldn’t deal with.” It’s the genre that accepts that our world is filled with things we won’t and can’t understand. It is filled with unimaginable cruelties inflicted for no reason, and it is often defined by the power of the will to survive in the face of such cruelty. It contains terror, but it can also contain magic. It is also free to be purposefully ridiculous and hyperbolic. Realism is not the currency here. Imagination is, and with The Monkey, Perkins is imagining in a more fun way than ever before.
“I think the more movies I make and the more things I work on, the more tangibly aware you are sort of the artifice of things. None of this is that big a deal,” says Perkins. “Making movies is not that significant, compared to what most people in the world are faced with on a day to day basis. God forbid. I mean the ability to mount a movie is like borderline foolishness in the context of the world, so I think that when one gets to a certain place with that I think you have to just smile more than not, and it feels like this movie does that.”
Osgood Perkins / Writer, Director
Osgood Perkins made his directorial debut with the horror film The Blackcoat’s Daughter. He also wrote and directed I Am The Pretty Thing That Lives In The House and Longlegs. In the early stages of his Hollywood career, Perkins worked in series television while getting his start in acting with comedies such as Legally Blonde. He kept working in film throughout the early 2000s, starring in Secretary. More recently, he played roles in the sci-fi sequel Star Trek, and the sci-fi horror Nope.
by Daniel Dercksen·Comments Off on The Writer’s Toolkit: Mastering the Craft of Composition
Whether crafting a screenplay, novel, or stageplay, understanding the Art of Composition can help you create a more compelling and engaging story. It’s not just about putting words together; it’s about weaving them into something that resonates with readers.
A well-structured piece is the backbone of effective writing.
Composition plays a critical role in writing a screenplay, novel, or stage play for several reasons:
Composition ensures that the narrative follows a logical and engaging structure. For screenplays, this might mean following the three-act structure, while novels and stage plays benefit from well-organized chapters or acts. A strong structure helps maintain the flow of the story and keeps the audience engaged.
It allows for the gradual development of characters. Through well-structured scenes or chapters, writers can reveal characters’ traits, motivations, and growth in a coherent and compelling way, helping the audience connect with and care about the characters.
Composition controls the pacing of the story, ensuring that the narrative progresses at an appropriate speed with a balance of tension and relief. For instance, a screenplay might use quick cuts and dialogue to build suspense, while a novel might use detailed descriptions to create atmosphere.
It allows writers to weave themes and messages throughout the work. By strategically placing key scenes, dialogues, or descriptions, writers can reinforce the central themes and leave a lasting impact on the audience.
A well-composed piece ensures that all elements of the story—plot, characters, setting, and themes—work together harmoniously. This coherence makes the story more believable and enjoyable, as each part supports and enhances the whole.
Composition helps build emotional resonance. By carefully structuring scenes and interactions, writers can evoke specific emotions, create memorable moments, and deliver impactful climaxes, keeping the audience invested in the story.
In screenplays and stage plays, composition includes considerations for visual and auditory elements. This means thinking about how scenes are staged, how dialogue is delivered, and how visual and sound effects enhance the storytelling. A well-composed script ensures that these elements work seamlessly to create a captivating experience.
Lastly, proper composition makes the writing clear and easy to read. This is especially important in screenplays, where the script serves as a blueprint for directors, actors, and crew. Clear and concise writing ensures that everyone involved can understand and bring the story to life effectively.
In summary, composition is the backbone of effective storytelling in any medium.
It ensures that the narrative is engaging, coherent, and impactful, ultimately creating a memorable experience for the audience.
Each of these forms of writing has its own unique characteristics and composition techniques. Let’s dive into the differences:
Screenplays
Screenplays typically follow a three-act structure: setup, confrontation, and resolution. Uses a specific formatting style with elements like scene headings (slug lines), action lines, character names, and dialogue. Screenplays are written to be seen and heard, so descriptions are concise and focus on what the audience can observe. Often carries a significant portion of the storytelling. Dialogue is usually shorter and snappier compared to novels. Screenplays are more fast-paced, with a goal to move the plot forward quickly.
Novels
Novels have a more flexible structure and can experiment with different formats (e.g., multiple timelines, stream of consciousness). Written in prose, allowing for in-depth exploration of the narrative. Novels can delve into the inner thoughts and emotions of characters, as well as provide detailed descriptions of settings and events. Can be longer and more introspective. Dialogue is often used to reveal character traits and advance the plot. Pacing varies depending on the story and the author’s style. Novels can afford to take their time building the world and developing characters.
Stageplays
Stageplays are typically divided into acts and scenes, with a focus on dramatic structure. Uses a specific format with character names, dialogue, stage directions, and sometimes scene descriptions. Like screenplays, stageplays are meant to be performed, so the writing focuses on what the audience can see and hear. Central to stageplays, dialogue is the primary means of storytelling and character development. It tends to be more theatrical and expressive. Pacing can vary, but stageplays often include moments of heightened tension and dramatic pauses.
The Art Of Composition is fully explored in The Write Journey course
by Daniel Dercksen·Comments Off on Paddington in Peru: A joyous celebration of family, belonging, and the power of kindness
Paddington In Peru is more than just a continuation of the beloved series; it’s a heartfelt exploration of identity, home, and adventure. As Paddington and the Browns embark on this new journey, audiences can look forward to an experience that expands the bear’s world while staying true to the qualities that have made Paddington a timeless character.
The magic of Paddington Bear has long captured the hearts of audiences worldwide. He was created by British author Michael Bond as inspired to create Paddington after buying a teddy bear for his wife on Christmas Eve in 1956, and was named after Paddington Station in London, where Bond found the bear in his story. He made his debut in the children’s book A Bear Called Paddington in 1958.
Paddington has become a beloved figure in British culture and the movies have introduced this charming character to a new generation of audiences worldwide. Each film in the Paddington series has brought something unique to the table, from Paddington’s initial journey to London, his heartfelt quest in the second film, to his return to Peru in the latest installment. The series has captivated audiences with its charm, humour, and positive messages.
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Paddington (2014) introduced audiences to a polite and lovable bear from Peru who finds himself in London after being separated from his Aunt Lucy. Taken in by the Brown family, Paddington’s adventures in the bustling city were filled with humour, heart, and the challenges of adapting to a new life. The film beautifully captured his journey to find belonging and the warmth of the Brown family’s acceptance. Directed by Paul King, the screenplay was written by King, from a story by Hamish McColl.
Paddington 2 (2017) followed Paddington as he tried to buy the perfect gift for his Aunt Lucy’s 100th birthday. His quest led him to take on various odd jobs, but his hard-earned money was stolen by a devious neighbour. Paddington’s determination to retrieve the stolen money and his unwavering kindness made for an even more heartwarming and adventurous story. It was directed by Paul King from a screenplay by King, and Simon Farnaby as co-writer.
Paddington in Peru (2024) is the latest instalment that takes Paddington back to his roots in Peru. Joined by the Brown family, Paddington travels to the Amazon rainforest and the mountain peaks of Peru to visit Aunt Lucy at the Home for Retired Bears. Along the way, they encounter a mystery that leads to thrilling adventures through the beautiful landscapes of Peru. While this film is slightly longer than its predecessors and directed by Dougal Wilson instead of Paul King, it maintains the emotional and comedic heartbeat of the series. It is directed by Dougal Wilson from a screenplay by Mark Burton, Jon Foster and James Lamont, from a story by Paul King, Simon Farnaby and Mark Burton.
“Paddington is still happily living with the Browns in Windsor Gardens in London” says director Dougal Wilson, setting up where we find Paddington at the start of this new adventure. “He is writing to his Aunt Lucy to tell her what’s been going on.” However, as time has passed, the Brown family find themselves increasingly busy with their individual pursuits. Judy is applying to university, Jonathan has become a reclusive teenager, and Mr. Brown is preoccupied with a new challenge at work under a demanding boss. Mrs. Brown, the family’s emotional core, notices the growing distance and yearns for a solution to bring everyone together.”
2025 CTMG, Inc. All Rights Reserved.
Paddington In Peru asks profound questions about the nature of home and belonging. Dougal elaborates, “What does home really mean? Where really is home? Is it a place? Is it a feeling? Is it where you are from? Or is it where you end up?”
By contrasting Paddington’s life in London with his roots in Peru, the film offers a rich narrative that resonates on multiple levels.
“When he was a cub, Aunt Lucy sent Paddington to London, and he didn’t have a choice in the matter” adds Producer, Rosie Alison. “He came and found a home in London, and he’s loved it. Though of course he will think about home and his aunt is still there. It just seemed natural for him to go back and revisit his roots. Paddington is thinking about what family is, what is home, where do I belong?”
Executive Producer Rob Silva emphasises the film’s expansive scope: “It’s a true adventure film, but in a ‘Paddingtonian’ way. We see huge landscapes, glorious environments, and have chase sequences.” Despite the grandeur of the adventure, Rob assures that “it maintains the charm and warmth that fans love about Paddington.”
This third chapter in Paddington’s film journey marks the directorial debut of Dougal Wilson who discusses his reactions to be the one to continue Paddington’s story on screen. “I was entirely aware of the legacy I was attempting to continue” he admits. “I was such a fan of the first two films—their style, humour, and creativity. I thought, maybe I could contribute to this series in my own way and continue the story. But I am under no illusions about how much expectation there is for this third film.”
Dougal sought to carry forward the unique style that Paul King, who remains in Paddington’s world as Executive Producer on the film and as part of the story team, established in the first two films. “I thought it would be great fun to continue the style that Paul King had so brilliantly set up, using the feeling that the stories created in London and applying that to a place that wasn’t London. I aimed to bring that style, tone, and inventiveness to Peru.”
Dougal’s deep admiration for the previous Paddington films is evident. “I’ve always admired the storytelling, the heightened style, the humour, the gentle warm Britishness, and the ingenious visuals. I also deeply admire the incredible animation from Framestore that makes you believe this little bear is real. I just wanted to jump at the opportunity to be part of all that.”
For Rosie Alison, and the other producing team it was important that they undertook a careful search for a director to take over from Paul King. “Paul set a very high bar with the first two Paddington films” she says. “So, we thought long and hard and had a very exacting search for a director. We’re absolutely thrilled to have found Dougal. Like Paul, he has a wonderfully inventive visual ingenuity and imagination. He can also make you laugh and cry, which is crucial for Paddington. Dougal really embodies the Paddington spirit.”
Rob Silva, notes Wilson’s ability to convey comedy and humour in a way that marries perfectly with the tone of the Paddington world. “As a person, he has this effusive generosity of spirit that is so important in making the Paddington films, and it really comes across in the film itself.”
“He’s constantly dreaming up new, wonderful, inventive ideas, which is right for the films” continues Rosie. “He has a wonderful heart, and the truth of emotion comes through very strongly with Dougal. He is naturally funny, and that always feeds into his work. He had a whole suite of qualities that just felt right for Paddington.”
Dougal’s approach to directing has garnered admiration from all the cast including British icon Julie Walters who returns as Mrs. Bird. “I love him. I think I might marry Dougal,” she jokes. “He creates a fantastic space for the actors. He’s really funny and open, and that’s important in directing.”
With Dougal at the helm, the new Paddington film promises to continue the beloved legacy while infusing it with fresh, inventive energy.
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Celebrating the vivid, lush, and colourful world of Peru for the film was an exciting challenge for the production, one that required an exceptional blend of on-location shooting and intricate set design. The filmmakers were dedicated to ensuring that the adventure felt as real and immersive as possible, capturing the spirit of Peru through both practical and creative means.
Rob Silva, Executive Producer, emphasises the importance of using real landscapes and shooting on location in South America to give the adventure a genuine feel. “When we set out to make this film, it was important to us that the adventure felt real. We didn’t want to have CG backdrops and for it to feel inorganic. We went to Peru, we went to Colombia, and we filmed these natural landscapes, so it really feels like it has scale.”
Dougal Wilson echoes this sentiment, explaining the hybrid approach they adopted. “We went over to South America, and I spent almost two months out in Peru and Colombia looking at locations. We shot a lot in Peru, in the Andes, in and around the Vilcabamba, and also the Machu Picchu area. It was great to continue the Paddington tradition of being a very British production, but we combined that with environments and exterior locations that we shot in South America.”
Returning to the world of Paddington has been a joyous reunion for Animation Director Pablo Grillo who has been the lead animator for Paddington since the first film. “It has been a while,” he reflects, “and it means a lot of familiar faces, which is so lovely. To be back with the same group of crew, which is so warm and generous, but to also have lots of new faces at the party, brings fresh angles and energy.”
“In this film we have a lot of movement” Pablo explains, highlighting the adventure Paddington goes on whilst in Peru. “Paddington has to navigate through a lot of leaves and foliage, transforming landscapes, which aren’t just flat ground.” This complexity adds layers to the animation process, making every scene a technical marvel. “When you’re dealing with an ensemble that also makes it very complicated” he adds. “You need to make sure everybody’s looking in the right place.” For the visual effects team, these challenges are solved using innovative solutions. “We have to find novel approaches during principal photography to ensure Paddington’s interactions work with the live-action space. Whether it’s deciding to replace a real plant with a digital one, or using props to mimic Paddington for actor interactions, we constantly make choices to bring him to life.”
Dougal Wilson emphasizes that Paddington changes the people around him through his good nature. “Paddington embodies qualities that we all admire: integrity, kindness, tolerance, and fair play. These are enduring qualities, universal qualities, and people see Paddington as a wonderful embodiment of them.”
“I think people feel very protective about Paddington” adds Rosie Alison. “He reminds them of their own most innocent self. In these very challenging times, what could be more necessary than an innocent, good character who shines a light on our world and encourages kindness and fair play in others?”
Paddington Bear, with his unwavering kindness, curiosity, and optimism, continues to teach us valuable lessons about love, belonging, and the importance of seeing the good in others. In Paddington In Peru his adventures remind us that no matter where we come from, we can find a place to belong and make a difference in the world. In a world that often feels divided, Paddington’s simple yet profound messages of kindness and acceptance are more relevant than ever.
The Writing Process
The writing process for the Paddington films is a fascinating blend of creativity, collaboration, and meticulous planning. Here’s a glimpse into how the scripts came to life:
Collaborative Effort – The scripts for the Paddington films were a collaborative effort involving multiple writers. For the first two films, Paul King was the primary writer, with contributions from Hamish McColl for the story in the first film and Simon Farnaby for the screenplay in the second film. For “Paddington in Peru,” the writing team expanded to include Mark Burton, Jon Foster, and James Lamont, with the story by Paul King, Simon Farnaby, and Mark Burton.
Staying True to the Source Material – The writers aimed to stay true to the spirit of Michael Bond’s original books while bringing Paddington to a modern audience. They carefully crafted storylines that would resonate with both children and adults, capturing the timeless charm and whimsy of the beloved bear.
Blending Humor and Heart – A key aspect of the writing process was balancing humor with heartfelt moments. The writers infused the scripts with Paddington’s signature politeness and endearing personality, ensuring that the films would be both funny and emotionally touching. This balance was crucial in creating films that would appeal to a wide audience.
Character Development – The writers focused on developing not just Paddington but also the supporting characters, such as the Brown family and the various antagonists. Each character was given depth and personality, contributing to the richness of the story and the overall experience of the films.
Incorporating Modern Themes – While staying true to the source material, the writers also incorporated modern themes and settings. For example, “Paddington 2” touches on issues like community and acceptance, while “Paddington in Peru” explores Paddington’s roots and identity, reflecting contemporary societal issues in a way that feels relevant and engaging.
Iterative Process – The writing process was iterative, with multiple drafts and revisions. Feedback from producers, directors, and other creative team members was essential in refining the scripts. This iterative process helped ensure that the final scripts were polished, coherent, and ready for production.
Challenges and Innovations – Writing for a film that combines live-action with CGI required innovative thinking. The writers had to envision how Paddington would interact with the real world and create scenes that would be visually compelling while staying true to the character’s essence.
The writing process for the Paddington films was a labor of love, marked by collaboration, creativity, and a deep respect for the original source material. It resulted in films that have delighted audiences around the world and cemented Paddington’s place as a beloved cinematic icon.
Director Dougal Wilson is well known for his music videos and commercials. His many ads include those for Apple, Ikea, The BBC, and Amnesty International. Wilson’s Christmas adverts for UK department store John Lewis have become a widely talked-about part of British popular culture. Amongst his many industry awards and honours, Wilson’s film, WE’RE THE SUPERHUMANS for the Channel 4 Paralympics, garnered two Black D&AD Pencils and the Film Grand Prix at Cannes Lions. He was also nominated by the DGA for Outstanding Directorial Achievement in Commercials in 2020. PADDINGTON IN PERU marks his feature film directorial debut.
Mark Burton is a British television writer, screenwriter, television producer, film producer, and film director. He is known for his work on animated films such as “Madagascar”, “Wallace & Gromit: The Curse of the Were-Rabbit”, and “Shaun the Sheep Movie”. He has also written and directed several other projects, including “Early Man” and “A Shaun the Sheep Movie: Farmageddon”.
Jon Foster is a British screenwriter and producer. He is known for his collaborations with James Lamont, including writing for “The Amazing World of Gumball”, “Wasted”, and “The Adventures of Paddington”. He also co-wrote the “Paddington meets the Queen” sketch for the Platinum Jubilee of Elizabeth II.
James Lamont, also credited as J.D. Lamont, is a British screenwriter known for his frequent collaborations with Jon Foster. He has worked on projects such as “The Amazing World of Gumball”, “Wasted”, and “The Adventures of Paddington”. He has won several awards, including BAFTA Children’s Awards and an Emmy for “The Adventures of Paddington”.
Paul King is a British filmmaker and writer, best known for directing and co-writing the “Paddington” films. He has also worked on various television projects and is recognized for his unique storytelling style.
Simon Farnaby is a British actor, writer, and comedian. He has written for television shows such as “The Amazing World of Gumball” and “Wasted”, and has appeared in various films and TV series. He is known for his comedic talent and creative contributions to the entertainment industry.
by Daniel Dercksen·Comments Off on Inheritance: A Gritty International Thriller of Secrets and Deception
“Shooting on an iPhone allowed us to capture the world in its raw, unfiltered state. The intimacy and mobility of the device helped us tell a more personal and immediate story, without the usual barriers that a large film crew would impose, says writer-director Neil Burger of Inheritance.
Neil Burger was inspired to make Inheritance by a New York Times article he read in April 2020. The article detailed a reporter’s journey from Serbia to France overland, encountering armed guards at every border and empty towns and cities due to COVID-19 restrictions. This sparked Burger’s curiosity about the “new normal” in a post-COVID world and inspired him to create a narrative set in that environment.
“With ‘Inheritance,’ I wanted to explore the idea of secrets and their impact on families. The COVID-19 pandemic provided a unique backdrop to examine how our lives have been fundamentally altered, and how our past actions catch up to us in unexpected ways,” says Burger, who is known for films like The Illusionist and Limitless.
The narrative is set in a post-COVID world, reflecting the new normal and the changes in society and travel. This adds a contemporary and relatable backdrop to the espionage story. The film takes the audience on a globe-trotting journey through New York, Cairo, Delhi, Seoul, and back to New York. This international scope is ambitious for a film shot with a small and mobile setup.
This guerrilla-style approach enabled the crew to capture real-world locations without drawing attention.
Neil Burger
The screenplay for Inheritance was co-written by Neil Burger and Olen Steinhauer. Steinhauer is known for his work on spy novels and screenplays, which brought an additional layer of depth and authenticity to the film’s espionage narrative. Their collaboration blended Burger’s unique visual storytelling with Steinhauer’s expertise in crafting intricate spy narratives, creating a compelling and multifaceted film.
Olen Steinhauer
Steinhauer is an accomplished author of spy novels, which added a layer of authenticity to the screenplay. His experience in writing complex espionage plots helped shape the film’s intricate storyline, where a young woman discovers her father’s secret life as a spy and gets drawn into an international conspiracy.
Steinhauer’s novels are known for their intricate plots, morally complex characters, and global settings. His works often explore the blurred lines between personal loyalty and political intrigue, earning him comparisons to John le Carré and Graham Greene.
“Working with Olen Steinhauer on the screenplay was an incredible experience,” says Burger. “His expertise in the spy genre brought a level of authenticity and complexity to the narrative that was crucial for Inheritance. ‘ Together, we crafted a story that delves into the shadowy world of espionage while remaining deeply human and relatable.”
“I know the movies that I’ve liked, and I know the experience that they’ve given me, so the goal is always to try to create a movie that I would like myself and that would knock me out, challenge me or intrigue me in some way.”
Inheritance follows Maya (Phoebe Dynevor), a young woman who discovers that her father, Sam, was once a spy. This revelation propels her into the heart of an international conspiracy, forcing her to navigate a world of espionage, secrets, and unexpected revelations2. As Maya delves deeper, she uncovers the truth about her father’s past and the dangerous web of lies that surrounds her.
DIRECTOR’S STATEMENT- NEIL BURGER
When most film productions arrive at a location, they disrupt the normal life there. They have lots of equipment, crewmembers, trucks; they close roads, block sidewalks, and generally become the center of attention. I wanted to do the opposite, to film under the radar, so I could look at the world as it is, rather than have the world look at us, the filmmakers. And we did see the world– we literally went around the world– New York, Cairo, New Delhi, Seoul, New York– shooting with a tiny crew, no lights, no boom mikes, trying to make ourselves invisible. So we could see life as it was being lived at this moment. We took the same trip the characters take, shooting in all the real places, everywhere they go.
The story is a gritty international thriller, so it’s tightly scripted. There’s no improv, it was all carefully prepared and crafted. And yet, because the production was so small and nimble, if something unexpected happened, we would go with it. I told the actors to stay in character no matter what. So, the movie has a caught live feel, a stolen esthetic, which makes sense because much of it was stolen– shot without permission. And also Phoebe’s character is a bit of a kleptomaniac.
At the airport in New York, we walked into a luxury jewelry store and filmed Phoebe, in character, stealing an expensive pair of sunglasses. For real. She did it. And got away with it. Walked away, put the sunglasses on and went to her gate. Later, of course, we quietly put them back and the store never knew they’d been gone.
On the airplane across the Atlantic, we shot three full dialogue scenes in flight, without permission, while the flight attendants served dinner around us. They looked at us curiously, but didn’t stop us. We didn’t look like a movie– rather it seemed like a friend was taking some video of Phoebe and Rhys Ifans (who plays her father). Later the flight attendants asked if Phoebe and Rhys were famous, and we said yes and that they were on their way to make a movie and we were taking pictures of their journey which of course was all true.
In New York, Phoebe stole a bottle of tequila and drank it on Eighth Avenue– all part of her troubled character. The cameraman and I stood a short distance away, so she just seemed like a messed-up person drinking in public alone. Suddenly, three large New York Police Officers were right on her, taking the bottle away and questioning her. Phoebe stayed in character the whole time: They asked, “Why are you drinking tequila on the street?” She responded, “Because I like Tequila. Want some?” And so on. After a bit of that, I stepped in and explained what we were doing and they let us go.
In Cairo, we shot in the extraordinarily crowded Khan Il Khalil market and no one looked twice at us. It’s the kind of energy and production value you can only hope to recreate on a conventional movie set. We were looking for the intensely real, and we got it.
There’s a busy highway next to Khan Il Khalil with a high iron fence down the median to prevent people from crossing the road to the market. But there’s one place where a bar of the fence is missing and so there’s a stream of people– men, old ladies, children, crossing the busy thoroughfare to squeeze through the opening. And Phoebe did it too– it’s the quickest way to get to the market. We shot her working her way between moving cars– it’s crazy but uniquely dynamic.
We shot a motorcycle being chased by the police on open roads in Delhi. Sounds dangerous but it’s so crowded that you never reach high speeds. Even so it was exhilarating and unlike any kind of footage you’ve seen before. We shot at the New Delhi train station, waiting on the platform with everyone else, getting onto a working train, filming as we went across the Indian countryside.
We shot at the airport in Seoul, going through passport control, keeping our small camera as concealed as possible, and watching Phoebe being questioned and waved through. In a normal movie you can’t do that.
Shooting this way changed the way the actors worked. They’d get ready at the hotel, then come directly to where we were shooting. They’d walk to a spot, say, on the street, I’d give them a little wave, and they’d begin. Again, it was tightly scripted– like any thriller, it’s an intricate puzzle– and yet whatever happened we’d film and incorporate. Life flowed around them, and we went with it. We didn’t do conventional coverage– establishing shots and complimentary close ups– instead we deliberately avoided match-cutting and shot with a moving camera that covered it all quickly, sometimes in one setup. We’d be in and out of the locations fast, again, to avoid drawing attention to ourselves. The movie has its own, unique cinematic language because of that– a rawness and a realness with an epic beauty on a global stage.
by Daniel Dercksen·Comments Off on September 5: The Broadcast That Changed the World
“September 5 raises a number of questions that are more important to address than ever,” says director and writer Tim Fehlbaum. “Beside our goal of telling a fast-paced, thrilling story, the film also sheds light on this historical event from a very specific perspective and I believe that the combination of these elements will hopefully create an exciting, and simultaneously thought-provoking experience for audiences.”
Set during the 1972 Munich Summer Olympics, the suspenseful thriller September 5 follows the ABC Sports broadcasting team that found themselves having to quickly shift from sports reporting to live news coverage when Israeli athletes were suddenly taken hostage.
Some of the biggest real-time challenges the broadcasters faced included the potential inadvertent sharing of law enforcement’s plans and movements with the terrorists themselves– who were thought to be able to watch the international coverage within the Olympic village– thus potentially derailing the rescue mission, in addition to the horrors of witnessing and airing a terrorist attack live to millions of people around the world.
September 5 shines a light on this pivotal moment that transformed media coverage and continues to impact the way live news and terrorism interact today. This tragedy from the 1972 Summer Games forever shifted the media’s playbook, from terrorist bombings to freeway chases and school shootings, forcing journalists to focus on the impact these evolving technologies would have not only on audiences but also on the subjects they were covering.
A sports television team saw itself confronted with the challenge of reporting on a terrorist attack live, and had to question procedures given their proximity to the quickly unfolding events and the technology at hand.
At the heart of the story is Geoff (John Magaro), a young and ambitious producer striving to prove himself to his boss, the legendary TV executive Roone Arledge (Peter Sarsgaard). Together with German interpreter Marianne (Leonie Benesch) and his mentor Marvin Bader (Ben Chaplin), the story focuses on the intricate details of the high-tech broadcast capabilities of the time, juxtaposed against the many lives at stake and the moral decisions that needed to be made against an impossible ticking clock.
In this powerful film, the multi-award-winning Swiss director Tim Fehlbaum tells the story of the Munich Massacre of 1972 from this perspective.
The screenplay was by Moritz Binder and Tim Fehlbaum and co-written by Alex David, and was filmed at Bavaria Studios and at locations throughout Munich, Germany.
Even as Tim Fehlbaum’s previous film Tides (aka The Colony) was still in post production, the director and two producers– Thomas Wöbke and Philipp Trauer of BerghausWöbke Filmproduktion– began to work on a new project together. “As a Munich-based production company, we were familiar with the events of 1972, as well as the existing film adaptations,” says Wöbke. “Steven Spielberg’s Munich tells the aftermath, but we felt that there was still more to this story that was ripe to be told for the big screen. We locked ourselves in a room for several days and ultimately decided that we wanted to make a film about the terror attack during the 1972 Olympics in Munich,” explained Trauer.
The filmmakers were inspired by Kevin Macdonald’s documentary One Day in September, which takes a forensic look at the 1972 Munich Olympics, and Paul Greengrass’s film United 93, which told the story of the tragic flight of September 11, 2001 with documentary precision and in real time. “We thought about what it would be like to narrate the events of September 5, 1972 in a way that felt like we had been there, close up, as a reporting team,” Trauer explains, noting that it was not lost on them that the 50th anniversary of the events in Munich was approaching at the time.
Crafting the Screenplay
Moritz Binder came on board to write the screenplay with Fehlbaum, and the pair also collaborated with co-writer Alex David who had previously worked with Wöbke. David was initially tasked with helping with the German to English translation but continued to assist in the sharpening of characters and overall pacing, heightening the language and tension.
As they dug into their research, the media’s pivotal role in the day’s events was quite compelling. The producers soon discovered an article written by a former production runner, Jimmy Schaeffler, who spoke highly of Geoffrey Mason, the then 32-year-old coordinating producer who had been in Munich under the leadership of the legendary Roone Arledge, the president of ABC Sports at that time. Arledge, who was declared one of the 100 most important Americans of the 20th century by Life Magazine, is considered the inventor and formative pioneer of modern sports reporting.
“ABC Sports had offered the highest amount for the broadcasting rights at the time,” explains Trauer. “They had built their own production complex right next to the Olympic Village. Only a hill separated their studio from the athletes’ accommodations. And we knew that they were the only TV channel to set up a live camera at the location of the events of September 5.”
After talking to Mason, it occurred to the filmmakers that he would make a great central character in the film. “Mason told us vividly and in great detail about his experiences on that day,” recalls Fehlbaum. “He told us about the 22 hours he spent producing the broadcasting of the live coverage, which he still recalls very precisely.”
“Geoffrey spoke of the stress, the difficult decisions, the moral dilemmas and the deep emotions that are present to this day,” adds Trauer. “It quickly became clear that this was the film we wanted to make. That was the decisive moment.”
“When I was approached with the idea of telling the story of September 5 via the perspective of the ABC Sports coverage of that event, I was very impressed by the depth of research that had been accorded the project,” recalls Mason, who came on board as a co-producer of the film. “But more importantly, after I read early versions of the script, I was impressed by how deeply personal the experience was, not only to those of us involved in the production, but in telling the story of what transpired. This is a story about the people in that control room and how we all reacted to what was happening in front of us. I am blessed to be one of the very few people still around to help tell that story through the eyes and hearts of those of us who were there that day. It has been a unique opportunity.”
ABC executives and staff who had been heavily involved that day in September, including Roone Arledge and Jim McKay, had also written biographies and, unsurprisingly, the events that had transpired in 1972 featured throughout given just how much it had characterized and influenced their lives. “Each of them described this day from their own perspective,” observes Wöbke.
The filmmakers were also able to obtain first-hand insights from Schaeffler, who, in his role as a runner for ABC in 1972, had smuggled film footage past the police cordons disguised as an athlete; and Sean McManus who was, until recently, Chairman of CBS Sports. A young man at the time, McManus had sat in the control room while his father, Jim McKay, was presenting the Olympics in the studio next door. It was a pivotal moment for September 5 when McManus gave the project his blessing and offered his support.
“I was next to my dad for the entire day, night and early morning and watched him report on what was the darkest day in sports history,” McManus remembers. “His reporting, calm presence and compassion were simply striking as the world awaited the outcome of the Israeli Olympic Team. September 5 presents this story as it unfolds, with gripping realism and accuracy from the perspective of ABC Sports. The telling of this moment in history will remain with the audience for the rest of their lives.”
As the creative team developed the film further, they were also struck by just how young many of the journalists and technicians were who worked for ABC in Munich, some in their twenties or early thirties. “It was a special life experience for them to be on location at these Olympic Games, in which Munich– and indeed the whole of Germany– were consciously trying to break away from the sinister German past, which at the time was only 27 years prior,” explains Trauer. “And it was also a great challenge for all those involved to handle this massive technical apparatus. What ABC had put together for their broadcasting from Munich was incredible. It was unprecedented and set new standards.”
The ABC Sports of 1972 was undeniably far ahead of the curve– and not only of its more talking head-centric news division, but of all the other channels, too. “Roone Arledge was a visionary of storytelling,” notes Fehlbaum. “The personal histories of the athletes became part of the narrative, their biographies, wishes and desires. But ABC Sports also outstripped the others in terms of technology: innovative technologies such as the use of slow motion and handheld cameras coupled with sensational title designs were the repertoire of Arledge’s team.
In his memoirs, broadcasting engineer Joe Maltz describes the massive technical effort that was necessary for the first live broadcast of the Olympic Games and how the ABC crew improvised on the day the hostages were taken in order to get the audience as close to the events as possible. Combined with Arledge’s innovative approaches to narrative, this resulted in a paradox that would characterize the decades to come: news became infotainment.”
And in his ongoing interviews with Mason, Fehlbaum notes that there was one answer in particular that gave him complete clarity on the story he wanted to tell. “Of whether they had thought about those broader implications and consequences during the broadcast, Geoffrey just said, ‘There was simply no time,’” recalls Fehlbaum.
“In that moment Moritz and I became aware that this is exactly how the film should feel. The audience should experience the intensity of the live coverage with the characters, and be there when moral decisions have to be made against the backdrop of a constantly ticking clock.”
Mason proceeded to review the script to ensure filmmakers were capturing the tone and tenor of the day. Binder notes that he and Fehlbaum were especially drawn to the idea of exploring the impact of imagery in media reporting. “What lingers from a specific event is the resonance of the images,” he says. “We have all kept the events of September 5, 1972 in our collective memory but it is important to acknowledge that those images are there as a product of the reporting. So we wanted to tell the story behind these images and how they emerged from this event. We didn’t want to give simple answers but instead, we preferred to ask serious questions as media professionals, narrators, and viewers ourselves.”
When Trauer read the newly-drafted script, he recalls not being able to put it down. “It was gripping, suspenseful and electrifying. It had an entirely new quality and followed the conceptual idea of having the entire plot unfold inside the studio complex. The idea of not going outside at all except for the clips on the many monitors turned out to be a complete success.”
With such a specific narrative for the film now established, the filmmakers realized just how much power there would be in utilizing the original ABC footage in their movie; however, accessing the archives and licensing the original material wasn’t going to be easy. “If we were going to create September 5 as a thriller with a focus on ABC Sports, we would absolutely require the original recordings,” says Wöbke of the daunting hurdle they now faced. “It was clear to us that we would need Geoffrey Mason to help us access the material given his ongoing relationship with ABC.”
Having ABC’s original tapes at their disposal proved to be invaluable to Fehlbaum and Binder.
“Viewing the broadcast footage made it possible to recreate a reconstruction of events with the control room and we structured the screenplay accordingly,” shares Fehlbaum. “This also led to a visual strategy that would characterize the film. We planned the set in such a way that the original material from 1972 could run on the monitors and in this way blend in with our directed scenes.”
While watching the footage, Fehlbaum says he became increasingly fascinated by the work of presenter Jim McKay who always appeared professional and formal in his reporting. “In spite of everything, he was able to radiate empathy with all those affected,” notes the director. “It seemed impossible to me to reproduce this performance with an actor. In order to convey the urgency of the moment we knew we would also have to incorporate the original material of Jim into our film.”
With an enviable creative team in place, Fehlbaum says that everyone remained on the same page from beginning to end. “You can tell what was special about this film was the exceptional team of creative producers we had,” he notes. “We were constantly communicating and were always focused on how we could tell the story in the best way possible.”
DIRECTOR’S STATEMENT
The Munich Olympic attack on September 5, 1972 was a tragic event with profound political implications. The live broadcasts on this day marked a turning point in media reporting, bringing a new dimension to how such incidents are seen and understood by the public. When the attack begins, a team of American sports reporters are suddenly responsible for the subsequent 22 hours of live coverage, switching their responsibilities from sporting events to geopolitics. I was interested in the unprecedented situation that the media faced: this was the first time an event of this nature was covered by a live broadcast.
During our research with ABC journalists who were on the ground, we learned details about what they experienced in that control room, and early on we decided to narrate our film purely from this angle, from the viewpoint of the coverage. We are constantly in the TV studio, almost like in a chamber play, the cameras the only eyes cast on the tragic events unfolding before us.
This focus seemed especially relevant in today’s world: with the advent of live streaming and the instant availability of images and videos, the ways in which events are processed have changed dramatically.
Images wield enormous influence—they shape public opinion, mobilize people, and can even drive political decisions.
The spatial limitation on the narrative world to the ABC Sports TV studio means that we are confronted with the moral, ethical, professional and ultimately psychological dilemmas of journalists who only become aware of their responsibility when switching from sports to crisis news. As a filmmaker I felt an affinity with the complexity of the situation. On the one hand I was critical of the development towards tragic events being processed as sensations. But on the other I was fascinated by the ambitions and dilemmas of the journalists to tell the story accurately.
The events in Munich and its direct and indirect consequences remain relevant today. Capturing the underlying political conflict within our approach would not do all the complexities and nuances justice. In our film, the events of September 5, 1972 are presented purely from the perspective of the sports reporters in the ABC studio.
By assuming this specific vantage point, we shine a light on this watershed moment in journalism and its influential legacy. As was true then, today’s media landscape and the technology that facilitates it are constantly evolving, along with our ever-increasing appetite for a 24/7 breaking news cycle. We seek to raise ethical questions– which are as germane now as they were then– about the responsibilities and impacts of crisis reporting and our consumption of it.
TIM FEHLBAUM
TIM FEHLBAUM (Director, Screenwriter, Producer) was born in Basel, Switzerland, in 1982. Fehlbaum studied directing from 2002-2009 at the University of Television and Film Munich. In 2011 Fehlbaum made his feature film debut with the bleak post-apocalyptic thriller HELL, for which he also co-wrote the screenplay. In 2021 Fehlbaum’s science-fiction thriller film TIDES premiered at the Berlin International Film Festival in the Berlinale Special section and subsequently won several awards, such as four German Film Awards, as well as two Bavarian Film Awards for Best Director and Best Cinematography.
MORITZ BINDER (Screenwriter) is a German screenwriter, born in Munich in 1982. September 5 marks Binder’s first feature film screenplay. The script was created together with the film’s director Tim Fehlbaum and co-writer Alex David. Binder developed the story for the award-winning comedy Alles Fifty Fifty together with writer and director Alireza Golafshan, and is currently developing three other feature film scripts for German production companies. Binder has written for several television shows, including the prestigious series “Tatort”, which has been broadcast on German television since 1970, as well as the revival of the German cult series “Neue Geschichten vom Pumuckl”, for which he wrote the pilot episode and season finale. After graduating from Munich college for design and art, Binder initially worked as a TV journalist before studying documentary film and television journalism at the University of Television and Film Munich. He graduated in 2017. During his studies, Binder wrote and directed numerous film projects. His documentaries, reports and short films were shown at international festivals. He won the Starter Film Award of the City of Munich, as well as the city’s university award for the best graduation project. Concurrent to his studies, he realised award-winning art installations at the Academy of Fine Arts Munich and exhibited at the Pinakothek der Moderne, and taught film dramaturgy and journalism at private film schools and at the Goethe Institutes in Brussels and Paris. Binder lives and works in Munich.
ALEX DAVID (Co-Writer) Alex David is an award-winning screenwriter with an MFA from The American Film Institute (AFI). For over 15 years he has written and developed screenplays and television series for various independent companies, producers and acclaimed directors in both Hollywood and Germany, including multiple projects with Constantin Films. In addition, he has taught screenwriting at several universities and institutions throughout Germany.
by Daniel Dercksen·Comments Off on The Unbreakable Boy: A True Story of a Father and Son Learning that Every Day Can Be the Best Day of Your Life!
“The book was given to me. When I read it, I loved that it was a story about parents struggling with issues that all parents face. Yet, it was told through the perspective of a kid with autism,” writer-director Jon Gunn states. “It was an opportunity to give insight into the experience of being a person with autism. It was also a chance to show what it is like to raise a person with autism.” He knew The Unbreakable Boy would be relatable to all parents at its core. This was true regardless of whether a disability was noticeable in a child.
From Kingdom Story Company, the team behind Jesus Revolution and The Best Christmas Pageant Ever, comes a new film. Lionsgate, the studio behind Wonder, also presents this story, titled The Unbreakable Boy. When Scott (Zachary Levi) and Teresa (Meghann Fahy) learn that Austin is both autistic, they initially worry. They find out he also has brittle bone disease. They worry about their son’s future. With Scott’s growing faith, they find joy even in hard times. Austin’s incredible spirit helps them find gratitude and courage. They become “unbreakable.”
The Unbreakable Boy isn’t about autism. It’s about life. About real life. It’s about family, about joy, and about learning to accept the world one finds oneself in, challenges and all. A 13-year-old boy’s joyous and unconquerable spirit guides everything. His zeal for life is infectious. His unique outlook truly changes all of those around him. This happened in real life.
Scott and Teresa LeRette had met in early 1994 and began dating. Not long after their third date, Teresa discovered she was pregnant. The two decided to pursue their relationship and create a family in Iowa. Their son, Austin, was born on November 10 that year, and the couple married the next month. But soon after Austin’s birth, they realized he suffered from osteogenesis imperfecta (“OI”). It is the same genetic brittle bone disease that Teresa had been born with. Both Teresa and her newborn son are delicately vulnerable to broken bones. Even tripping or simple falls to the floor can cause them harm.
They gave birth to a second son, Logan, two years later. But not long after, they began noticing inexplicable behavioral issues with Austin, and he was soon diagnosed as autistic. This couple that had barely gotten to know each other before starting a family now had their hands full.
As they raised their family, Scott was outgoing. He began to develop his own personal issues. He became more and more dependent on alcohol. Scott used alcohol to stave off fears and uncertainties as a husband and a father. His alcoholism made him lose his job in the medical supply business. Eventually, his wife forced him out of the home because he put their boys’ safety at risk. He went into recovery, eventually rejoining the family. He found inspiration for making change. He saw the simple joy and love constantly in Austin.
Even before getting sober, Scott began writing notes to himself in a spiral notebook. He kept track of the often-humorous incidents and moments that happened in his and his family’s life. This was particularly true for the ones related to Austin. He did this simply as a cathartic outlet for himself. “I realized some of these stories were pretty funny,” he recalls. “Some of them are pretty ironic, and some are almost dark — but some be considered inspiring.” He eventually started a blog called “Austinistic,” containing what became several hundred such stories. He soon decided to assemble them into a book, co-written with best-selling author Susy Flory. The book was published in November 2014. It was titled The Unbreakable Boy: A Father’s Fear, a Son’s Courage, and a Story of Unconditional Love. “I had told Teresa, ‘I’m going to write a book, and it’s going to be a TV show one day.’” He was not far off.
A few years later in 2017 while on a business trip to New York, Scott, a straight razor-shaving enthusiast (and there are many!), popped into a well-known pharmacy that sold such products, Pasteur Pharmacy, run by a fellow named Leon Tarasenko. Upon meeting Tarasenko, Scott handed him a copy of the book. “Whenever I would travel, I would always bring a copy or two with me,” he notes. Tarasenko asked him if he had considered making a movie out of it. He also suggested Scott connect with his brother-in-law in Hollywood, who “did something” in the movie business.
His brother-in-law was actor-producer Peter Facinelli (best known for his work as Dr. Fitch Cooper on the Showtime series “Nurse Jackie”), to whom he had passed along the book Scott gave him. “Leon kept bugging me to read it. When I finally did,” Facinelli recalls, “I thought, ‘Wow, this is a really powerful story. It should be made into a movie.’ It was a beautiful family story about a father and son. The bond that they have is deep. The son taught him all the lessons about what pure love is.” (Facinelli would eventually not only produce the film but appear in it as Preacher Rick.)
On a further work trip to Southern California, he and Scott met up in Burbank. They discussed the idea of a film. The actor advised Scott for about a year. An independent production company became involved, even engaging a writer, but things didn’t move ahead. The two then decided to work together themselves to make things happen.
They eventually met with Mona Garcea, a TV executive at Kingdom Story Company. She invited Jerilyn Esquibel, one of the company’s development executives, to join them. “After hearing the story, I felt strongly that we should do it. It should be a feature film,” Esquibel says. “I fell in love with it. It’s such a beautiful, honest, good/bad/ugly story of their life. I loved that nothing was hidden. There were no rose-colored glasses. It was just so raw and real. It was about the hardships of raising a child with autism. It also showed everything they themselves had gone through. I knew it had to be a movie, and it was a story I wanted to tell.”
Photo Credit: Daniel McFadden
Writing the Screenplay and Directing the Film
Kingdom had collaborated on four films with writer-director Jon Gunn. For The Unbreakable Boy, they asked him to both direct and write the screenplay. “He’s an incredible creative partner for us,” says Erwin. “I love working with him, and I love his voice.”
“We tell that story with some real honest humour and some real honest heartache that all parents go through. These parents struggled with the fact that they didn’t really know each other when they got married. They didn’t know each other when they had this child. They had no idea how to raise a child with the specific conditions that Austin had.”
There was indeed a way to tell the LeRettes’ story. It would leave viewers optimistic, just as the LeRettes’ themselves are. “When you first examine the journey of the LeRettes,” Gunn says, “it seems that there was a lot of pain. There was also a lot of struggle. But I also felt there was always this sense of optimism at the heart of it. I wanted the movie to feel optimistic. It should be hopeful and funny. Because the struggles we have, when we look back on them, are often the great stories that make people laugh. To me, it was about finding levity in the midst of their struggles. I wanted hopefulness as well.
As a writer adapting Scott’s book, Gunn’s skillfulness in storytelling was a true godsend, Facinelli states. “When we were first looking at it, it was so complex. The family’s life had many periods. I couldn’t wrap my head around how to tell this story. But when we sat down with Jon, he had a clear vision of how to do it.” Indeed, says Scott, “The book is written with a lot of episodic stories, going from one to the other. There was no way you could do that as a movie.”
So, notes Gunn, “For me, it was about finding the way in. The book tells 15 or 20 years’ worth of stories. It includes all of these anecdotes, struggles, and funny stories. So, I decided not to tell it through Scott’s eyes, as the book does. Instead, I found a way in through Austin. He tells us the story. The story is filtered through the eyes of the autistic son. It is built around the journey of a father who struggles. The father runs from responsibility and escapes through alcoholism. He ultimately hits rock bottom. Then, he is lifted back up by his son. We experience it through the eyes of this autistic child. He is so optimistic, hopeful, and positive. His perspective helps give us a balance that I’m always looking to find with this movie. It shows comedy in the midst of pain and pain in the midst of comedy.”
To represent the autism spectrum in an authentic and respectful way, the production relied on a terrific resource. They consulted with autism consultant Stacey Weddington of Autism Oklahoma. Her own autistic son, Alex, appears as an extra in the film. “Everybody wears their autism differently. It doesn’t look the same on any two people,” she explains. “All we needed to remember was, we’re not telling anybody’s autism story but Austin’s. There are enough common characteristics threaded through the movie. People familiar with autism will recognize and relate to it. They will experience some of the challenges and the joys of having a child on the autism spectrum.”
Photo Credit: Daniel McFadden
Themes And Hopes
So much of the message of The Unbreakable Boy is about acceptance. It encompasses acceptance of people, oneself, and the hand one has been dealt in life. About the Unbreakable Boy himself, Levi says, “It’s interesting. The very literal, obvious meaning is this little boy, Austin. He’s very breakable, but only in his body. His mind, his spirit, his resolve is very unbreakable, which is so beautiful and inspiring. But Jon Gunn and I talked about that you could almost make a case that the Unbreakable Boy is Scott. Because he’s going through this journey of being broken, but still pushing through and persevering.”
As his parents learn to accept the perfection in Austin, they notice it in his true joy of living. Those around him also learn to embrace this perfection. Then, they are able to find that very thing in themselves.
“Ultimately,” says Meghann Fahy, “what Scott learns from Austin is that not everything can be fixed. Not everything should be fixed. It’s a story about perspective and learning from other people how to find the true joy in life. It’s really about the journey that Scott takes with his son. His son teaches him to truly understand the value of being part of the world you’re presented with. It’s about accepting that and not fighting it.”
“Austin is so present with himself — something that, as human beings, is so hard for us,” Fahy adds. “We really have to focus hard on just being where we are. And he doesn’t have to try that hard to do that. So he walks around reminding people to be in the now. And I think that that, in many ways, is the greatest gift that you can give to a person.”
JON GUNN – WRITER-DIRECTOR – For 25 years, Jon Gunn has worked as a writer, director, editor, and producer. His work ranges from independent comedy and drama to studio tentpoles. As a director, he has directed feature films like My Date with Drew, Like Dandelion Dust, and Ordinary Angels. Gunn has also co-written numerous studio movies. These include The Magic 8 Ball for Paramount, The Nutcracker for Universal, and Monopoly for Hasbro/Sony. Additionally, he has worked on multiple features for Dreamworks animation, including B.O.O.: Bureau of Otherworldly Operations. Most recently, Gunn co-wrote the musical biopic I Still Believe, based on the life of singer Jeremy Camp. He also co-wrote American Underdog, the true-life story of NFL superstar Kurt Warner.
Scott LeRette is a recovering addict and highly engaged, flawed human whose life is full of challenges and stumbles balanced with humble wins, glorious successes . . . and gratitude for it all. He is an author known for his novel, The Unbreakable Boy: A Father’s Fear, a Son’s Courage, and a Story of Unconditional Love, and executive producer of its Lionsgate Studios film adaptation. Scott and his Unbreakable family live in Nebraska; his wife of 30+ years, Teresa; their son Logan, an Omaha police officer; The AuzMan; and their beloved yet equally dysfunctional Cavaliers, Gracie and Coco.
by Daniel Dercksen·Comments Off on The Journey Matters: Writing Your Story Without Cutting Corners
While no magic wand can replace the depth and richness of well-crafted storytelling, there are ways to make the writing process more efficient without sacrificing quality.
We live in an era where instant gratification is the norm. Platforms like TikTok and YouTube have revolutionised how we consume content, prioritising quick, engaging, and often bite-sized pieces of information.
Here are some strategies that writers can use to avoid becoming trapped in the cycle of instant gratification:
Set Long-Term Goals: Focus on long-term writing goals rather than immediate rewards. This can include completing a novel or screenplay, publishing a series, or mastering a particular writing style. Focusing on long-term writing goals is crucial for developing your craft and achieving meaningful accomplishments in your writing journey.
Create a Writing Schedule: Establish a routine and stick to it. Consistency helps build discipline and keeps you focused on your goals. Define what you want to achieve with your writing routine. Whether it’s completing a certain number of words per day, finishing a chapter each week, or writing for a set amount of time, having clear goals will give you direction. By establishing and sticking to a writing routine, you can create a sustainable and productive writing practice that keeps you focused on your long-term goals.
Practice Patience: Remember that good storytelling takes time. Allow yourself the freedom to explore and develop ideas fully without the pressure of instant results. Exploring and developing ideas fully without the pressure of instant results is essential for nurturing creativity and producing high-quality work. By allowing yourself the freedom to explore and develop ideas fully, you can create more meaningful, innovative, and high-quality work. Embrace the journey of creativity and enjoy the process of bringing your ideas to life.
Limit Social Media: While social media can be a great platform for sharing your work and connecting with others, it can also be a distraction. Set boundaries for your social media usage to ensure it doesn’t interfere with your writing. By setting clear boundaries you can ensure that social media doesn’t interfere with your writing productivity. Balancing social media usage with your creative goals will help you stay focused and achieve your long-term writing objectives.
Read Widely: Reading a variety of genres and styles can inspire you and provide a broader perspective on storytelling. It also reinforces the value of well-crafted, long-form content. By reading a variety of genres and styles, you not only gain inspiration and fresh ideas but also develop a deeper understanding of storytelling’s complexities and the value of well-crafted, long-form content. This holistic approach enriches your writing and helps you become a more versatile and skilled storyteller.
Embrace the Writing Process: Enjoy each stage of writing, from brainstorming and drafting to revising and editing. Each step is an opportunity for growth and improvement. By enjoying each stage of writing, you can make the process more fulfilling and productive. Each step is an opportunity for growth and improvement, leading to a richer and more rewarding creative journey.
Seek Feedback and Critique: Engage with writing communities or join a critique group. Constructive feedback can help you see the bigger picture and refine your work. Constructive feedback can point out what’s working well in your writing and what needs more attention. Knowing your strengths can boost your confidence while understanding your weaknesses offers growth opportunities. By effectively receiving and using constructive feedback, you can gain valuable insights, refine your work, and continue to grow as a writer. Embrace the feedback process as a collaborative effort to enhance your storytelling skills.
Prioritize Quality Over Quantity: Focus on creating meaningful and impactful content rather than just producing a high volume of work. Determine who your target audience is. Understand their interests, needs, and preferences. This knowledge will help you tailor your content to resonate with them. Start with a clear purpose and message. What do you want to convey? Ensure your content aligns with your core message and goals. By focusing on creating meaningful and impactful content, you can connect with your audience on a deeper level, provide value, and leave a lasting impression.
Reflect on Your Progress: Take time to review your writing journey and celebrate your achievements. Reflecting on your growth can reinforce your commitment to long-term goals. By regularly reviewing your writing journey and celebrating your achievements, you can stay motivated, inspired, and focused on your long-term goals. Remember, each step of progress, no matter how small, is worth celebrating.
Stay Inspired: Surround yourself with sources of inspiration, whether it’s books, art, nature, or conversations with fellow writers. Inspiration can help you stay motivated and passionate about your writing. Inspiration plays a crucial role in keeping writers motivated and passionate about their craft. By nurturing and harnessing inspiration, you can stay motivated and passionate about your writing, leading to more fulfilling and impactful work. Embrace the journey and let inspiration guide you.
How long does it take for writers to write a worthy novel or screenplay
Novels
First-Time Authors: It might take anywhere from six months to a few years. Establishing a routine, mastering the craft, and handling revisions can be time-consuming.
Experienced Authors: Many seasoned writers can complete a first draft in a few months, especially if they have a set schedule. Some famous novelists like Stephen King reportedly aim to write about 2,000 words a day.
Revisions and Edits: This phase can add several more months as authors refine their story, often working with editors and beta readers.
Screenplays
First Drafts: Professional screenwriters might churn out a first draft in a few weeks to a few months. Screenwriting often involves a more rigid structure and shorter length than novels, which can speed up the initial writing process.
Rewrites and Feedback: Like novels, screenplays typically undergo multiple rounds of revisions, which can take additional months, especially when collaborating with directors, producers, and other stakeholders.
Factors Affecting Time
Daily Writing Habits: Consistency is key. Writers who dedicate a set amount of time each day to writing can usually complete their projects faster.
Research: Some genres, like historical fiction or technical thrillers, may require extensive research, which can lengthen the process.
Life Circumstances: Writers balancing a full-time job or other responsibilities might take longer compared to those who can write full-time.
In the end, it’s important to find a pace that works for you and your creative process. Each writer’s journey is unique!
Finding a pace that works for you is essential for a sustainable and enjoyable writing journey.
Writing can be a marathon, not a sprint. It’s important to create a routine that fits your lifestyle and keeps your creative juices flowing. Some writers find success with daily word count goals, while others prefer setting aside larger blocks of time on weekends. The key is consistency and finding what makes you most productive and happy.
by Daniel Dercksen·Comments Off on Crafting Chills: The Art of Writing a Ghost Story
In the dead of night, when shadows dance and whispers weave through the air, a ghost story emerges, conjured by the deft hand of its creator. Writing a ghost story for film is an art—a delicate blend of suspense, atmosphere, and the supernatural that breathes life into the unseen and the uncanny.
From the very first frame, the audience is drawn into a world where the ordinary fades, and the eerie takes hold. The key lies in building suspense, layer by layer, like the fog rolling over an abandoned graveyard. With each scene, the tension grows, as the viewers’ heartbeat syncs with the pulse of the story.
The atmosphere is the beating heart of a ghost story film. It’s the chilling silence that precedes the creaking floorboard, the gust of wind that extinguishes the candle’s flame. Vivid cinematography and haunting sound design paint a landscape where every shadow holds a secret, and every whisper is a ghostly echo.
And then, there’s the supernatural—ghosts, spirits, apparitions that defy the laws of the living. But these specters are more than mere phantoms; they carry with them the weight of unfinished business, lost love, or ancient curses. Their presence is felt in the goosebumps that prick your skin and the shiver that runs down your spine.
As the story unfolds, the audience becomes a part of this eerie world, guided by the filmmaker’s craft. The art of writing a ghost story for film lies in the ability to captivate the imagination, to create a narrative so compelling that it lingers long after the final credits roll.
Key elements to consider when crafting a ghost story
Choose a setting that enhances the atmosphere of the story. Abandoned houses, old manors, foggy graveyards, or isolated locations often work well. The setting should evoke a sense of isolation and unease.
Create a chilling atmosphere through descriptive language and sensory details. Use weather, lighting, and sounds to build tension and evoke fear. Subtle hints and foreshadowing can keep readers on edge. A haunting atmosphere is crucial. Use descriptive language to create a sense of dread and unease. The setting should evoke a spooky ambience, whether it’s a creepy old mansion, an isolated village, or a foggy forest.
Develop well-rounded characters with believable motivations. The protagonist should have a reason to encounter the supernatural, and their reactions should feel authentic. Ghostly characters should have a backstory that ties into the plot.
Build a plot that gradually unveils the mystery of the haunting. Start with subtle, unexplained occurrences that escalate over time. Avoid revealing too much too soon—maintain suspense and keep readers guessing.
Introduce internal and external conflicts. The protagonist should struggle with fear and scepticism while facing the supernatural threat. The resolution should be satisfying, whether the ghost is appeased, defeated, or remains a mystery.
Ghost stories often explore themes of loss, regret, and the past. Consider what message or emotion you want to convey through the story. Themes can add depth and resonate with readers.
Control the pacing to maintain tension. Slow down during moments of suspense and build up to key scenes. Use cliffhangers and unanswered questions to keep readers engaged.
Include climactic moments where the tension peaks. These moments should be intense and memorable, leaving a lasting impression on the reader.
Decide whether your story will have a resolved or open ending. Some ghost stories benefit from leaving certain elements unexplained, adding to the mystery and fear.
People are drawn to fear in stories and films for various psychological and emotional reasons
Experiencing fear releases adrenaline, which can be exhilarating. It’s a safe way to experience danger and excitement without real-world risks.
Horror and ghost stories allow people to confront their fears in a controlled environment, providing a sense of relief or catharsis. It’s a way to process and manage anxiety.
Humans are naturally curious about the unknown and the supernatural. Ghost stories and horror films tap into that curiosity and fascination with what lies beyond the ordinary.
These stories offer an escape from everyday life, allowing readers and audiences to immerse themselves in a different, often thrilling, reality.
Watching or reading horror together can create a shared experience that bonds people. It can be fun to be scared with friends or family and then discuss the story afterward.
Ghost stories and horror often explore themes and topics that are considered taboo or difficult to discuss, such as death, loss, and the afterlife. This exploration can be both intriguing and thought-provoking.
These stories can provide insight into human psychology, delving into the darker aspects of the mind. They explore fears, phobias, and the human condition in ways that other genres might not.
Experiencing fear in a story can trigger a range of emotions, including relief, empathy, and even humor. It’s a way to feel deeply and experience a wide spectrum of emotions.
Some people enjoy the challenge of facing their fears and seeing how much they can handle. Successfully enduring a scary story can provide a sense of accomplishment and mastery over fear.
These factors combine to make fear an appealing and thrilling element in stories and films, providing a unique and unforgettable experience for readers and audiences.
Spine-Tingling Tales: Ghost Stories That Will Haunt Your Dreams
The Ghost of Ancient Egypt: A ghost story discovered on pottery in Luxor, where a mummified man’s spirit laments his eternal darkness. There are several films inspired by Egyptian mythology, such as The Ten Commandments (1956) and The Prince of Egypt (1998).
The Ghost of Tu-Po: An ancient Chinese ghost who haunts Emperor Hsuan after being wrongfully killed.
The Ghost of Ancient Athens: A ghost that rattles chains in a house, discovered to be a skeleton in chains.
Damon: A Greek boy who haunts a bathhouse after being killed for defending himself against a military officer. This story has been adapted into various films and TV shows, most notably the 1998 TV movie The Haunting of Helen Walker.
Arabella Stuart: The cousin of King James I, who haunts the Tower of London after being imprisoned there.
The Haunting of the Winchester House: The mansion built by Sarah Winchester to appease the spirits of those killed by Winchester rifles. This story has been adapted into several films, including the 2018 horror movie Winchester: The House That Ghosts Built.
The Bell Witch: A haunting in Tennessee involving a family tormented by a malevolent spirit. There have been a few adaptations, including the 2007 horror film An American Haunting.
The Amityville Horror: The Lutz family’s terrifying experiences in a house in Amityville, New York. This story has been adapted into multiple films, starting with the 1979 movie The Amityville Horror.
The Haunting of Hill House: Shirley Jackson’s classic novel about a haunted mansion and the psychological effects on its inhabitants. This story was adapted into a popular Netflix series in 2018.
The Woman in Black: A ghost story by Susan Hill about a young solicitor’s encounters with a malevolent spirit in an old house. This story has been adapted into two films, one in 2012 and another in 2015.
The Conjuring film series is a widely acclaimed and spine-chilling horror franchise that delves into the real-life paranormal investigations of Ed and Lorraine Warren, renowned paranormal investigators. The Conjuring (2013), The Conjuring 2 (2016), The Conjuring: The Devil Made Me Do It (2021).
Annabelle (2014), Annabelle: Creation (2017) and Annabelle Comes Home (2019) center around the eerie and possessed doll, Annabelle, which is first introduced in the opening scenes of “The Conjuring.”
The Nun (2018) Set in 1952 Romania, this film explores the origins of the demonic nun Valak, first seen in “The Conjuring 2.”
The Curse of La Llorona (2019) Although loosely connected, this film involves another of the Warrens’ investigations, focusing on the Mexican folklore of the Weeping Woman.
by Daniel Dercksen·Comments Off on Literary Legends: The Bond Between Perkins and Wolfe
The film Genius explores the compelling dynamics of mentorship. It also delves into creativity. It captures how two influential figures shaped the literary landscape.
Genius is a stirring drama about the complex friendship and transformative professional relationship between the world-renowned book editor Maxwell Perkins (who discovered F. Scott Fitzgerald and Ernest Hemingway) and the larger-than-life literary giant Thomas Wolfe.
Thomas Wolfe found fame and critical success at a young age. He was a blazing talent with a larger-than-life personality.
Maxwell Perkins was a highly respected literary editor. He was one of the most well-known editors. He discovered iconic novelists like F. Scott Fitzgerald and Ernest Hemingway.
Wolfe and Perkins develop a tender, complex friendship. Transformative and irrepressible, this friendship will change the lives of these brilliant, but very different men forever.
Wolfe was all about appetite and satiating himself. He traveled extensively, had adventures and engaged in barroom fights. Perkins wasn’t a prig – he didn’t sit back resisting it disapprovingly – he just didn’t do it. But he lived in books like ‘War & Peace’, and he dreamt about it.
William Maxwell Evarts Perkins was born in 1884 in New York City, and grew up in Plainfield, New Jersey.
He majored in economics at Harvard University. He worked as a reporter for The New York Times. In 1910, he joined Charles Scribner’s Sons – a venerable NYC publishing house that survives to this day.
He was a family man, married to Louise Saunders, a playwright, and with five daughters.
Scribner’s was already a renowned organization when Perkins joined. It was publishing great works from established authors including Henry James and Edith Wharton. But Perkins had a passion for discovering young authors, whose work was ahead of its time.
In 1919, Perkins persuaded his bosses to take a chance on a young writer named F. Scott Fitzgerald. In 1920, Scribner’s published “This Side of Paradise.” This event heralded the arrival of a new literary generation. Perkins worked tirelessly to help define this generation.
In his time at Scribner’s he shepherded the works of Ernest Hemingway, Marjorie Kinnan Rawlings, J.P. Marquand, Erskine Caldwell, James Jones, Marguerite Young and many more.
His defining relationship was with Thomas Wolfe, who was in his mid-20s. His 1,100-page first work landed on Max Perkins’ desk.
Thomas Clayton Wolfe was born in Asheville, North Carolina in 1900.
He was a prolific writer. His manuscripts would arrive at Scribner’s by the crate. These manuscripts had sentences that lasted entire pages. They possessed a mellifluous, deeply autobiographical style. This piqued Perkins’ interest. He knew he’d have his work cut out trying to rein it in to the publishable standards of the day.
The two men formed a deep bond. They collaborated on the first two of Wolfe’s four novels, Look Homeward, Angel and Of Time and the River.
Look Homeward, Angel was first published in 1929. The book is a coming-of-age story. It follows the life of Eugene Gant, a young man growing up in the fictional town of Altamont. This town is based on Wolfe’s hometown of Asheville, North Carolina. The novel explores themes of family, identity, and the search for meaning. It is known for its rich, lyrical prose and vivid characterizations. The title refers to a line from John Milton’s poem “Lycidas” and symbolizes the protagonist’s longing for a better future. Wolfe’s novel is semi-autobiographical, drawing heavily on his own experiences and relationships.
Of Time and the River was published in 1935. It’s a sequel to Look Homeward, Angel. The book continues the story of Eugene Gant. It follows him into young adulthood as he leaves his hometown. He embarks on a journey to discover himself and pursue his ambitions. The novel spans multiple locations and captures the protagonist’s experiences and the people he encounters along the way. Wolfe’s writing in “Of Time and the River” is known for its flowing, almost poetic prose. He vividly depicts the emotions and struggles of his characters. The themes of the novel include growth, exploration, and the passage of time.
Their professional relationship lasted for less than a decade. Its impact would resound on both men’s lives until their deaths. Against Perkins’ protestations, Wolfe dedicated Of Time and the River to his editor. “This book is dedicated to Maxwell Evarts Perkins,” it read. “A brave and honest man, who stuck to the writer of this book through times of bitter hopelessness. The author hopes this book will prove worthy of him.”
It was a rare public acknowledgment of the work Max Perkins had dedicated his life to. “Consider the beginnings of Fitzgerald, Hemingway and Wolfe. You will find that they were initially rejected writers,” notes A. Scott Berg. He published the definitive biography, Max Perkins: Editor of Genius, in 1978.
Max Perkins: Editor of Genius won the National Book Award. It offers a detailed and engaging portrait of Maxwell Perkins. He is one of the most influential book editors in American literary history. The biography delves into Perkins’ professional journey, highlighting his dedication to discovering and supporting young, unproven writers. It also explores his relationships with these literary giants, including the challenges and triumphs they experienced together
This began the story’s 35-year journey to the screen. “Fitzgerald, in fact, had been turned down by Scribner’s three times before Max Perkins laid his job on the line. Hemingway was about to be dropped by his publisher, and Thomas Wolfe had been rejected all over town. This was a man who saw genius in all three of these writers. He worked with them, often in his own time. Scribner’s wasn’t even interested. Perkins assured each of them, ‘Even if you have to go elsewhere to get this published, I will help you. I am committed to supporting you.’”
Berg’s choice of title is no accident. By the Latin definition, “genius” refers to a guardian deity that watches over a person. “Perkins literally became that person to these writers,” he notes. “Who was the genius in this relationship? Was he an editor that possessed genius, or did he edit the work of geniuses?”
Perkins wasn’t simply a copy editor, like his contemporaries. He changed the role of editing beyond simple correction of spelling and grammar. “He was the first to make a really major creative contribution,” says Berg. “And beyond that, he realized an author needs an editor during critical times. It’s not when the work is finished. It’s when that author is struggling with the manuscript.”
He continues: “Perkins was a friend, a marriage counselor, a psychiatrist and a money-lender. He fulfilled these roles not just for Fitzgerald, Hemingway and Wolfe, but for a hundred other writers.”
Screenwriter John Logan
John Logan, who wrote the screenplay for Genius, notes the intensity of Perkins’ relationship with Wolfe. It was based on how different they were as people. “You couldn’t imagine two more polar opposites than Max Perkins and Thomas Wolfe. Max was a buttoned-up, conservative Yankie book editor who literally and figuratively wore a tie. Thomas Wolfe was a mad, North Carolinian animal. You only need to read five pages of ‘Look Homeward, Angel’ or ‘Of Time and the River.’ His words show so much passion. His storytelling style is captivating. The novels reach out and slap you with so much emotion and passion.”
What they shared, though, was an appreciation for art and for great literature. “They built a vocabulary as editor and writer. As a pair of human beings, it allowed them to grow very close.”
Agrees Berg: “Max Perkins needed Thomas Wolfe as much as Thomas Wolfe needed Max Perkins. What is an editor like Max Perkins without a Thomas Wolfe? This word-machine that just churns out work, uncontrolled and uncontrollably. It was a great symbiosis between these two men.
Based on the biography “Max Perkins: Editor of Genius by A. Scott Berg, the film stars Colin Firth (The King’s Speech) as Max Perkins. Jude Law (Anna Karenina, The Grand Budapest Hotel) stars as Thomas Wolfe. Guy Pearce (The Rover, Lawless) plays F. Scott Fitzgerald, and Dominic West (Testament of Youth, Pride), as Ernest Hemingway.
“Something of the spirit of his writers was alive in Perkins too,” notes Colin Firth. He is responsible for bringing Perkins to the screen in Genius. “Berg points out in his book that he came from two very different families. It was as though the English Civil War were raging inside him. The Perkins side was artistic, flamboyant, and bohemian. The Evarts side was conformist, puritanical, and reserved. That’s the side, I think, that would probably have met the eye when one first met Max Perkins. This other aspect engaged with the likes of Thomas Wolfe.”
He continues: “Wolfe was all about appetite and satiating himself. He traveled extensively, had adventures and engaged in barroom fights. Perkins wasn’t a prig – he didn’t sit back resisting it disapprovingly – he just didn’t do it. But he lived in books like ‘War & Peace’, and he dreamt about it. I think he did it through Wolfe and his other authors.”
Perkins shied away from the attention that greeted the publication of these great works. He correctly feared the backlash from critics that would result from Wolfe’s dedication in “Of Time and the River”. “Max Perkins always said his only job was to put brilliant books in the hands of readers,” notes Logan. “He wanted to be invisible. He was deeply involved in the creation of these books. His goal was for Thomas Wolfe’s voice to soar. He did not want his own voice to dominate. Like all editors, he faced insecurity. He wondered, ‘Am I making this better, or am I just making it different?’”
“That self-abnegation is familiar to many English people. Certainly, those of my background will recognize it,” Firth continues. “The idea is that you’re only doing something worthwhile if you’re not enjoying it. He chose economics at college precisely because he hated it, and I think he regretted that somewhat. He didn’t think there was any achievement in doing what he loved. Instead, he helped other people do what they loved.”
The passage of time has done little to dull the impact of Wolfe’s work. However, his canon is certainly not as highly regarded today as that of his contemporaries, Fitzgerald and Hemingway.
Jude Law plays Wolfe on screen. He notes that you’d have to be a real literary buff to know of Max Perkins. He thinks it’s the same now for Thomas Wolfe. “He’s not in the modern consciousness like Fitzgerald and Hemingway. That absence allows for a very exciting story. It’s not only a very interesting dynamic between them to explore. Our story also sits on the shoulders of two great men who are little known.”
The intensity of the relationship between Wolfe and Perkins took its toll on the other relationships in their lives. “For Tom, in the end, the only thing that mattered was the work,” says Law. “It was a huge act of selfishness, and in the end selfishness bred indulgence. He became an indulgent man at the expense of others. However, he still felt he was doing it for the work. He believed that the work was important.”
Aside from Wolfe’s parents and Perkins, Law notes, the author’s other essential relationship was with Aline Bernstein. She was one of the most renowned theatrical costume designers of her day. Wolfe had a tumultuous affair with her. “Wolfe had copious lovers,” he says, “but Aline was his love, his muse, and his champion.”
“They were addicted to one another at a certain point,” says Nicole Kidman, who plays Bernstein in Genius. “She was a formidable woman. She was an incredibly strong career woman who was ahead of her time. It is fascinating because she was in this obsessive, dependent love affair with Thomas Wolfe.”
“Aline was desperate and she was passionate,” says Berg. “When Aline loved, she loved 200%. She was anxious to hold onto that, and she was threatened by Wolfe’s relationship with Perkins.”
Perkins’ family life was threatened too, by the enormous strain Wolfe’s personality and prolificacy placed on his editor. For Perkins’ wife, Louise Saunders, herself a published author, supporting her husband’s work was both her pleasure and her hardship. “People of a certain era knew of Louise Saunders. However, she is nearly forgotten today,” notes Laura Linney, who plays the role in Genius. “Max’s relationships with his authors took up a huge amount of his time. While there was an understanding from Louise and a respect, there was also, frankly, a jealousy. She was an artistic person herself who had been relegated to the suburbs. She would forego her own artistic journey to have his children and live his life.”
She summarizes: “The relationship between these men was so intense and it took up all of their time. The women in their lives both felt their absence keenly.”
by Daniel Dercksen·Comments Off on Lights, Camera, Literature! Captivating Films About Writers
Films about famous writers give a human face to literary figures. They show audiences that behind every renowned work is an individual with their struggles, inspirations, and life experiences.
These films depict the creative processes of writers. They can inspire aspiring authors and artists to pursue their own creative endeavors. Witnessing the perseverance and dedication of famous writers can motivate others to overcome their own challenges and keep creating.
Biographical films about writers can be educational, offering insights into historical periods, cultural contexts, and literary movements. They offer a visual and engaging way to learn about the lives and contributions of important literary figures.
These films often explore the themes and ideas shown in the writers’ works. This allows for a deeper understanding and appreciation of their literature. They can prompt viewers to read or reread the writers’ books with a new perspective.
Films about writers emphasize the impact of literature on society and culture. They showcase how powerful words can be in shaping thoughts, emotions, and even historical events.
These films portray the personal lives of writers. They include the writers’ relationships, struggles, and triumphs. This portrayal creates emotional connections with the audience. Viewers can empathize with the writers’ experiences and feel more invested in their stories.
These films celebrate the enduring legacy of writers whose works continue to resonate with readers across generations. They highlight the timeless nature of great literature and its ability to transcend time and place.
Films about famous writers connect the literary world with the general audience. They enrich our understanding and appreciation of the written word.
Shakespeare in Love imagines a fictional love affair between playwright William Shakespeare (played by Joseph Fiennes) and Viola de Lesseps (played by Gwyneth Paltrow), an aspiring actress. The story unfolds as Shakespeare is struggling with writer’s block while working on what will become his famous play, Romeo and Juliet.
The Man Who Invented Christmas describes a magical journey. This journey led to the creation of Ebenezer Scrooge, Tiny Tim, and other classic characters from A Christmas Carol. It shows how Charles Dickens mixed real-life inspirations with his vivid imagination. He conjured up unforgettable characters and a timeless tale, forever changing the holiday season into the celebration we know today.
The world of legendary writer J. D. Salinger is brought vividly to life in Rebel In The Rye. The film offers a revealing look at the experiences that shaped one of the most renowned authors of our time. Salinger is controversial and enigmatic.
Goodbye Christopher Robin gives a rare glimpse into the relationship between beloved children’s author A. A. Milne and his son Christopher Robin, whose toys inspired the magical world of Winnie-the-Pooh.
Capote is a biographical film that explores Truman Capote’s journey in writing his groundbreaking true-crime novel, In Cold Blood. Philip Seymour Hoffman’s portrayal of Capote won him an Academy Award.
Spielberg’s The Post is a masterful high-wire drama. It is based on the true events. These events unfolded when The Washington Post and The New York Times formed a pragmatic alliance. This occurred in the wake of The Times’ incendiary exposure of the Top Secret study. The study would become known to the world as the Pentagon Papers.
The Disaster Artist is directed by James Franco (As I Lay Dying, Child of God). He tells the tragicomic true story of aspiring filmmaker Tommy Wiseau. Tommy is an infamous Hollywood outsider. He was an artist with sincere passion and questionable techniques. The film becomes a celebration of friendship, artistic expression, and dreams pursued against insurmountable odds.
In the rogue’s gallery of great American forgers, one woman stands apart. Lee Israel was a dead-broke, once-acclaimed writer. In desperate times, she conjured something extraordinary out of her imagination and her tiny Manhattan flat. She created the phony but ingeniously believable words and witticisms of the legendary figures she admired. In Can You Ever Forgive Me?, Melissa McCarthy stars as Lee Israel
Genius is the culmination of John Logan’s 20-year journey to bring the story of Maxwell Perkins to the screen. It’s a stirring drama about the complex friendship and transformative professional relationship between the world-renowned book editor Maxwell Perkins (who discovered F. Scott Fitzgerald and Ernest Hemingway) and the larger-than-life literary giant Thomas Wolfe.
Finding Neverlandexplores the life of playwright J.M. Barrie and the creation of his most famous work, Peter Pan. It beautifully portrays the bond between Barrie and the Llewelyn Davies family. The film highlights themes of imagination, loss, and the magic of childhood. It delves into the challenges Barrie faced in his personal and professional life. It offers a glimpse into the world of Edwardian London. The theater scene of that era is also depicted.
The Hoursinterweaves the stories of three women connected by Woolf’s novel Mrs. Dalloway: Clarissa Vaughan is a modern-day New Yorker and is often compared to Mrs. Dalloway. Virginia Woolf struggles with her own mental health while writing the novel in 1923. Laura Brown is a 1950s housewife who is deeply affected by reading Mrs. Dalloway and contemplates a major change in her life.
The End of the Tourcovers a five-day interview. The discussion happened between Rolling Stone reporter David Lipsky and acclaimed writer David Foster Wallace. It provides insight into Wallace’s life and thoughts.
Midnight in Parisis a whimsical film by Woody Allen. In it, a modern-day writer, played by Owen Wilson, travels back in time to 1920s Paris. He meets literary greats like F. Scott Fitzgerald, Ernest Hemingway, and Gertrude Stein.
by Daniel Dercksen·Comments Off on Presence – A Haunting Tale of Unseen Forces
Presence marks the first collaboration between screenwriter David Koepp and director Steven Soderbergh, who also served as cinematographer and editor for the film. He added his unique touch to the Supernatural Thriller, shooting it from the perspective of a ghost haunting a house.
Soderbergh and Koepp have a long-standing professional relationship, and they collaborated on Presence to bring Koepp’s screenplay to life.
Soderbergh was inspired by a personal experience. While he and his wife were away from their Los Angeles home, their house sitter saw a ghostly presence. It walked down the hallway. This incident, merged with Soderbergh’s upbringing around paranormal phenomena (his mother was a parapsychologist), and his father an academic; a potential recipe for an intellectual punch up. This difference informed Steven’s worldview of the possibility of the existence of entities that couldn’t be easily defined or explained.
Soderbergh wanted to explore a ghost story from the ghost’s perspective. He aimed to capture the eerie feeling of being watched. The emotional turmoil of the family being haunted was also a focus. The film uses a unique first-person point of view. It confines the setting to a single house. These elements were designed to create a sense of intimacy and tension. Soderbergh even performed as the presence himself, using a small digital camera and wearing slippers to soften his steps.
David Koepp once lived in a big, creaky old building in Langham New York City. One night while he was watching television, he saw a figure moving down the hall. His son also observed similar sightings so it wasn’t his imagination. It was time to move.
Following their similar supernatural experiences decades earlier, Sobderbergh reached out to Koepp to discuss his haunted house idea. “It all takes place in one location. Weird stuff happens. A family starts to fall apart. I think you’ve hit all my personal obsessions,” explains Koepp.
Presence relies heavily on loose structure not strictly tethered to the traditional three act paradigm. Much of the story embraces mood and tone underpinned by a subtle lingering dread.
The screenwriter proceeded to write a twenty page treatment for the contained, time-constricted thriller. “It’s 24 hours. It’s all in the same house. It restricts your thinking and therefore opens up your thinking,” notes Koepp.
Soderbergh inserted the Presence into his camera and told the story from its point of view. First as an observer, then as a perpetrator of harm – all without it ever being seen or heard. That’s the elusive nature of the spirit world. We’re unsure what it wants. It moves from room to room monitoring the distressed family.
In spite of the intrinsic challenges involved in making the main character a ghost, Koepp found the challenge liberating. “Steven had intimated that the character for the POV is skittish. It’s a little fearful — hides in the closet a lot,” says Koepp. “Using those cues, I viewed the ghost as a child. I tried to write it the way a small child is; a little fearful and also curious. You are writing a character, but don’t see them,” he continues.
This approach offers a fascinating and eerie viewing experience, as the audience sees everything through the ghost’s eyes.
Steven Soderbergh and David Koepp
The film explores themes of grief, family dynamics, and the supernatural. The ghost, or Presence, struggles to understand its existence and its connection to the family. The medium character in the film helps to uncover the mystery. It reveals that the ghost doesn’t even know why it’s there. The unique perspective and the gradual revelation of the ghost’s identity make Presence a compelling and thought-provoking film.
It’s not just about scares. It delves into the emotional and psychological aspects of the characters. It also examines their interactions with the supernatural. The Presence witnesses the growing cracks within the family.
The ghostly Presence becomes a silent observer of these cracks. It feels a connection to the family’s growing discord. Yet, it also feels helpless. The film poignantly captures moments where the family members’ vulnerabilities and unresolved issues come to the fore.
The story revolves around the Payne family, who move into a new house. The family consists of Rebecca (Lucy Liu). She is a driven executive. Her husband is Chris (Chris Sullivan). They have a teenage son, Tyler (Eddy Madday). Their daughter is Chloe (Callina Liang), who is grieving the loss of her best friend2. Chloe is the first to sense the presence of the ghost. It is revealed to be her brother Tyler. He died saving her from a dangerous situation.
Let’s dive deeper into how “Presence” portrays the emotional landscape of the Payne family through the ghost’s perspective
Key Visual and Emotional Elements:
Rebecca’s Late Nights: The camera shows Rebecca working late at night, illuminated only by the cold light of her laptop. The room around her is dark, emphasizing her isolation. The ghost sees her frustration and exhaustion. Rebecca’s distant, overworked demeanor creates a tangible barrier between her and her family, heightening the sense of disconnect.
Chris’s Struggle: The scenes often frame Chris in doorways. This symbolizes his attempts to reach out. He is always just on the threshold of understanding Chloe and supporting Rebecca. Chris’s silent frustration and efforts to bridge the gaps in the family are clear. The ghost observes Chris’s silent anguish and growing helplessness, adding to the tension.
Chloe’s Isolation: Chloe is often seen in dimly lit, confined spaces like her room or the attic, emphasizing her isolation. Her movements are slow and deliberate, reflecting her heavy emotional state. The ghost senses Chloe’s deep grief and guilt over Tyler’s death. Chloe’s whispered conversations with the ghost reveal her longing for closure and her struggle to cope with her loss.
Tyler’s Presence: Flashbacks of Tyler are shown in warmer, more vibrant colours. These flashbacks contrast with the colder tones of the current. This contrast highlights the loss and the void he left behind. The ghost’s perspective often blurs the line between past and current, showing Tyler’s lingering impact on the family. This evokes a sense of longing and unfulfilled connections.
Symbolic Moments: The ghost sees the recurring image of a broken clock in the house. This symbolizes the family’s fractured sense of time. It also reflects their lack of continuity after Tyler’s death. The camera focuses on a family portrait. Over time, it gradually fades and distorts. This process mirrors the disintegration of the family’s unity.
Sound and Atmosphere: The film uses a subtle, haunting soundtrack that intertwines with the ghost’s perspective, creating an immersive atmosphere. The lack of a corporeal presence for the ghost is emphasized by the eerie soundscapes that follow its observations.
These elements combine to create a profound exploration of the Payne family’s dynamics. It is hauntingly portrayed through the eyes of the ghost. The film uses visual storytelling to allow the audience to experience the characters’ struggles intimately.
How does Presence compare to A Ghost Story
A Ghost Story and Presence both offer unique takes on the ghost film genre, but they differ in several ways:
Focus and Perspective:
Presence focuses on the ghost’s emotions and experiences. It provides depth to the ghostly character. This creates a narrative centered around the spirit’s journey.
David Lowery’s A Ghost Story takes a more philosophical and contemplative approach. It follows the spirit of a recently deceased man who remains in his house. He observes the passage of time and the lives of those who come and go. The film explores themes of time, memory, and existence.
Storytelling Style:
Presence has a more traditional narrative structure, with a clear plot and character development. It balances eerie moments and emotional depth, making it an engaging supernatural thriller.
A Ghost Story uses a more experimental and art-house approach. It features long, meditative shots and minimal dialogue, creating a slow-paced and introspective atmosphere.
Emotional Impact:
The emotional impact in Presence comes from understanding the ghost’s backstory and the connection to the living characters. The film evokes a sense of empathy for the ghost.
The emotional impact in A Ghost Story comes from broader existential questions. It also comes from the haunting portrayal of time and loss. The film leaves viewers with a reflective and thought-provoking experience.
Visual and Auditory Elements:
The cinematography and sound design in Presence are used to create a creepy and unsettling atmosphere. These techniques enhance the supernatural elements of the story.
A Ghost Story‘s visual style is characterized by its use of a 1.33:1 aspect ratio, giving it a nostalgic and intimate feel. The minimalist soundtrack adds to the contemplative mood.
Both films offer unique and compelling experiences, but their approaches to storytelling, emotional impact, and visual style set them apart.
Presence provides a fresh take on the haunted house genre. It focuses on the ghost’s perspective. A Ghost Story takes viewers on a philosophical journey through time and memory.
Steven Soderbergh is a highly acclaimed film director, producer, screenwriter, cinematographer, and editor. He is known for his versatility and has worked across various genres, from independent films to big-budget Hollywood productions. His directorial breakthrough came with the indie drama Sex, Lies, and Videotape (1989). It won the Palme d’Or at the Cannes Film Festival. This achievement made him the youngest solo director to get this honor. The film also garnered worldwide commercial success and many accolades. Soderbergh built his reputation with films like Out of Sight (1998) and Erin Brockovich (2000). He also directed Traffic (2000), which won him the Academy Award for Best Director. He also directed the popular Ocean’s trilogy (2001-2007) and the Magic Mike trilogy (2012-2023). Throughout his career, Soderbergh has been known for his innovative approach to filmmaking, often employing unconventional techniques and storytelling methods.
David Koepp is screenwriter and director. He is highly successful. He is known for his work on some of the most iconic films in Hollywood. He has made a significant impact on the film industry with his exceptional storytelling skills. Koepp’s breakthrough came with the screenplay for Jurassic Park (1993). It became a massive hit. This success established him as a top-tier screenwriter. He also wrote the screenplays for Mission: Impossible (1996), Spider-Man (2002) and Indiana Jones and the Kingdom of the Crystal Skull (2008) as well, among many others. In addition to his screenwriting success, Koepp has also directed several films, including Secret Window (2004) and Premium Rush (2012). His latest collaboration with Steven Soderbergh on the film Presence” (2025) has been well-received for its innovative approach to the haunted house genre.
David Lowery‘s career began with his first short film, Lullaby, which he wrote and directed at the age of 19. His first feature film, St. Nick (2009), premiered at the South by Southwest festival and won the Texas Filmmaker Award. He gained wider recognition with Ain’t Them Bodies Saints (2013), starring Casey Affleck and Rooney Mara, which was nominated for the Grand Jury Prize at the Sundance Film Festival. He continued to build his reputation with films like Pete’s Dragon (2016), A Ghost Story (2017), and The Old Man & the Gun (2018). In 2021, Lowery directed the fantasy epic The Green Knight, which received praise for its visual style and narrative depth.
by Daniel Dercksen·Comments Off on Exploring the Timeless Charm of Breakfast at Tiffany’s
Breakfast at Tiffany’s is a classic film that holds significant cultural and cinematic importance. Released in 1961 and based on Truman Capote’s novella, it stars Audrey Hepburn as the charming and quirky Holly Golightly.
Blake Edwards’ direction, combined with the performances, screenplay, and music, elevated Breakfast at Tiffany’s to a level of timelessness. He captured the essence of the story and its characters. This ability left an indelible mark on cinema. The film became a beloved classic that continues to resonate with audiences today.
Breakfast at Tiffany’s offers a rich tapestry of elements that make it a timeless classic
The film explores themes of loneliness, identity, and the search for love and belonging. Holly Golightly’s character has an enigmatic personality. Her desire to escape her past resonates with audiences on a deeper emotional level.
Audrey Hepburn‘s portrayal of Holly Golightly is widely considered one of her most memorable roles. This role solidified her status as a fashion and cultural icon. Her performance brought a unique blend of vulnerability, charm, and sophistication to the character. The film’s wardrobe, particularly Hepburn’s black dress designed by Givenchy, became iconic and has influenced fashion for decades. The image of Hepburn in the black dress is one of the most recognizable in film history. She wears a pearl necklace and a tiara in this iconic image.
The film features the song “Moon River,” composed by Henry Mancini with lyrics by Johnny Mercer. The song won an Academy Award. It has become a classic in its own right. It is often associated with the film and Hepburn’s performance.
The screenplay for Breakfast at Tiffany’s was written by George Axelrod
He was a screenwriter, playwright, and film director. Axelrod is best known for his work on the screenplays for Breakfast at Tiffany’s (1961) and The Manchurian Candidate (1962). Axelrod’s work is known for its wit, humour, and innovative storytelling techniques. He passed away in 2003 in Los Angeles, California.
The screenplay for Breakfast at Tiffany’s was adapted from Truman Capote’s novella of the same name. George Axelrod took Capote’s story and made several changes to create the screenplay for the film. The novella and the film share many similarities. However, Axelrod’s adaptation introduced new elements. He adjusted certain aspects of the story to better suit the cinematic medium and the audience of the time.
In the classic film Breakfast at Tiffany’s (1961), there is a cat named “Cat.” It is an orange tabby who lives with Holly Golightly. The cat is a stray that Holly refuses to name because she feels that neither of them belong to anyone. This reflects Holly’s own feelings of independence and fear of commitment.
In one of the most memorable scenes, Holly lets the cat out of a cab in the pouring rain. This act symbolizes her try to let go of her fears. It also shows her detachment. The cat’s role in the film is subtle. Yet, it adds depth to Holly’s character arc. It enriches the film’s themes of love, independence, and finding a sense of belonging.
Breakfast at Tiffany’s was directed by Blake Edwards
He was known for his work in both comedy and drama. His career spanned several decades. He is best known for directing the Pink Panther series and the film Victor/Victoria.
Blake Edwards brought his unique style and expertise to Breakfast at Tiffany’s, which helped make the film a classic. His direction, merged with George Axelrod’s screenplay and Audrey Hepburn’s iconic performance, created a memorable cinematic experience.
Edwards had a remarkable ability to blend comedy with more serious and emotional moments. In Breakfast at Tiffany’s, he skillfully portrayed Holly Golightly’s eccentric life. He captured the lighthearted and humorous aspects. He also addressed her deeper emotional struggles and vulnerabilities.
Edwards had a keen eye for visual composition. He used New York City as a vibrant backdrop. This added a sense of authenticity and charm to the film. The iconic opening scene, with Audrey Hepburn’s Holly Golightly standing outside Tiffany & Co. while eating a pastry, is a perfect example of his skill in creating memorable and visually striking moments.
Edwards’ direction allowed the characters to shine, giving them depth and complexity. He guided Audrey Hepburn to deliver one of her most iconic performances, capturing Holly’s free-spirited yet fragile nature. Similarly, he brought out the nuances in George Peppard’s portrayal of Paul Varjak, making their on-screen chemistry believable and engaging.
Edwards worked closely with composer Henry Mancini. They seamlessly integrated the film’s music into the narrative. This included the unforgettable “Moon River” theme. The music enhanced the emotional impact of key scenes. It also became an integral part of the film’s identity.
His expertise in pacing ensured that the film maintained a perfect rhythm, keeping the audience engaged throughout. He skillfully balanced the film’s whimsical and poignant moments, creating a harmonious and cohesive viewing experience.
by Daniel Dercksen·Comments Off on Bridget Jones: Mad About the Boy – A romantic-comedy heroine for the ages
“Bridget Jones is such a vivid, lovable character because she is real. She doesn’t have it all figured out and constantly makes mistakes, just like everyone else. But she does it with humour and resilience. This is why people can relate to her and root for her,” says novelist Helen Fielding, who co-wrote the screenplay of Bridget Jones: Mad About The Boy with Dan Mazer, and Emmy winner Abi Morgan.
The character of Bridget Jones first sprang from the pen of Helen Fielding in a series of British newspaper columns. Her voice and adventures in love caught the imagination of a generation of women who relate to her. The first Bridget novel, Bridget Jones’s Diary, was an international literary sensation. It inspired a film franchise that would revolutionize the romantic comedy genre.
In the history of cinema, only a few films have redefined entire genres. Star Wars invented the modern sci-fi movie. Jaws created the summer blockbuster. And in 2001, Helen Fielding’s Bridget Jones’s Diary upended the romantic comedy. It introduced an irrepressible and lovable young woman. She was forging her own path and recording her life in hilarious diary entries. Stumbles and all, she made her mark.
Bridget was kind, smart, and relatable. She loved a cocktail and a cigarette. However, she couldn’t seem to catch a break when it came to love or sex. Bridget Jones obliterated the Jane Austen-esque archetype of the upright, virginal ingenue. This archetype had shaped romantic books and movies for more than a century. Bridget was a cultural supernova: Elizabeth Bennett on a bender, swearing like a sailor and sleeping with her boss.
Bridget Jones’s Diary (2001): This is the first film in the series, directed by Sharon Maguire. It stars Renée Zellweger as Bridget Jones, a 30-something British woman trying to navigate her love life and career.
Bridget Jones: The Edge of Reason (2004): The sequel is directed by Beeban Kidron. It continues Bridget’s story as she deals with relationship issues with her boyfriend Mark Darcy (Colin Firth). She also faces the return of her ex-lover Daniel Cleaver (Hugh Grant).
Bridget Jones’s Baby (2016): Directed by Sharon Maguire, this film picks up 15 years later. Bridget discovers she’s pregnant and is not sure who the father is. It features a mix of humor and romance, and was well-received by both critics and audiences.
Bridget has evolved with her audience in the two decades that followed her cinematic debut. She found love with Mark Darcy. She has had children and built a life that even the Smug Marrieds would envy. Now, in Bridget Jones: Mad About the Boy, Bridget finds herself unexpectedly widowed in midlife. She is the mother of two children, grappling with grief. She struggles to rediscover herself and her place in a new reality.
Working Title producers Eric Fellner and Tim Bevan have overseen every step of Bridget’s journey. They have produced every film in the franchise. This film has a particular resonance for them and for their company.
“Because the Bridget Jones films have been categorised as romantic comedies, there was this initial misconception. People mistakenly thought that Bridget was desperate to find romantic love,” says Amelia Granger, head of film for Working Title.
“In truth, though, what Bridget has always been seeking is self-love and self-acceptance. As filmmakers and fans, we’ve walked beside Bridget through all the major events in her life. We accompanied her from dating and career mishaps to marriage and motherhood. Now, we stand with her in loss. Bridget has remained authentic and relatable. Helen Fielding and Renée Zellweger committed to never losing sight of who Bridget is at her deepest core. For everyone at Working Title, it has been an honor and a privilege to have shared this journey. We shared this moment with them and with the character of Bridget.”
The producers wanted to bring this chapter in Bridget’s life to the screen. They aimed to capture hard emotional truths. At the same time, they wanted to deliver the sharp-witted comedy that audiences love. To achieve this, they needed a director skilled at seamlessly fusing comedy and drama. The director also had to be adept at working with a large ensemble cast. Additionally, the director had to be gifted at creating an environment where actors do their best work.
Director Michael Morris built on the legacy and artistry of the earlier films. He also authentically navigates this new terrain of Bridget’s life. In this film, grief and hope, as well as loss and laughter, intertwine in unexpected ways.
“How do you make those fit together?” Morris says. “How do you make a movie that is quintessentially Bridget Jones? It also needs to engage with issues and emotions that these movies haven’t engaged with before. I latched onto the question of how Bridget, or how any of us, overcome something that feels unimaginable. I had this notion of creating a ‘comedy of grief.’ This is a film that wants to honor an experience that all of us are inevitably touched by.”
Helen Fielding wrote the novel that serves as the basis for Bridget Jones: Mad About the Boy. Acclaimed filmmaker Michael Morris directs it. He is known for To Leslie and Better Call Saul. The screenplay is by Fielding, Dan Mazer, and Emmy winner Abi Morgan. Dan Mazer is noted for I Give It a Year and Bridget Jones’s Baby. Abi Morgan is known for The Iron Lady and Eric.
In Bridget Jones: Mad About the Boy, we catch up with Bridget Jones (Renée Zellweger). She is now navigating life as a single mother. This follows the tragic death of her beloved Mark Darcy. Bridget juggles her career and raises two young children. She also deals with the grief of losing her husband. Her life is both chaotic and endearing. As she ventures into the world of modern dating, she finds herself entangled in humorous and heartwarming situations. With the support of her friends and family, Bridget embarks on a journey of self-discovery. She experiences love and healing. Bridget goes back to work to forge a new path toward life and love. She even tries out the dating apps. On these apps, she’s soon pursued by a dreamy and enthusiastic younger man (Leo Woodall; One Day, White Lotus).
by Daniel Dercksen·Comments Off on Dear David – The perfect ghost story for our times
“So, my apartment is currently being haunted by the ghost of a dead child and he’s trying to kill me,” said Former BuzzFeed cartoonist Adam Ellis in the viral ghost thread dubbed “Dear David.” From there, he unfolded the tale through hundreds of tweets — with photographs and hand-drawn images — over a series of weeks, his followers rapt with each update. So naturally, it was only a matter of time before Hollywood came calling. Now the Dear David film is a reality, from a screenplay by Mike Van Waes, who loves to blend heart and humour with a slash of horror.
“The character of Adam Ellis himself was what drew me in,” says director John McPhail. “When it was happening… You know what it’s like, everybody’s a little bit cynical. Like, ‘Alright, you’re being haunted are you, mate?; So you start stalking him a wee bit, and it just didn’t seem like the type of guy that would tell that story… Like, it was just this funny, satirical, in-your-face comic book artist.”
When the thread shook the internet, many questioned whether what Adam was experiencing was real or part of an ARG or social experiment. There are several camps fans are in, and McPhail wanted to honor those questions in the film.
“It was obviously such a scary task because you’ve got an existing fan base of an IP that, you know, have built their story in their head, and have their version of it… I was a little bit nervous about that because I make films for people, and I know that there’s a whole audience here I’m going to disappoint because they’re like, ‘That’s not how I imagined it. The question everybody is always asking is ‘Did it happen or did he just make it all up?’ I kind of wanted that in this film. Is it actually happening or is he having a mental breakdown?
Part of how McPhail did that was by focusing on the story of “trauma in a digital age,” particularly in how Adam is attacked online by trolls and how he responds to that in the film. In an effort to highlight what the real Adam experienced at the time, between the followers he gained and the critics, McPhail focused on how Adam’s mental health declines despite his rising fame in the film.
Dear David is directed by John McPhail, from a screenplay by Mike Van Waes, based on the viral Twitter thread by BuzzFeed comic artist Adam Ellis, and a story by Van Waes and Executive Producer Evan Turner.
Shortly after comic artist Adam (Augustus Prew) responds to Internet trolls, he begins experiencing sleep paralysis — while an empty rocking chair moves in the corner of his apartment. As he chronicles increasingly malevolent occurrences in a series of tweets, Adam begins to believe he is being haunted by the ghost of a dead child named David. Encouraged by his boss to continue the “Dear David” thread, Adam starts to lose his grip on what is online…and what is real.
Director’s Statement
Like everyone else in 2017, I was gripped by the “Dear David” story that appeared on Twitter. It felt like the perfect ghost story for our times, and we were all along for the ride.
When the opportunity to tell a version of Adam Ellis’s story came to me I jumped at it. I always go for projects with dynamic characters and for me that was Adam; here we have a funny, cynical, sarcastic, cartoonist being terrorised in his own bed, pouring his heart out on the internet.
I wanted to tell a story about trauma in the digital age. Through Adam’s story, I could see parallels between hauntings and online abuse. Your home is supposed to be your sanctuary, a place to get away from the world, but what if that space is being invaded by outside forces, buzzing in your pocket, pinging on your screen. What if those same forces are also an addiction, a dopamine hit that you crave day in and day out. For Adam, his life is falling apart but his internet notoriety is growing; bringing support but also hate, disbelief, and trolling.
I always felt Adam would be a hard role to cast but when I met Augustus Prew all my worries disappeared. Augustus threw himself head first into this role and drew from his own personal traumas and years of battling sleep psychosis. Personally, I feel like I couldn’t have asked for a better Adam. Augustus was my rock on this film and I’ll always love how much he put into this movie. For Evelyn I wanted someone who could make me laugh and fill the frames with charisma.
I had a wonderful team of people working with me on Dear David. In fact, I met one of the new loves of my life in Director of Photography Stephen Chandler Whitehead, who beautifully captured the film and shares my love of colour. Costume Designer Olga Barsky literally stalked Adam Ellis on Twitter so we could get his look right and make him pop against the incredible sets designed by our Production Designer, Josh Turpin. Turpin and his team again poured over Twitter images of Ellis’ apartment so we could get it as close to the original as possible but with Josh’s twist on it.
I really hope audiences enjoy the film. We worked hard to bring something fun and scary for existing and new fans of the haunting that is Dear David.
John McPhail studied Cinematography at the Royal Conservatoire of Scotland. During his time there he met and formed a close working relationship with Tyler Collins and Andrew Lanni. In 2013 he formed his own production company, Worrying Drake Productions, and reunited with Collins and Lanni to produce a trilogy of short comedy films. Notes, V for Visa, and Doug & Steve’s Big Holy Adventure. Whilst filming the comedy trilogy, McPhail wrote a short three-minute film called Just Say Hi to enter into the 2013 Virgin Media Shorts Competition.
With the success of his short films on the domestic and international festival circuit, McPhail launched a crowdfunding campaign to help fund his first feature film, Where Do We Go from Here? The campaign was a success, raising £10,630 in just two months. Production began in the summer of 2014 with McPhail directing the film in just 16 days in various locations across Scotland. After editing the film himself, McPhail began entering the film into festivals across the globe. In late October 2015, the film was screened at the Sydney Indie Film Festival where it won three of the seven awards.
Mike Van Waes – Screenwriter
Screenwriter Mike Van Waes loves to blend heart and humor with a slash of horror. He began his career as an assistant at the Jim Henson Company before becoming a story analyst for studios like DreamWorks and Paramount Pictures. He first attracted industry attention with his feature script Grave Hearts, a 2014 Academy Nicholl Fellowships in Screenwriting finalist. His The Wizard of Oz-inspired original horror feature Not in Kansas is set up at New Line Cinema, where he has also written Crooked Man, a whimsically twisted spinoff within The Conjuring universe. Mike is currently writing a liveaction remake of Disney’s Lilo & Stitch, based on the beloved animated movie about an alien who crash-lands to Earth. He’s also a published author and artist. His young adult novel Peeves, a cheeky, magical story about a boy with anxiety, was published in 2018 by HarperCollins.
Evan Turner – Executive Producer / Story by
Evan Turner is an English writer and producer, who has been instrumental in bringing thrilling adaptations to the big screen. As an executive at Walden Media, Turner produced a wide slate of movies meant for global audiences. He co-produced the blockbuster, Journey to the Center of the Earth (2008), and served as an Executive Producer on its sequel, Journey 2: The Mysterious Island (2012). His first writing credit came while staffed on ABC’s “The Goldbergs,” with a “story by” credit on the popular episode, “Dance Party.” In his first feature story by credit, Turner is excited to bring the viral Dear David story to the screen.
by Daniel Dercksen·Comments Off on Little Women – A story of being an artist and becoming fiercely independent
Louisa May Alcott’s Little Women has come to life across disparate countries. It has been brought to life in radically different eras and in a million different ways. Writer-director Greta Gerwig (Lady Bird) has crafted a Little Women. It draws on both the classic novel and the writings of Louisa May Alcott. The story unfolds as the author’s alter ego, Jo March, reflects back and forth on her fictional life.
In Gerwig’s poignant and heartfelt adaptation, the beloved story of the March sisters unfolds. Four young women, each determined to live life on her own terms, make the story both timeless and punctual.
Little Women is a book that unsparingly depicts how the world is hard on ambitious girls. It also offers a comfort: ambition is its own reward. A vibrant inner life can break the bonds of the world. We first encounter it as children, when the world’s possibilities are wide open and nothing can hold us back. We return to it as young adults, when adulthood and society begin shaping who we are. We return again, as older readers, with bittersweet nostalgia of being young and bold. We also find joy in seeing a new generation experience that daring for themselves. The insistent power of the book lies in its unique call. It encourages an individual to grapple with life’s many clashing lures—family, art, money, love, and freedom. It holds the hope of being 100% who you are and creating your own unique story.
This deeply personal idea of Little Women is fiercely alive. It is the one writer-director Greta Gerwig wanted to transport to the screen.
Gerwig approached the material with a determination. She wanted to capture the sweeping, epic nature of the story. This captures the enormity of what Alcott created. She also sought an honest, disarming emotional intimacy that brings the characters to life.
Every reader brings their own personal interpretation and meaning to the story. Gerwig adds her own unique touch to it.
The novel was originally published in two halves. The first half focuses on the March sisters in auspicious girlhood. The second half covers the stark realities of adulthood. Gerwig deconstructs the novel and alternates between the two halves. Jo’s story of determination and spirit serves as the natural through-line. It reconstructs the connection between its parts. The film uses a fluid approach to time. It immerses the audience in the memories, moments, accidents of fate and acts of will that shape the March sisters. These elements shape Jo into an ink-stained, defiantly independent writer. They influence Meg to become a nurturing, principled, would-be actor. They mold Beth into a fragile, open-hearted musician. They encourage Amy to grow into a clever, aspirational painter. Each sister develops into her full, complicated adult self. Each sister is so different but united in an unswerving sisterhood.
Louisa May Alcott
The picture that emerges is of four women looking back with affection at how they became who they are. It is also about a world that values the everyday lives of women. Their discoveries, sacrifices, and anger are significant. Their financial, artistic, and domestic concerns deeply matter.
What does it mean to take the reins of your life? So much that happens is out of your control. This ranges from a crack in the ice to a mistimed letter. And how does that look to four sisters with four divergent dreams?
These are the questions Gerwig brings to the fore in a visually ravishing film. The film’s look draws inspiration from the bold artists of Alcott’s time. They changed how people viewed the world. The questions feel modern. Alcott was the one who latched onto these oppositions. They still stop us in our tracks: money vs. art, love vs. personal satisfaction, ideals vs. real life, caring for family vs. finding your own voice.
Before Gerwig demonstrated her powerful voice with Lady Bird, she told producer Amy Pascal she was the right person. She wanted to adapt Little Women. “I flung myself at it with everything I had,” says Gerwig. “I had a very specific idea of what it was about. It’s about women as artists. It’s also about women and money. That is all there in the text, but it’s an aspect of the story that hasn’t been delved into before. For me, it felt very close to the surface. Even now, this movie feels more autobiographical than anything I’ve made.”
Gerwig read Little Women so many times as a child, she doesn’t remember the first time. She felt such an intense identification with Jo March. Like a long list of fellow writers and artists, Jo felt less like a made-up person. Jo was a tomboy, misfit, and would-be novelist struggling against the status quo to become the woman she imagines. Jo felt more like a charismatic mentor. She was the girl who knew what she wanted. To be freer. To create. To transcend all that was not allowed and yet to give of herself fully to her loved ones. That’s part of why Gerwig wanted to immerse audiences in Jo’s world. She aimed for a visceral experience that captured its emotional highs and lows and personal dynamics.
“Little Women has been part of who I am for as long as I can remember,” Gerwig notes. “I always knew who Jo March was. She was my girl, the person I wanted to be. She was also the person who I hoped I was.”
Director/Writer Greta Gerwig and DP Yorick LeSaux on the set of LITTLE WOMEN.
Gerwig stays true to Alcott’s original voice. She reconstructs the novel in an inherently cinematic way. She unmoors the story from linear time. The March’s most unforgettable events become the stuff of memories and creative inspiration. This allows audiences to see the March sisters in a new light. They see them as adults reflecting on their past and as the living source for Jo’s writing.
“Every time I read the book, it became something different,” observes Gerwig. “I first knew it in the coziness of childhood. Then, as I got older, new parts of it jumped out at me. As I began writing the screenplay, I clearly saw how poignant and fascinating the sisters’ lives are as adults. They are trying to figure out how to honor the fearless youth they had as grown-ups.”
Gerwig engaged in extensive research. She read Alcott’s letters and papers. She drew on aspects of Alcott’s real life to give her adaptation a formidable, modern voice. For example, the real Alcott wrote, “I had lots of troubles, so I write jolly tales.” In the film, Marmee says, “I’m angry nearly every day of my life.”
In drawing early inspiration from Little Women, Gerwig has a lot of company. The late sci-fi master Ursula K. Le Guin called Alcott “close as a sister.”
Novelist Erica Jong said Little Women sparked a belief that “women could become writers, intellects—and still have rich personal lives.” The heroines of Elena Ferrante’s masterwork My Brilliant Friend bond over a tattered copy of Alcott’s book. They vow to write their own.
Poet Gail Mazur thanked Alcott for helping writers. She appreciated the guidance on how “to live with, knowing we’re not alone. Alcott addressed the conflict between the writer’s need for solitude and self-absorption. She also addressed the yearning for the warmth of love.”
Harry Potter creator J.K. Rowling said of Jo March: “It is hard to overstate what she meant to a small, plain girl called Jo. This girl had a hot temper and a burning ambition to be a writer.”
For women, carving out any individualistic path, particularly an artistic life, has been perilous in any era. But that’s also why Jo hit home so hard with Gerwig. “There’s a rebel spirit in Jo. She holds a hope for a life beyond what your gender dictates. That is completely exciting to us still,” says Gerwig. “She’s this girl with a boy’s name. She wants to write. She’s ambitious and angry. She’s so many different things that we identify with. It’s like she allowed us to be free.”
Gerwig also wanted to pay homage to Alcott’s unsung story of financial success. She wanted to highlight how Alcott’s time were rife with war and inequality. These times were also lit up with new ideas and free-thinkers. There was an energy of change. In this atmosphere, Alcott crashed through social barriers. She carved her own path to thriving self-sufficiency. Alcott took control of her copyrights like the J.K. Rowling of her day. She built then largely unheard-of name recognition outside of marriage or inheritance.
“These are things that are still coming up right now,” observes Gerwig. “You see this in Taylor Swift deciding to re-record her back catalogue. She is doing so to own it.”
To Gerwig, Alcott clearly chose the scarcity of money. She also chose freedom as the unavoidable organizing fact of the March sister’s lives. At the same time, she wanted to celebrate the unapologetic domesticity of this story. It is about four sisters and a devoted mother transforming a household into an indelible world unto itself. An interesting analysis I read explains that Little Women is unique among books about childhood. It is not about escape. There is bravery, but it’s a hero’s journey contained inside the home,” Gerwig says.
All of this attracted an extraordinary group of women. They shepherded the film to the screen. This includes Gerwig, producers Amy Pascal, Denise Di Novi, and Robin Swicord. The ensemble is led by Saoirse Ronan, Emma Watson, Eliza Scanlen, Florence Pugh, Laura Dern, and Meryl Streep.
Laura Dern. Meryl Streep and Florence Pugh
For the film’s
multi-generational cast, the draw to this Little Women went beyond their
private experiences with the book. What
made it special was how of-this-moment Gerwig’s loving approach felt.
“I think the story feels more relevant than ever right now,” says Ronan, who plays Jo. “It explores young women finding the confidence to take their own paths. It also is a story that changes depending on where you are in life. You could be an Amy for a few years. Then suddenly you’re a Jo. Next, you might be a Meg or a Marmee. Maybe you find yourself back to being a Beth. You can find yourself in each one.”
“It’s a story about identity and there’s nothing more modern than that,” adds Dern, who plays Marmee. “We still struggle today with asking, ‘Who am I?’ Moreover, how can I stand true to that in my life despite everyone else’s opinion?’ —yet that’s what Louisa May Alcott wrote about 150 years ago. Part of Alcott’s beauty is her establishment of strength as independence, as art, and as ambition. She also portrayed it as marriage and parenting. Greta invites the audience to engage with all of that.”
Eliza Scanlen, who plays Beth, offers another take on the story’s continued resonance. “It affirms that the emotions you experience in childhood are just as complicated. They are just as important as the ones you experience later on in life. Recognizing childhood emotions as significant has not often been done.”
Gerwig approached the film as both a faithful retelling. She drew as much from the text as possible. It is also a postmodern retelling. She shakes up the story. She tells it in two separate timelines. The characters’ lives as adults run alongside the story of their childhoods. “I structured the film to begin the narrative when they are adults. Then, I entered into the story of childhood as we all do. It is like a memory. It is a yearning. It serves as a key to understanding who you are and where you are going,” says Gerwig. “We are always walking beside our younger selves. I wanted there to be a tension – is that what happened, or is that how you remember it? Is that what happened, or is that how you wrote it?”
This Little Women is unabashedly a story. Boys and men are certainly part of the picture. They are at times alluring and at times enervating to the sisters. However, they are never at the center of the world. “What is so wonderful about Alcott’s work is that these girls are there to serve their own stories. They also serve each other’s stories. That idea comes through so strongly in Greta’s script,” say producer Amy Pascal.
“It’s the perfect time for this movie. Women are talking more than ever about choices, about how to be, and about money. They are discussing what power is and how we get along with men,” Pascal continues. “Greta bring all this into the film by staying true to Alcott. She said, ‘I want to make a movie unlike any other. I want to make a movie from the book. If you go back to the book, it’s more controversial. It’s funnier and darker than you think. I want to make a movie that feels that real.’”
Director/Writer Greta Gerwig and DP Yorick LeSaux on the set of LITTLE WOMEN.
Adapting Alcott
One of the fundamental truths of Little Women is that Louisa May Alcott almost didn’t write the book at all. She never saw herself as a writer of “girl’s stories.” At that time, they were almost entirely dismissed as unimportant. They were also not considered economically viable. Her publisher posed the idea to her. She could not resist attempting to rival the adventure tales for boys. These tales were often significant bestsellers and influential to their young searching readers.
Alcott noted that she never really knew any girls except her three sisters and mother. As it turned out, her own family held out incredible raw material. Alcott re-envisioned her family life as fiction. She expressed things about growing up as a girl with limited options. Her ceaseless aspiration was something no one had said so clearly or with such relatability before.
Like the March family she would create, the Alcotts were a close-knit group. Their parents were the educator Bronson Alcott and the activist and social worker Abigail May. They were idealists and Transcendentalists. This 19th Century movement became the forerunner of the counterculture. It called for self-reliance and civil disobedience. It encouraged deep engagement with the arts and respect for the natural world. Being true to oneself was seen as the basis of a happy life. The elder Alcotts believed in equality and learning. They encouraged Louisa and her siblings to pursue the things that mattered to them.
For Louisa, it was always writing. Louisa grew up in an intellectually stimulating environment, despite monetary constraints. Her schoolteacher was Henry David Thoreau. Her neighbor was Ralph Waldo Emerson. She began writing at a young age. Yet, economics forced Alcott to work as a teacher, seamstress, and governess. She worked even while writing her first book, Flower Fables. This book was published when she was just 17. She wrote for The Atlantic Monthly. She published a memoir of her time as a Civil War nurse, Hospital Sketches. She also penned action-packed spy stories under the pseudonym A.M. Bernard. She sold these stories for $50 a piece, money it take a year to earn doing seamstress work.
Saoirse Ronan and Timothée Chalamet
There was a presumption when Little Women was published that men alone wrote enduring works of literature. With rare exceptions, books by women, and books about women, were light and passing entertainment, or so the theory went. From the day it hit the shelves, Little Women became an instant smash hit. It sold out its first run in days. It soon became clear that women and girls had been thirsting for authentic, honest, emotional stories about their everyday lives. The first 23 chapters were so popular. Alcott’s publisher implored her to write more. This led to the 47-chapter book that became the beloved classic. Since its release, Little Women has never been out of print and has been translated into at least 55 languages. It’s been adapted for stage, television and movies, even as an opera and an anime.
Gerwig did not focus on all that came before. She aimed to get back to the breathing soul of the book as she saw it. Re-reading the novel as an adult, she noticed Alcott’s very modern way of capturing language. She was struck by how deftly Alcott captured the free-form, informal language of family.
“It was so clear that the language was fresh and exciting and needed almost nothing from me. I tried to make the script have as much word-for-word from the book as possible.”
She heard it unspooling in her head, which led in turn to her directorial approach. “I wanted the actors to say it all at the speed of life. I wanted them to run through the dialogue quickly and irreverently because that’s how I heard it,” Gerwig explains.
Gerwig continues: “So that’s why I had the idea to start with them as adults. I wanted to allow their childhoods to live alongside them not as flashbacks but as two separate timelines. It captures the reality that when we walk down the street, we’re always walking with the younger versions of ourselves. We’re always integrating the person we thought we were going to be with the person we are now. I was looking at constructing a narrative that incorporates what a whole life is.”
Part of that narrative of a life is certainly romance, always a factor in Little Women’s appeal. But here, Gerwig explores the idea that each March sister aims not just for love. She pursues her own version of love among equals. Readers have debated Jo’s choice of husband for a long time. Some wonder if it was right for her to have chosen a husband at all. The fact that Alcott, otherwise so much like Jo, took the opposite path of her character is complicated. She remained unmarried even after attaining fame. Gerwig took an unusual approach to the question in the climactic moments of Little Women.
“If Jo was the hero of my girlhood, Louisa May Alcott is the hero of my womanhood. It mattered to me that she did not want Jo to get married. She did it because her publisher told her Jo had to marry. There’s a letter she wrote where she said, ‘I have made Jo a funny match out of spite.’ So, I wanted to give her an ending she would like. It might be the ending she wanted. It celebrates the choice she wanted to make. I wanted to give us that rom-com moment at the end that Louisa gave us. But as it’s happening, I also wanted to ask, ‘Why do we want that? Why do we need Jo to have that moment?’”
Saoirse Ronan, Laura Dern, and Eliza Scanlen
Gerwig’s naturalistic, overlapping dialogue especially excited the cast. “Greta allows the girls to talk over one another. They bounce off each other. It truly feels like four or five people in a room together,” says Saoirse Ronan. “We had to work extra hard to make the dialogue really, really tight in these scenes. But I haven’t worked with another director who works like Greta does. She always knows when something is right by how it sounds. The rhythm and pace of the scenes makes the feeling so unique in her films. It feels like Greta is inviting you into the secret inner world of the March family.”
Gerwig explains: “I didn’t want the overlapping dialogue to feel like a cacophony. I wanted it to be very specifically overlapped. It was almost like conducting an orchestra. We rehearsed for a couple of weeks, and, which was pretty essential because the script was so precise. I wanted it to feel like they were tumbling over each other with excitement. I also wanted it to sound like how sisters talk. I didn’t want it to sound like everyone waits their turn. That’s not how I experience a bunch of sisters when they’re together. Having such great actors, I could trust them because they make the language even more alive and deeper.”
Capturing that full breadth of sisterhood—its beauty and unity but also its driving tensions—was key to Gerwig.
“I saw each of the sisters as artists. I wanted to take each of their artistic pursuits seriously because they do. There is a lot of love and a deep bond between them. However, they’re really competitive. They can get under each other’s skin. They can be mean and cutting. They can also be loving and kind. I aimed to capture all of that in the soup. To me, it is what makes what happens to them that much more powerful. They are real people whose relationships are messy and wild.”
The script also brought the book into fresh focus for Pascal. Another accomplished woman, she has had a lifelong relationship with Little Women. This relationship even ties back to her given name, Amy Beth. “It’s a film about the way you remember childhood. It’s about the passage of time. It’s also about being an artist,” she says. “But it’s also a movie about becoming fiercely independent.”
by Daniel Dercksen·Comments Off on Barbie – A rich layered story, with humanity and heart
Writer-director Greta Gerwig has established herself as one of Hollywood’s most important voices. “I’m always looking for a fun challenge as a writer and a director. To me, Barbie felt like a character with a story to tell. I could find a new, unexpected way into her story. I aimed to honor her legacy while making her world feel fresh, alive, and modern.”
“As with Little Women, Barbie is a property we all know,” says Gerwig.
“The idea of the multiplicity of the Barbies and then the Kens came out of my first meeting with Mattel. I started talking about different characters. They said, ‘No, we don’t have different characters. All of these women are Barbie.’ I replied with a thought. If all of these women are Barbie, then Barbie is all of these women. They said, ‘Yes.’,” Gerwig explains. She co-wrote the screenplay with Noah Baumbach (Marriage Story, The Squid and the Whale). They based it on Barbie by Mattel.
In March 1959, a doll was launched at the American Toy Fair in New York City. This doll was to change the face of the industry forever more. To this day, it puts a smile on the face of children all over the world. Created by the co-founder of Mattel, Ruth Handler, ‘Barbie’ was eleven inches of curvaceous adult plastic. She was a revolution in the doll industry. Until this time, the industry had only produced baby dolls. The Barbie doll, or to use her full name, ‘Barbara Millicent Roberts,’ was named after Handler’s own daughter Barbara. It was inspired by the German doll Bild Lilli. Handler had bought the rights to Bild Lilli. When launched in the US, it was the only adult doll in production. It challenged the long-standing notion that all young girls just wanted to be mothers. Baby dolls were given to them to nurture. Barbie changed all of that. She became an aspiration and an inspiration. She quickly proved a hit not just within the US, but globally. Over 60 years later, Barbie is still as popular as ever; in fact, she is the world’s top-selling doll. Sometimes controversial but always cherished, Barbie is part of our shared history and quite simply a cultural icon.
To live in Barbie Land is to be a perfect being in a perfect place. Unless you have a full-on existential crisis. Or you’re a Ken.
“It’s both a great opportunity in that everybody knows Barbie. The audience for this movie is bigger than any movie we’ve produced before. But the challenges are preconceived notions,” says producer Tom Ackerley. “But it also has no narrative. The ability to create one and build upon what Mattel has already done is really exciting. We’ve learned all these new words, like toyetic. Everything had to be delicious and tactile. Making everything toyetic was part of the learning experience for us as well.
“Being human is beautiful. I think Barbie is a great vehicle and a wonderful character to explore that,” says producer David Heyman. “In Barbie Land, every day is a perfect day and Barbie, the doll, is a representation of an ideal. But Barbie in the film ultimately embraces the imperfection and messiness that is life … It has been a privilege to work with Greta. She is a writer and director (and actor) with boundless talent. She is incredibly ambitious for the work creatively, cinematically, thematically, intellectually. And at the same time she is acutely aware of the audience and has a wish to entertain. This film is a comedy and it’s hysterically funny. It also has soul, meaning, and resonance. It conveys nuance and is deeply affecting and moving. Greta has shown in her earlier films her ability to do that with ease. She tells a rich, layered story with humanity and heart.”
“I grew up with Barbie,” says Gerwig. I was always waiting for our neighbors’ children to grow tired of theirs. Then they would give me the hand-me-down Barbies. That was the big thing I was always looking forward to. I have a very vivid, visceral memory of Barbie and what it meant.”
“‘Barbie’ came to me through Margot Robbie,” says Gerwig. “Margot was the one who had gotten the rights, had brought it to Warner Bros., had initiated this entire project. We had met, and I was a big fan of hers as an actress. But then when we talked, I realized what an incredible producer she was. She was super smart and extremely involved and really interesting.”
Gerwig says, “Margot is our Stereotypical Barbie. In the film, she says, ‘I’m the Barbie everyone thinks of when you think of Barbie.'” And when you think of the most beautiful, cheerful, friendly, blonde lady you’ve ever seen, that’s Margot. But the thing I wanted to do most of all was to allow her to be outrageously funny. She’s the person you’re going to go on a real journey with in the movie. She always makes things grounded, relatable, and very emotional. Even when it’s ridiculously heightened and funny, you never feel like you lose the humanity.”
“Barbie is such a huge and globally recognized brand. It holds a nostalgic connection for people,” says Margot Robbie. She is one of the producers on the film and also stars as Barbie. “Making a Barbie movie was an amazing opportunity. We thought we can create something really special. We do this if we approached it in an unexpected, surprising, and clever way. Like Greta has said, it was also terrifying! We knew it was a lot to take on. Audiences probably have a preconceived notion of how they think and feel about Barbie. These feelings can be either good or bad. So, that presented a big challenge, but we were up for the challenge.”
“Margot brings a spirit, both as a producer and as a performer, of curiosity, of enthusiasm, of possibility,” says Heyman. “And she is fiercely intelligent. For this role, it’s essential to have someone who can embark on that journey of discovery. They must access the heart and humanity of the character. At the same time, they should have a keen sense of humor. This humor must be played with absolute sincerity and without any guile.”
As for Ken, “It was always Ryan Gosling,” says Robbie. “You’d think there are dozens of guys that could play Ken, but there’s actually not. Ryan ticked all the boxes. He’s a brilliant dramatic actor, he makes incredible choices, he can play the romantic and he can do comedy. And, of course, he also looks like Ken, he’s gorgeous.”
“We wrote this part specifically for Ryan Gosling,” says Gerwig. “He excels in dramatic roles. I knew he was really funny because I had watched all his ‘Saturday Night Live’ appearances. There was no plan B. It was always Ryan.”
“The script reminded me of everything I loved growing up, but somehow was still like nothing I had ever seen. It’s as funny as it is tragic. It’s as silly as it is profound. It’s all the things,” says Gosling. “My Ken was created to just watch the awesomeness that is Barbie. There’s even a line in the film when he says, ‘I only exist within the warmth of Barbie’s gaze.’ He has no identity of his own, so he’s in an existential hell. But he’s given a job, which is ‘beach.’ And he’s not sure what that job is specifically, but he really wants to be good at it.”
Cameras rolled on BARBIE on March 21, 2022, at Warner Bros. Studios Leavesden in Hertfordshire, England.
This was nearly two years after the start of the pandemic. During that time, Greta Gerwig and Noah Baumbach shut themselves away in their New York apartment. They crafted the screenplay that Gerwig would later sign on to direct.
During development, director Greta Gerwig called director Peter Weir. She asked about his work on “The Truman Show” in relation to lighting. She wanted to create that authentically artificial feel for Barbie Land. Audiences won’t see natural sunlight until Barbie and Ken arrive in Los Angeles. The entirety of the Barbie Land scenes were filmed on soundstages at Warner Bros. Studios Leavesden.
GRETA GERWIG (Director / Writer / Executive Producer) is an Academy Award-nominated director and writer. She has established herself as one of Hollywood’s most important voices. Before writing and filming Barbie with Noah Baumbach, Gerwig’s last film, Little Women, received six Academy Award nominations. It was also nominated for five BAFTA Awards, in addition to PGA and WGA honors. Her debut film, Lady Bird, was nominated for five Academy Awards. It included nominations for Gerwig for Best Director. She was also nominated for Best Original Screenplay. Gerwig is also a prolific actor. She received a Golden Globe nomination for her performance in Frances Ha. She also co-wrote it with Noah Baumbach. Last year she starred in his latest film, White Noise, opposite Adam Driver. Her additional acting credits include Jackie, Maggie’s Plan, 20th Century Women, Lola versus, Damsels in Distress and Mistress America.
by Daniel Dercksen·Comments Off on Captain America: Brave New World – Redefining Thrillers for the Modern Era
“The Marvel Cinematic Universe is so rich and diverse, and we’ve seen so many cosmic and supernatural stories recently, so to be able to get back to something that really takes these fantastic characters and puts them in a world that we all understand and can relate to emotionally and psychologically is really powerful and at the heart of what makes everything about the MCU even more palpable,” says Nigerian American writer and director Julius Onah.
Within the Marvel Cinematic Universe, the Captain America canon often occupies a very grounded space from the World War II setting of the The First Avengerto the paranoia thriller aspect of Captain America: The Winter Soldier, which is squarely where the filmmakers want this next chapter to be.
Captain America: Brave New World offers a distinctly modern take on the thriller genre that brims with multi-layered characters and a finely calibrated tension expertly woven throughout the narrative.
Punctuate it all with visually exciting set pieces and kinetic, heart-pounding action and you’ve landed on the sweet spot for director Julius Onah’s singular skill set, which dovetails perfectly with the established DNA of MCU films.
A true storyteller, Onah is a detailed-oriented, visually inclined director who is deeply invested when it comes to fully developing his characters. Particularly with Sam, who is grappling with how to define himself and put his own stamp on Cap and continue to serve his country.
“As the film begins, Sam has been Captain America for a while, and that is a big part of what drew me to wanting to direct this movie. We left Sam at the end of ‘The Falcon and The Winter Soldier’ knowing why he wanted to be Captain America, but now we’re meeting him at a place where he has to negotiate what that actually means, what course of action he’s going to take, how he’s going to relate to other people, and how he’s going use the power that the platform gives him. A big part of what he’s going through in this movie is trying to define that in a really specific way,” the Onah explains.
As our heroes are pulled into the mystery of who is orchestrating all these world leaders without their knowledge, the political and emotional stakes are exponentially high. It’s a new world order, one that is very different than the one Steve’s Captain America had to face.
Anthony Mackie, who plays Sam Wilson/Captain America,remarks on the film’s storytelling: “The story being told is very grounded and very much in line with the ‘Captain America’ franchise that has more of a realistic approach to telling a story. It’s more human being to superhero contact as opposed to superhero to fantastical contact. When you look at the Captain America throughline you can see yourself in there, because it’s actual and wholly representative of where we are today.”
At the end of “Avengers: Endgame,” Steve Rogers passed on his vibranium shield to Sam Wilson, who had stood beside the Avengers as the winged Falcon. But the decision to take on the mantle of Captain America was more complex for Wilson, and his journey from Falcon to Captain America was explored in Marvel Studios’ “The Falcon and The Winter Soldier” series for Disney+
“We love that the Disney+ series gave us such an opportunity to explore Sam Wilson and the interior life that he had and his relationship with Bucky Barnes,” says producer Nate Moore, “but ‘Brave New World’ is about him taking the mantle of Captain America and running with it while facing threats that are bigger than what we’ve seen in the past. We’re putting Sam through the paces to prove to people, not only that he should be Captain America, but that he can be Captain America in a way that even Steve Rogers never was.”
Adds producer Kevin Feige, “In ‘Captain America: Brave New World’ Sam Wilson is Captain America, and he has made the decision to unabashedly become Captain America. But what does it mean to be Captain America when you’re not a super soldier, which we definitively know Sam Wilson is not, and in a world where the Avengers are not currently active?” We will find out when Sam, who after meeting with newly elected U.S. President Thaddeus Ross, finds himself in the middle of an international incident. He must discover the reason behind a nefarious global plot before the true mastermind has the entire world seeing red.
This return to the Captain America franchise is also a return to the tone of “Captain America: The Winter Soldier,” meaning a more grounded, more geopolitical landscape punctuated with issues that feel relevant and timely. Says Moore, “We have a hero who doesn’t have superpowers but is very well-versed in the political and military landscapes, so this film puts Sam squarely back into the genre of the political thriller.”
Marvel Studios’ Captain America: Brave New World stars Anthony Mackie, Danny Ramirez, Shira Haas, Carl Lumbly, Xosha Roquemore, with Giancarlo Esposito, Liv Tyler, Tim Blake Nelson, and Harrison Ford.
The Making of a Brave New World
Taking full advantage of the versatile environments and topography in and around Atlanta, Georgia, which was home base for the production, the filmmakers looked to veteran production designer Ramsey Avery to establish the multi-layered visual landscape.
Avery’s first conversations with the director yielded a focused, more intentional and relatable sense of realism for “Captain America: Brave New World” to further the material’s tone and narrative and allow for a transition away from the visual vocabulary that’s been a mainstay of Phase 5 of the Marvel Cinematic Universe.
“For ‘Brave New World,’ in particular, Julius [Onah] wanted the aesthetic to be very specific and feel like it was something that could be happening now within the current space,” says Avery. “He also wanted to veer away from those elements that can sometimes take an audience out of the storytelling. It really was important to Julius and Kevin [Feige] that this story felt ‘of the moment’ and mimicked the characters as they move through a very real and honest world.”
Capturing it all on camera in a compelling way would be essential to realizing Onah’s singular vision. Leading the charge was award-winning director of photography Kramer Morgenthau, known for his innovative camera work and dynamic lighting design.
“We wanted to achieve a look that was as close as humanly possible to shooting photochemical film but with digital cameras. So, in prep we shot extensive tests and dug deeply into color science and vintage anamorphic lenses to achieve that look,” explains Morgenthau. “We created a set of rules around camera movement, color, composition and texture. The goal was for the film to pay homage to some of the great paranoid thrillers of the 1970s but also have the visual space for extensive action and spectacle that Marvel Studios’ films achieve on the highest level.”
While tonally more rooted in realism and embracing the thriller genre, there’s no denying that this chapter in the “Captain America” franchise retains the DNA of its predecessors with signature eye-popping action sequences that are expertly woven into the narrative in a fresh, new way.
“There have been three widely popular ‘Captain America’ movies before, so clearly this is a beloved character,” says director Julius Onah. “So, I’m thrilled for audiences to go on this journey with Sam, who’s such fan favorite in the Marvel Cinematic Universe, and redefine him as Captain America in a way we’ve never seen before. I can’t wait for people to see it!”
by Daniel Dercksen·Comments Off on Stories shape our lives in profound ways
Imagine a world without stories—it would be a vastly different place. Stories are the threads that weave the fabric of our lives. They enrich our minds, nurture our hearts, and connect us to each other. Without stories, the world would be a much less vibrant and meaningful place.
Writers are essential for the world because they bring stories to life, enriching our lives in countless ways. Writers are the architects of our collective imagination. They help us make sense of the world, connect with each other, and find meaning in our experiences.
Writers have the unique ability to create entire worlds, characters, and narratives from their imagination. These stories inspire creativity and help us see the world from new perspectives. Through stories, writers help us connect emotionally with characters and experiences that might be different from our own. This fosters empathy, understanding, and compassion.
Writers often use their stories to comment on social, political, and cultural issues. Through their narratives, they can raise awareness, challenge the status quo, and inspire change.
Here’s a glimpse into what life might be like without Stories
Loss of Imagination: Stories fuel our creativity and imagination. Without them, our minds might lack the stimulation needed to think beyond the ordinary, leading to a more mundane and uninspired existence.
Cultural Void: Stories are a cornerstone of culture. They carry traditions, values, and histories from one generation to the next. Without stories, we would lose a significant part of our cultural heritage and identity.
Emotional Disconnect: Stories allow us to connect emotionally with others by sharing experiences, lessons, and emotions. Without them, we might struggle to empathize and understand different perspectives, leading to a more disconnected society.
Knowledge and Learning: Much of what we know is passed down through stories. From ancient myths to modern-day scientific discoveries, stories make complex information more accessible and memorable. Without them, our ability to learn and retain knowledge would be severely hindered.
Entertainment and Escape: Stories provide entertainment and a way to escape from the stresses of everyday life. Without them, our options for relaxation and enjoyment would be limited, making life feel more monotonous.
Personal Growth: Through stories, we explore different aspects of the human experience, learn valuable life lessons, and grow as individuals. Without stories, our personal development and self-awareness might be stunted.
Each type of writer has a unique role and impact on the world
Screenwriters have the ability to bring stories to life through visual mediums like films, TV shows, and web series. They create scripts that direct the action, dialogue, and settings. Screenwriters shape popular culture by creating memorable characters, dialogue, and scenes that become part of our collective consciousness. Through their scripts, screenwriters evoke strong emotions and connect with audiences on a deep level, leaving a lasting impression. Writing for the screen involves working closely with directors, producers, actors, and other creative professionals to realize a shared vision.
Novelists have the luxury of exploring characters, settings, and themes in great detail. They build intricate worlds and complex narratives that readers can immerse themselves in. They express their unique voice and perspective, creating a personal connection with readers. Through their books, novelists leave behind a lasting legacy that can be enjoyed by future generations. Classic novels often become timeless treasures.
Playwrights create scripts intended for live theatrical performances, bringing stories to life on stage. This offers a unique and immersive experience for audiences. Writing for the theater involves working closely with directors, actors, set designers, and other theater professionals to realize a shared vision. Theater allows for a direct and immediate connection with the audience, as the energy and reactions of the crowd can influence the performance.
Poets use concise and evocative language to convey deep emotions, ideas, and imagery. Every word in a poem carries weight and significance. Poetry is a form of artistic expression that allows for experimentation with form, structure, and rhythm. Poets can play with language in unique and innovative ways. Poems often capture fleeting moments, feelings, and thoughts, resonating with readers on an intimate level. They can be powerful tools for self-expression and reflection.
by Daniel Dercksen·Comments Off on From Chaos to Comedy: The Wild Ride of One of Them Days
As much as it is a broad comedy, One of Them Days is also a love letter to the South Los Angeles neighborhood known as the Jungles, as it is affectionately called by its residents. “I tried to represent the people there and their experiences as authentically as I could in my writing,” says screenwriter, Syreeta Singleton. “I wanted to make something that showcased the neighborhoods and the people that I love in Los Angeles.”
Though there have been many films set in the Jungles, the residents don’t often get to see themselves on screen in light-hearted stories. “Historically, the narrative behind this neighborhood, the Jungles, is from movies like Training Day and a host of other films that portray this neighborhood in a negative light,” says producer Deniese Davis. “But it’s a neighborhood like any other. People live here. There are families here. People grow up here.”
In the Jungles and neighborhoods like it, Singleton says, are people that fill the roles the community needs. “You have the matriarch or the mother figure; the person who does your hair; your strivers. I tried to make sure that there was some diversity to reflect the Jungles as it is.”
When Dreux and Alyssa’s day in the Jungles goes particularly off the rails, that’s drawn from Singleton’s life, too. “When I was in the Jungles, I was usually there when I shouldn’t be,” she laughs. “Being in the Jungles always felt like an adventure—you never knew what was going to happen. There were so many interesting characters and dynamics.”
Even the comedy around the looming gentrification of the Jungles was drawn from the filmmakers’ lived experiences in South L.A. “It’s a changing neighborhood,” says Singleton. “We’re all seeing and experiencing our neighborhood shift because of gentrification. From the candy house to the ice cream truck and hanging out at Jim Gilliam Park—the movie is filled with moments that felt very real to me, experiences that I had there in the Jungles.”
The joke Mama Ruth (Vanessa Bell Calloway) tells Dreux about seeing a cat in a stroller as a sign of the coming gentrification apocalypse was pulled directly from producer Issa Rae’s life. “I was doing my daily walk through my neighborhood, and I saw a white couple pushing a cat in a stroller!” Rae says about why she added that hilarious scenario to the script. “It really happened. I was indeed sick!” she laughs.
Best known as the creator and star of HBO’s “Insecure,” media mogul Rae shepherded this project through her production companies HOORAE Media and ColorCreative, where Singleton’s script was incubated.
Stories drawn from life—especially funny and rarely told stories—are what ColorCreative is all about. When the company joined forces with TriStar Pictures to develop future films from a new generation of storytellers, movies like One of Them Days was the plan. “The idea was to give emerging screenwriters an opportunity to write and develop their first feature in the studio system,” says Davis. “Syreeta was one of the four writers selected, and it started from a conversation where she pitched a story about two girls trying to find rent, being based in the Jungles.”
In fact, Singleton was one of the first writers that Rae and Davis incubated, roughly a decade ago, making a pilot called “So Jaded.” When Rae began production on “Insecure,” Singleton joined the project as an assistant to the showrunner, eventually joining the show’s writing staff. Later, when Rae began production on her show “Rap Sh!t,” Singleton was tapped as showrunner.
“It’s very rare that you get a buddy comedy with two Black women as the leads,” says Davis. In fact, One of Them Days is the first Black women-led buddy comedy since Townsend’s B.A.P.S. premiered nearly thirty years ago. To pull off the chemistry necessary to produce an instant classic in the comedy film canon, the filmmakers of One of Them Days needed to cast two certified stars.
“Comedy is just how I see things,” says Singleton. “I’m always finding the humor in situations. When I start writing, that’s just how it comes across. When I first started writing, I didn’t even realize—it took Issa, really, to tell me that I had written a comedy.”
“I love Syreeta’s writing. Everything about it just feels incredibly authentic,” says producer Sara Rastogi. “The humor feels like you’re talking to your friends. It’s truly the definition of seeing yourself in extraordinary circumstances—and more hilarious, because she’s funnier than all of us.”
The humanity and authenticity in the story also made the project attractive to executive producer Charles D. King, CEO of MACRO. One of Them Days represented a chance to work with some of his favorite artists on a project that aligns with his own goals. “We’re just huge fans of Issa and Deniese—who they are and what they represent in our industry,” he says. “We love the fact that this project was incubated through ColorCreative, which is about shepherding new voices. Our company, MACRO, is all about cinematic excellence and platforming stories from people of color. It was a perfect marriage of missions.”
And it doesn’t hurt that the film is laugh-out-loud funny. “I read the script and I gave Charles a call and I told him, ‘This is really funny. I think you should read this immediately,’” says producer and president of MACRO Film Studios, James Lopez. “I said, ‘This has the potential to be a cult classic, like Friday. That’s exactly what I said to him.”
For the filmmakers, One of Them Days was an opportunity to pay homage to their favorite classic comedies. “Of course, we reference Friday,” says Lamont. “Dreux’s character wears a plaid shirt like Ice Cube’s Craig wears a plaid shirt, and it’s set over the course of a day,” he says. “But Superbad was always one of my inspirations. I remember seeing that in high school and just the hijinks and the story of friendship also set up over the course of one day — I can go on and on, but those are the top two influences for me.”
“It [also pays] homage to B.A.P.S. in so many ways because there just hasn’t been something like this before,” says Rae. “And with the crazy looks and the wardrobe, and the hairstyles,” says Lamont. “Shout out to [B.A.P.S. director] Robert Townsend.”
With this (late) coming-of-age comedy, Keke Palmer embraced the chance to make a film that would represent everyday struggles in the most hilarious way. “Comedy is the best medicine to be able to relate to these [financial] pressures we’re all experiencing,” she says, “whether it’s student loans, trying to figure out how to climb the corporate ladder, or having five part-time jobs to make ends meet. When I’m doing comedy, it’s because at the core, what makes it funny is also what makes it hurt. It’s like, ‘Damn, that’s real.’ You laugh and then it creates a space for you to really discuss it and have a conversation.”
The film’s debut director, Lawrence Lamont, agrees that because Dreux and Alyssa’s struggles are very real, comedy was essential to tell the story. “Inflation is through the roof. The middle class is not really the middle class anymore. People really do have struggles trying to make rent. Things are so serious and it’s so chaotic on this planet. But humor is a gateway to happiness and joy. At the end of the day, hope and laughter and happiness override anything else going on,” he says. “So, even when people are down and out, you can have that one uncle or auntie that can make you laugh, and it can make you forget about the struggles.”
The film was shot on location in the Jungles—the same South L.A. neighborhoods where the film is set—because a love for these streets and the people who live there was baked into the screenplay.
“You can’t base a movie in South L.A. and not be in South L.A.,” says Rae. “I’d be embarrassed to put a movie out and not have people recognize the landmarks, not recognize the streets. Honestly, as a native, I would be watching this movie sideways,” she says. “There’s a certain essence that you get from shooting there.”
Capturing that essence was essential to the film’s director. “Lawrence’s central hope for this film is that it feels authentic and real, and not just a glossy movie,” says production designer Monique Dias. “Throughout the entire scout, we took so many reference photos of people’s homes and little details of every single space we saw—even when we knew we weren’t going to shoot there. It set us up for everywhere else we went. We were in South L.A., shooting in authentic spaces, and using the design to amplify those spaces rather than create something completely contrived. The heart of the story is this community.”
Dias especially cites her set decorator, Esmeralda De La Cruz, as crucial for getting the details right. “She was born and raised in South L.A.,” explains Dias. “She was very excited to be doing this film and pulled a lot of her inspiration and references from people in her own life. She really went to town, bringing a lot of warmth and color and light to the space.”
The production even employed locals. “One of the things we did when filming in the Jungles is that we let some of the neighbors who actually live there participate as background in some of our scenes,” says Davis. “We were happy to, because it only adds to the authenticity.”
Of course, when you incorporate the community, there’s an element of comical unpredictability that’s bound to occur. “We were shooting at Jim Gilliam Park one day and a car just drove by in the middle of a scene, and they started shouting at Keke, congratulating her on her performance at the BET Awards the night before,” recalls Rastogi. “Even though it was disruptive, it was hilarious. It was just so nice to be in a community that knows and loves these actresses.”
Both the scripted and unscripted comedy on set made the shoot a joyful place for the collaborators. “So many scenes made me laugh,” says Rae, “but the payday loan scene–let me tell you. Keke, SZA, Keyla (Monterroso Mejia who played the payday lender), the three of them together—I can’t! Everything that they did, I wish we could have put every take in there,” says Rae. “Keke’s anger, SZA, her aloofness, the addition of Keyla just took it to a whole ‘nother level. She’s so funny. And the three of them playing off of each other. Like it was just… it was perfect.”
Lamont agrees. “There were takes where I was yelling cut, and I was walking over to give notes and I couldn’t find Keke and SZA. They’re on the ground laughing—on the literal ground.”
That space for laughter and joy opened up an environment for the collaborators to operate truthfully and earnestly to elevate the work. “What I love about working with you [Lamont] in addition to just being extraordinarily collaborative, is that you think about everything. You think about every single element. You actually dream about it and every time you think about it and every time you put it into practice, it only gets even better,” says Rae. “It’s been three years of it living in your brain and there’s just… it’s fun to watch someone love what they do while they’re doing it and be excited about the little things.”
For his part, Lamont relied on producer Rae and his other Black women collaborators to help tell the most authentic story. “Honestly, there were moments where I’m rushing and I’m gonna move on, I’m in my director brain, and I have to step back and realize I’m directing a film about Black women and I’m a Black man. So, I listen,” says Lamont. “I love the collaboration. And just your insight, Issa — I don’t know if people have realized, but we’re changing lines on set a lot, you know, and that’s a testament to just your genius brain and the worlds that you help scope. So, I’m happy to be an architect in the world building with you.”
Detroit-born director and writer LAWRENCE LAMONT (Director) got his start shooting music videos for Grammy Award-winning artist Big Sean. Lamont went on to direct multiple episodes of MAX’s “Rap Sh!t,” produced by HOORAE Productions. He also completed a pilot for MAX and shot the Detroit Pistons’ branding campaign for the 2022-23 season.
Lamont is in development on two original television projects: “Bundles,” an hour-long crime drama in partnership with producers Stephen Love and Issa Rae, with Syreeta Singleton attached to write the pilot and potentially showrun, and “Break,” is an hour-long grounded sci-fi drama in partnership with Arsalan Asli from FIVE4 Studios, which is currently being developed into a graphic novel.
Born and raised in South Central, SYREETA SINGLETON (Written by) is a writer on the verge of becoming a household name. Singleton has written HBO’s hit comedy series “Insecure,” Showtime’s “Black Monday,” and Apple TV+’s animated series “Central Park.” She has been the showrunner and executive producer for seasons 1 and 2 of the MAX series “Rap Sh!t,” produced by HOORAE Productions. Up next, Singleton is writing a feature film remake of the hit movie Set It Off for New Line.
by Daniel Dercksen·Comments Off on Dog Man – A Paw-some Journey Into Heroism
“Dog Man’s unwavering loyalty and infectious enthusiasm are matched only by his sharp investigative skills and his dedication to justice,” says writer-director Peter Hastings. “He’s the kind of hero who’ll chase down a lead with the same gusto as he’d chase a frisbee, making him not just a great cop, but a true friend to all. And let’s face it, his ability to sniff out clues gives him a definite edge in crime-solving.”
OVERVIEW:Dog Man is the world’s greatest cop and beloved hero from Dav Pilkey’s bestselling book series of the same name. Part canine, part human and all hero, the film embodies the best qualities of both species in a unique and endearing package. is significant for its ability to translate the charm and humour of the books into a visually engaging and heartwarming movie experience. The film brings to life the whimsical and humorous world of Dog Man, which has already captivated millions of readers with its playful anarchy and heartwarming stories. The bright and lively animation style, combined with realistic textures and cartoonish lines, perfectly captures the tone of the books. The film carries themes of friendship, loyalty, and overcoming challenges, which resonate with viewers of all ages.
From DreamWorks Animation—creators of the beloved blockbuster franchises Kung Fu Panda, How to Train Your Dragon and The Boss Baby—comes the canine-crime-fighting film adaptation of Dav Pilkey’s New York Times bestselling literary phenomenon: Dog Man.
Dav Pilkey’s Dog Man series, which was born out of the author’s juggernaut Captain Underpants book franchise, has emerged as a literary phenomenon in its own right, captivating young readers worldwide. With 13 volumes published, the series has sold more than 60 million copies globally, been translated into 47 languages and has claimed an unprecedented 10 New York Times bestseller spots. This canine crusader’s adventures have transcended the page, becoming a cultural touchstone for a generation of young readers. Now, DreamWorks Animation transforms the global reading sensation into a cinematic event, offering millions of fans a fresh lens through which to experience their favorite hero.
Based on Pilkey’s chart-topping series, DreamWorks’ Dog Man tells the story of an unlikely hero: part-dog, part-human police officer sworn to protect and serve. For Pilkey, the decision to entrust his creation to DreamWorks was easy. “DreamWorks Animation was the ideal choice because they did a stellar job creating the Captain Underpants movie,” Pilkey says. “Because Dog Man is part of the same universe, I decided it would be best for this movie to be with the DreamWorks Animation family, too.”
The studio’s enthusiasm for bringing Pilkey’s world to the big screen was palpable. “Dav Pilkey’s unique blend of humor and heart has clearly struck a chord with readers worldwide,” DreamWorks Animation president MARGIE COHN says. “After the success of Captain Underpants, we knew Dog Man had the potential to be something truly special. We’ve assembled an incredible team, led by Peter Hastings, to ensure we’re not just adapting the books, but creating an experience that will captivate longtime fans and newcomers alike.”
Director Peter Hastings, a Primetime Emmy Award winner and five-time Daytime Emmy winner best known for his brilliant Animaniacs series and his two DreamWorks Animation series—The Epic Tales of Captain Underpants and Kung Fu Panda: Legends of Awesomeness—was drawn to the project’s unique blend of comedy and emotion. “I was first introduced to Dav Pilkey through the Captain Underpants books, which my kids loved,” Hastings says. “Many years later, I was fortunate enough to create the Captain Underpants television series at DreamWorks for Netflix. This allowed me to truly immerse myself in Dav Pilkey’s world. Dav’s books have this incredible ability to make kids laugh out loud while also teaching them lessons about friendship and doing the right thing. Our goal with this film was to amplify those elements and create a movie that’s not just entertaining, but also meaningful and memorable.”
Producer Karen Foster, whose credits include DreamWorks Animation’s Spirit Untamed and How to Train Your Dragon, joined the project with enthusiasm. “The moment I dove into the Dog Man books, I knew we had something special on our hands,” Foster says. “It’s rare to find source material that so naturally lends itself to animation. The vibrant characters, the imaginative storylines and the visual humor are all tailor-made for the big screen.”
After a series of events leads to the creation of Dog Man—a smart dog’s head on a strong man’s body—the stage is set for a hilarious battle of wits between the newly-minted hero and his feline nemesis, Petey (Pete Davidson). For the production team, staying true to the source material was paramount. “It was incredibly important to honor the style of the books,” Hastings says. “The simple drawings, the lettering style—these elements are integral to the books’ humor and charm. Our challenge was to preserve that essence while creating a visually striking film. It’s about honoring what fans love while giving them something new to be excited about.”
To achieve this, the team coined the term “high-end handmade” to describe their approach. “When Peter pitched the movie as ‘high-end handmade,’ I was immediately intrigued,” Foster says. “We brought on Nate Wragg, who did the brilliant production design for Puss in Boots 2, and Chris Zibach, who was the lead visual development artist on Captain Underpants: The First Epic Movie. They’re not only talented artists, but both have kids who are Dog Man fanatics. They’ve managed to capture Pilkey’s style and have created characters that are instantly recognizable yet uniquely beautiful. Every frame is packed with the kind of visual jokes and details that reward multiple viewings.”
While the film is packed with laughs, the emotional depth of the story lies beneath the surface. “The movie is incredibly funny, with plenty of silly and wacky moments, but, like all great stories, it has heart,” Hastings says. “These moments of humor and heartfelt emotion coexist naturally in the story. Dav’s books introduce these emotional layers subtly, and our challenge was to bring them to the forefront while staying true to the characters and their journeys. We’ve explored themes of friendship, redemption and the idea that everyone has the potential to be a hero. These emotional threads are what elevate the story to something truly special.”
This balance of humor and heart is what sets Dog Man apart and makes it accessible to audiences of all ages. “I often use the term ‘intelligently silly,’ to describe our approach,” Hastings says. “It’s humor that works on multiple levels. Kids will laugh at the slapstick and visual gags, while adults will appreciate the clever wordplay and subtle references. Dav Pilkey has always infused his books with this style of comedy, which I’ve always admired, and we’re bringing the same sensibility to the film.”
Sometimes, the funniest comedies can also be the most serious ones. “It’s like the old Pink Panther movies where the seriousness makes us laugh,” producer Karen Foster says. “There are adult themes and references in Dav’s books that add a level of satire that kids might not get until they’re older. Peter is both incredibly smart and hilariously silly, so he was the perfect person to make this style work on screen.”
For Pilkey, the collaborative process with DreamWorks has been a great experience. “The team at DreamWorks have been very respectful to the books and to me,” Pilkey says. “Although I had the choice of collaborating closely, I only asked that Dog Man didn’t talk, and that Li’l Petey is voiced by a child actor. Peter Hastings completely understands the essence of the book series. I have complete faith and trust in his work.”
Hastings believes that DreamWorks is the ideal fit for Dog Man because of the studio’s unparalleled expertise in comedy and storytelling. “DreamWorks has a deep bench of incredibly talented artists who create films that resonate with audiences worldwide,” Hastings says. “They have a rich legacy of delivering top-notch comedy, and they understand how to balance that humor with genuine emotion, which was exactly what Dog Man needed.”
With Dog Man’s massive fan base, the film adaptation could have been daunting, but the filmmakers saw it as an opportunity. “We know how passionate Dog Man readers are,” Hastings says. “And I’m confident these fans are going to love the movie, because we haven’t changed the books; we’ve expanded on them. We’ve taken everything fans love and amplified it for the big screen. I’m looking forward to experiencing the movie in theaters, surrounded by families, and seeing their enthusiasm and excitement for these characters. It’s moments like those that remind me why we make movies.”
For Pilkey, seeing his creation become an animated feature is a dream come true. “I can’t wait for audiences to see Peter Hastings’ interpretation of the Dog Man series,” Pilkey says. “He has a great team of artists who capture the spirit of the books and add their own unique artistic vision to the characters. It is completely in line with what I am trying to accomplish in the book series. I want people to unleash their creativity and be fearless.”
The screenplay for Dog Man is written by the film’s Emmy-winning director, Peter Hastings (The Epic Tales of Captain Underpants, Kung Fu Panda: Legends of Awesomeness), whose credits include the groundbreaking animated series Animaniacs and Pinky and the Brain.
“With the head of a dog and the body of a human, he has the best qualities of both,” Hastings says. “Dog Man’s unwavering loyalty and infectious enthusiasm are matched only by his sharp investigative skills and his dedication to justice. He’s the kind of hero who’ll chase down a lead with the same gusto as he’d chase a frisbee, making him not just a great cop, but a true friend to all. And let’s face it, his ability to sniff out clues gives him a definite edge in crime-solving.”
Dog Man doesn’t speak in the traditional sense. Instead, he communicates through a series of dog-like vocalizations, which were brought to life by none other than director Peter Hastings himself. “Voicing Dog Man was both a challenge and a joy,” Hastings says. “We developed a ‘language’ for Dog Man that allows him to express everything from heroic determination to playful affection. It’s amazing how much can be communicated without words when you tap into the primal expressiveness of our canine friends.”
Dog Man’s character arc revolves around his transition from a solitary hero to someone who learns the true meaning of family and sacrifice. Having lost his former partner, Officer Knight, Dog Man finds himself driven by an intense desire to protect and guard as many people as possible. This mission takes on new meaning when he encounters Li’l Petey, a tiny kitten in need of care.
As he spends more time with Li’l Petey, Dog Man’s instincts for self-preservation give way to reveal a character capable of deep empathy and unconditional love. “The relationship between Dog Man and Li’l Petey is really the heart of the story,” Hastings says. “It’s through this unexpected connection that we see Dog Man learn that true heroism isn’t just about saving the day—it’s about opening your heart and putting someone else’s needs first.”
In early 2024, the Dog Man filmmakers met with the film music team at Universal Pictures to brainstorm the perfect music for the conclusion of the film. Given the unique, wacky and heartfelt energy of Dog Man, the filmmakers and music team decided to create an original song to capture the film’s playful, upbeat vibe.
As discussions around artists and songwriters began, it quickly became clear that this was no ordinary project. The challenge was to find a musical artist who could tick every creative box: humor, heart and high-energy fun.
With this in mind, the music team zeroed in on a shortlist of artists who could bring the energy and vibe they needed, and rapper YUNG GRAVY—known for his unique blend of modern hip-hop with retro samples—shot straight to the top of the list. When the team discovered that Yung Gravy was already in the studio experimenting with new music, the team jumped at the chance to collaborate with him. Yung Gravy, with his signature blend of swagger, humor, and feel-good anthems, felt like the perfect fit for Dog Man.
The team met with Yung Gravy and producer DWILLY, pitching them the film’s vision and musical needs. Both artists were eager to weave the movie’s quirky elements into a track. The directive was clear: create a catchy, playful song that captures the essence of Dog Man—complete with clever wordplay and puns.
Yung Gravy delivered beyond expectations. By incorporating James Brown’s iconic track, “I Feel Good,” alongside his own witty, original lyrics, and dwilly’s infectious beat, the song, “Supa Good!” hit the mark creatively and captured the perfect vibe, playing off the “Supa Cop” theme from the Dog Man books and film. The result is a vibrant, energetic original track that will leave audiences feeling good.
by Daniel Dercksen·Comments Off on The ABC of Classic Movies
From the dawn of cinema in the late 1800s and early 1900s to contemporary classics from the late 20th century to the present day, Classic Movies hold a special place in the history of cinema and in the hearts of audiences worldwide.
A classic movie is often defined by several key elements that contribute to its enduring appeal and cultural significance. For many, classic movies evoke a sense of nostalgia and provide a connection to different periods of life and history. Classic movies are not just entertainment; they are cultural artifacts that preserve the essence of their time while continuing to inspire and entertain future generations.
Classic movies are timeless, exploring themes that resonate across different eras, such as love, sacrifice, conflict, and redemption. Characters in classic films often possess qualities and experiences that audiences can relate to, making their stories memorable and impactful. It’s movies that people can watch repeatedly, discovering new layers of meaning or simply enjoying timeless entertainment.
Classic movies promise artistic excellence. The directors of classic films are often pioneers who introduce new techniques or storytelling methods. Memorable and powerful performances by actors can elevate a film to classic status. Many modern filmmakers draw inspiration from classic movies, emulating their styles and techniques.
Classic movies often leave a lasting mark on popular culture, inspiring quotes, fashion, and even other forms of media. Recognition from critics, awards, and film institutions can solidify a movie’s status as a classic. A classic film continues to be relevant and appreciated long after its initial release, often spanning generations of audiences.
Classic films offer a window into the past, reflecting the social norms, cultural values, and historical events of their time. They often shape and reflect the cultural landscape, influencing fashion, language, and societal attitudes.
Many classic films introduced innovative filmmaking techniques, from special effects to narrative structures, setting new standards for future filmmakers. They are often celebrated for their artistic achievements in areas such as cinematography, direction, acting, and music. Offering compelling, well-crafted stories that resonate across generations, they explore themes that are universally relatable, such as love, honor, sacrifice, and the human condition.
Examples of classic movies include The Corbett-Fitzsimmons Fight (1897), A Trip to the Moon (1902), The Great Train Robbery (1903), The Birth of a Nation (1915), Metropolis (1927), Gone with the Wind (1939), Casablanca (1942), The Godfather (1972) and Star Wars (1977). Each of these films has left an indelible mark on the film industry and continues to be celebrated for its contributions to cinema.
A Modern Classic
A modern classic in cinema combines the timeless qualities of a classic film with contemporary elements that resonate with today’s audiences.
Contemporary cinema refers to films produced in the modern era, typically from the late 20th century to the present day, and is a dynamic and ever-evolving landscape that continues to push the boundaries of storytelling and technology. From blockbuster hits to indie gems, there is something for everyone to enjoy in today’s cinematic world.
Just like traditional classics, modern classics explore themes that are universally relatable, such as love, loss, identity, and social issues. These films often address contemporary societal concerns, making them relevant to current audiences while still holding enduring value.
Modern classics often feature unique storytelling techniques or plot structures that set them apart. These films tend to have well-developed, multi-dimensional characters that audiences can connect with on a deeper level.
Modern classics often leave a lasting mark on popular culture, influencing fashion, language, and other media. Advances in technology are leveraged to create visually stunning and immersive cinematic experiences.
Modern classics often transcend generational boundaries, resonating with both older and younger audiences. These films maintain their appeal over time, being just as enjoyable and impactful on repeated viewings.
Contemporary cinema often reflects a more globalised world, with stories and perspectives from various cultures and regions. Filmmakers explore intricate and multi-layered plots, delving into complex themes and character development, frequently blending elements from multiple genres, creating unique and innovative storytelling experiences.
Contemporary films often tackle important social issues, raising awareness and sparking conversations about topics like gender, race, and mental health.
Independent filmmaking has flourished, with many indie films gaining critical acclaim and mainstream success. Platforms like Netflix, Amazon Prime, and Disney+ have changed how audiences consume content, offering a vast library of films and original productions.
Examples of modern classics include The Shawshank Redemption (1994), Pulp Fiction (1994), The Lord of the Rings trilogy (2001 – 2003), and Inception (2010). These films combine timeless storytelling with contemporary elements, making them stand out in modern cinema.
Arthouse films or Auteur films
Art Films is a genre of classic films. Art films are typically independent films aimed at niche markets rather than mass audiences. They are known for their serious, artistic intent, often being experimental and not designed for commercial profit. These films usually contain unconventional or highly symbolic content and are recognized for their formal qualities that set them apart from mainstream Hollywood films.
These films are celebrated for their artistic ambition, thought-provoking content, and often unconventional narratives, making them stand out in the world of cinema.
Art films often focus on the authorial expressiveness of the director, social realism, and the thoughts, dreams, or motivations of characters, rather than a clear, goal-driven story.
Examples of art films that have achieved classic status include The Passion of Joan of Arc(1928), Battleship Potemkin (1925), 8½ (1963), Persona (1966), Mulholland Drive (2001), The Tree of Life (2011), The Lighthouse (2019)
by Daniel Dercksen·Comments Off on The Enigmatic Thrill of Mad Max: Fury Road: A High-Octane Odyssey
“Mad Max: Fury Road is a film about survival, and it’s about the human spirit. It’s about people who are pushed to the absolute limit and how they respond to that. It’s about the resilience of the human spirit, says writer-director George Miller.
Mad Max: Fury Road is significant because it pushed the boundaries of what an action film could be, blending high-octane entertainment with profound themes and artistic innovation. It’s a true cinematic triumph.
The film was crafted by George Miller, who collaborated with Brendan McCarthy and Nico Lathouris on the screenplay. Miller’s vision and direction brought the intense and visually stunning post-apocalyptic world to life, making it one of the most acclaimed action films of recent times.
George Miller found inspiration for Mad Max: Fury Road from his experiences as a doctor. He was deeply affected by the sight of road accident victims in the hospital emergency ward1. This influenced his filmmaking, as he wanted to create a world that reflected the brutal reality of human vulnerability and survival.
George Miller drew inspiration from a variety of sources for “Mad Max: Fury Road.” One significant influence was silent cinema. Miller was inspired by the visual storytelling techniques used in silent films, such as the work of Buster Keaton and the Russian filmmakers. He wanted to create a movie that could be understood without relying heavily on dialogue, much like a silent film.
Additionally, Miller was influenced by classic action sequences from other films. He mentioned being impressed by the car chase in Steven Spielberg’s Duel, the chariot race in the 1959 film Ben-Hur, and various scenes from Alfred Hitchcock’s movies. These films helped shape his approach to creating dynamic and visually compelling action sequences.
Miller also wrote extensive backstories for the characters, including a novella for Furiosa, which helped inform the development of the film and its characters. This deep understanding of the characters and their world contributed to the richness and depth of the story.
Mad Max: Fury Road relates to the previous Mad Max films by continuing the saga of Max Rockatansky, portrayed by Tom Hardy, a former cop turned road warrior in a dystopian future. While Fury Road is not a direct sequel to any specific Mad Max film, it maintains the spirit and themes of the series—survival, anarchy, and the battle against tyranny. Max is once again thrust into a violent struggle in a desolate wasteland.
“Max is a man who’s been through hell and back,” says Hardy. “He’s a survivor, but he’s also haunted by his past. Playing him was about tapping into that raw, primal instinct to keep going, no matter what.”
Max’s character remains consistent with his portrayal by Mel Gibson in the earlier films. He is a haunted loner, plagued by his past and struggling for redemption and sanity. Fury Road introduces new allies and adversaries, like Imperator Furiosa (Charlize Theron), adding depth to the universe. The character of Imperator Furiosa is a groundbreaking example of a powerful, complex female action hero. The film’s feminist themes and the portrayal of strong, independent women fighting for their freedom resonated with audiences and critics alike.
“Playing Furiosa was a transformative experience,” says Theron. “She’s a character who’s been through so much, and her strength and resilience are what drew me to her. I wanted to bring out her vulnerability as well as her fierce determination to fight for a better world.”
In a desolate, dystopian future where resources are scarce and humanity has devolved into chaos, Max Rockatansky finds himself captured by the tyrannical warlord Immortan Joe. Max teams up with Furiosa, who has gone rogue in search of redemption and a better life. They embark on a high-octane chase across the wasteland in a battle for survival.
The post-apocalyptic setting is more elaborately depicted with stunning visuals, chaotic chases, and inventive vehicle designs that stay true to the Mad Max aesthetic. Miller’s commitment to practical effects over CGI set a new standard for action films. The use of real stunts, practical explosions, and real vehicles provided a visceral, tangible quality to the action sequences. The film’s bold, colourful visuals and high-octane action scenes are breathtaking.
The film’s sparse dialogue and reliance on visual storytelling harken back to the silent film era, yet it feels incredibly modern. This approach allows the story to be understood universally, transcending language barriers.
Mad Max: Fury Road received widespread critical acclaim and won numerous awards, including six Academy Awards. It was praised for its direction, performances, production design, costume design, sound editing, and sound mixing. Its success demonstrated that action films could also be critically acclaimed masterpieces.
“Fury Road” is renowned for its stunning cinematography and practical effects. The film features an array of jaw-dropping stunts, explosive action sequences, and visually striking imagery that brings the harsh desert landscape to life.
The film has had a lasting impact on popular culture, inspiring other filmmakers, artists, and fans. Its distinctive aesthetic, memorable characters, and innovative action sequences have made it a touchstone in the action genre.
The film also addresses environmental themes, such as the scarcity of resources and the consequences of a world ravaged by ecological disaster. Additionally, it explores the themes of power, oppression, and the fight for human dignity.
The film has left a lasting impact on the action genre and is considered a modern classic. Its unique style, intense action, and compelling characters have made it a favourite among fans and critics alike.
Mad Max: Fury Road is rated R, which means it’s not suitable for all audiences, particularly children. The film contains intense sequences of violence, disturbing images, and strong language. Its themes and scenes are crafted for a mature audience. If you’re looking for a more family-friendly movie night, there might be better options out there. However, for those who appreciate high-octane action and compelling storytelling, it’s a cinematic masterpiece.
by Daniel Dercksen·Comments Off on Liefling – Music is a powerful way to connect with our roots and express our identity
While Liefling is primarily in Afrikaans, the universal themes of love, family, self-discovery, and overcoming challenges make it relatable to a wider audience. The emotions and experiences depicted in the film are universally understood, and music has a unique ability to transcend language barriers. The catchy tunes, heartfelt performances, and engaging storyline can resonate with viewers regardless of their native language.
The inspiration for the Afrikaans musical Liefling came from a desire to revive and celebrate Afrikaans music and film in South Africa. The film’s producers, Paul Krüger and Linda Korsten, aimed to create a family-friendly musical that would resonate with both older generations and younger audiences.
Set against the backdrop of beautiful South African landscapes, Liefling combines romance, drama, and music to tell a captivating tale of love, family, and self-discovery. The goal was to create a feel-good love story that would bring joy and nostalgia to viewers, while also introducing younger generations to classic Afrikaans music.
The story was crafted around well-loved Afrikaans songs from the 1970s to contemporary hits, weaving them into the narrative to tell the tale of Liefling Marais, an adventure-loving girl. The film was also inspired by the success of international musicals and the resurgence of musical films as a popular genre.
The songs play a crucial role in advancing the storyline and developing the characters. The songs, which range from classic Afrikaans hits from the 1970s to contemporary tunes, are woven into the narrative to reflect the emotions, relationships, and pivotal moments in the characters’ lives
It was directed by Brian Webber, a multi-talented artist who also contributed to the writing of the film along with Erik Holm, Linda Korsten, Paul Krüger, Anél Stolp, and Schalk van der Merwe. The film was produced by Paul Krüger and Linda Korsten, the daughter of the late Afrikaans music icon Gé Korsten.
The story revolves around Liefling Marais, an adventurous and spirited young woman living in a small town in South Africa. She falls in love with Jan, a handsome and charming man. However, their relationship faces obstacles, including the manipulative and scheming Melanie, who has her own designs on Jan. As the story unfolds, Liefling and Jan navigate their feelings for each other, dealing with misunderstandings, rivalries, and personal growth. The film is filled with heartfelt moments, joyful musical numbers, and the trials and triumphs of love.
The film is screened with English subtitles which makes “Liefling” more accessible to non-Afrikaans speakers, allowing them to follow the story and enjoy the music while understanding the dialogue. Subtitles bridge the language gap and enable a wider audience to appreciate the film’s charm, emotional depth, and cultural richness.
You’ll be able to enjoy the heartfelt performances and captivating storyline while getting a taste of Afrikaans music and culture.
The musical format allows the film to convey the story in a vibrant and engaging way, making the characters’ experiences more relatable and emotionally resonant for the audience. Celebrating the tradition of Afrikaans music is vital, as it reflects the rich cultural heritage, history, and stories of the Afrikaans-speaking community. Afrikaans music has a unique blend of influences and styles, from folk and traditional songs to modern pop and rock. It resonates deeply with people, preserving memories, emotions, and shared experiences.
Highlights
Kinders Van Die Wind is a classic Afrikaans song performed by Marlouise Vente in the musical “Liefling.” The title translates to “Children of the Wind” in English. This song is beautifully poignant and evocative, exploring themes of life, freedom, and the passage of time. The metaphor of being “children of the wind” reflects the transient nature of human experiences and our journey through life, carried along by the forces around us. In the context of the film, “Kinders Van Die Wind” adds a reflective and emotional depth to the narrative, connecting with the audience on a profound level. It underscores the characters’ inner thoughts and their connections to their past and future.
Spieeltjie is a poignant song performed by Bobby van Jaarsveld in the film. The title translates to “Little Mirror” in English, and the song delves into themes of self-reflection, introspection, and the longing for understanding one’s true self. It’s a moment in the film where the character is looking inward, grappling with personal doubts and searching for clarity. The emotional depth of “Spieeltjie” adds to the character development and enriches the storyline, making the audience feel more connected to the journey and inner struggles of the characters. The music and lyrics beautifully capture the essence of vulnerability and the quest for self-discovery.
Ek Verlang Na Jou is a beautiful Afrikaans song performed by Sonja Herholdt. The title translates to “I Long for You” in English. The song expresses deep emotions of longing and desire, capturing the essence of missing someone special and yearning for their presence. It is performed by Lika Berning and Sonja Herholdt, adding a heartfelt and emotional layer to the storyline. It reflects the characters’ intense feelings and the challenges they face in their relationships.
Liefling is a significant song in the musical, and it’s performed by Bobby van Jaarsveld and Lika Berning. The title translates to “Darling” in English, and the song is a beautiful and heartfelt expression of love and affection. It’s one of the key musical numbers in the film, symbolizing the deep emotional connection between the main characters, Liefling Marais and Jan. The song captures the essence of their romantic relationship and serves as a recurring motif throughout the film, highlighting the highs and lows of their journey together. Its melody and lyrics resonate with the themes of love, commitment, and the desire to be with one’s beloved. It is not just a song within the film, but also a classic Afrikaans hit that has been cherished by audiences for many years. Its inclusion in the musical adds a layer of nostalgia and emotional depth, making it a centerpiece of the story.
Kaptein (Span Die Seile) is a popular Afrikaans song performed by Kurt Darren. The title translates to “Captain (Set the Sails)” in English. The song is an upbeat and energetic dance-pop track that has become a favorite among Afrikaans music fans. It adds a lively and spirited element to the film, reflecting the adventurous and bold nature of the characters. It’s a song that brings a sense of excitement and movement, perfectly fitting the film’s themes of love and adventure.
by Daniel Dercksen·Comments Off on Love Hurts – A visceral, high-octane story of wrath and revenge
Love Hurts originated with screenwriters Josh Stoddard and Matthew Murray, whose script—then titled Gable—caught the attention of then-stunt performer and coordinator David Leitch, long before he became one of Hollywood’s most influential action filmmakers. “When I first read the script 20 years ago, I was immediately drawn to it,” Leitch says. “Josh and Matthew crafted such a rich world; the characters really leapt off the page and the dialogue was fantastic.”
OVERVIEW: Combing action, comedy, and romance, Love Hurts offers a fresh take on the action-comedy genre. Directed by Jonathan Eusebio, this is his first feature film, adding an element of excitement as audiences get to see a new directorial vision. The film stars Ke Huy Quan, who gained widespread acclaim for his role in Everything Everywhere All at Once. This is his first major leading role, marking a significant milestone in his career. Produced by 87North Productions, known for their expertise in action choreography, the film promises thrilling action sequences and is anticipated to be an exciting and significant film that combines star power, a unique storyline, and impressive action choreography. With its release around Valentine’s Day, the film aims to capture the attention of audiences looking for a mix of romance and action.
It’s a premise as compelling as its journey to screen
The story follows Marvin Gable, a former hitman who trades in his lethal skills for a real estate license, only to discover that some debts can’t be settled with a down payment. The premise was deceptively simple: a former assassin finds meaning in selling homes, only to have his new life upended when a woman from his past seeks his help to confront their former employer. It evolved from a standout script into a sharp, action-packed thriller that unites an Oscar-winning cast with filmmakers at the height of their craft.
The story originated with screenwriters Josh Stoddard and Matthew Murray, whose script—then titled Gable—caught the attention of then-stunt performer and coordinator David Leitch, long before he became one of Hollywood’s most influential action filmmakers.
The story’s underlying themes of redemption and identity resonated with producer Kelly McCormick, who, alongside Leitch, her producing partner and spouse, Leitch, has produced some of the most innovative action films of the past decade, including Nobody, Bullet Train, Atomic Blonde and The Fall Guy through their company, 87North Productions. “There was always something compelling about a real estate agent who’s relatable, funny and caught between two worlds,” McCormick says. “As our company has grown and we’ve established ourselves in the action space, this script kept resurfacing. Eventually, we knew it was time to tell it.”
First-time director Jonathan “JoJo” Eusebio was a natural choice to helm Love Hurts, given his nearly three-decade relationship with Leitch, which began at the Inosanto Academy of Martial Arts where they studied together. Their creative partnership, forged in stunt work on films including The Bourne Legacy and 300, evolved through Leitch-directed features such as Deadpool 2 and The Fall Guy. Beyond his collaborations with Leitch, Eusebio has established himself as leading force in the art of stunt and fight coordination, including in some of the biggest action films of the past decade, including Black Panther, The Avengers and Birds of Prey, among many others.
Eusebio’s career has followed a similar trajectory to Leitch’s, evolving from stunt performer to action choreographer and second unit director. Now, he has become an integral part of 87North’s creative fabric. “At 87North, it’s a goal of ours to not only support up-and-coming action designers and stunt coordinators, but to find the next generation of action filmmakers,” Leitch says. “JoJo was always meant to be part of that future. He and I go back almost 30 years when we studied martial arts together. We were both just starting out in the stunt world. He became one of the original members of the 87eleven choreography team that I built with Chad Stahelski, and since then, we’ve collaborated on countless projects together.”
Eusebio’s rare combination of technical prowess and emotional intelligence made him the ideal choice. “We’ve wanted JoJo to direct for a long time,” McCormick says. “Actors love working with him. Whenever he’s training actors for films, he’s the one they turn to. They have his phone number faster than anyone else’s, and he’s great at becoming their ambassador, helping them connect to their characters in the action space. That ability to build rapport and trust with actors gave me confidence that he could bring those same skills to directing. We were thrilled to see him tell a story that resonated with him—one that blended Eastern and Western philosophies in its action.”
Eusebio credits his evolution to the guidance of his longtime collaborators. “It’s been incredible to see Dave progress to where he is now,” Eusebio says. “For me, it felt like a natural progression to follow in his footsteps and move toward directing. Kelly was my manager for a long time and has been a mentor to me. She once told me, ‘I think it’s time to think about what you want to do for the rest of your career.’ That encouragement stayed with me. She’s been instrumental in my growth, helping me secure second-unit directing opportunities on their productions and consistently sharing scripts that might spark interest in me.”
Upon reading Love Hurts, Eusebio immediately recognized the opportunity to make this story his own. “I knew I wanted to honor 87North’s signature blend of intensity and innovation,” Eusebio says. “But I also saw an opportunity to explore the emotional complexity of a man forced to confront the life he left behind. The action draws inspiration from the martial arts films I grew up watching, with choreography that evolves alongside Gable’s journey. Each fight sequence is unique, starting with lighter, playful encounters that gradually become more brutal and visceral as Gable’s emotional state transforms. The action reflects his inner conflict.”
Eusebio’s commitment to crafting a complete cinematic experience was evident in his thorough preparation. “JoJo approached the process like a sponge,” McCormick says. “He even took classes with a dramaturg to fully understand each scene—what the actors could bring, what they couldn’t, and what to focus on for every moment. His enthusiasm was contagious; the entire team rallied around him. Even during the cold Winnipeg winter, the crew showed up every day, determined to help him bring his vision to life. On set, he maintained a perfect balance of focused intensity and warmth, always making sure everyone felt valued while delivering outstanding work.”
For Eusebio, directing Love Hurts meant bringing a fresh perspective to the genre he knows best. “I’ve spent my career helping directors realize their visions for action sequences,” Eusebio says. “This was my opportunity to tell a complete story, to show how action can drive emotion and reveal character. Every fight, every stunt, every moment of tension serves a purpose.”
Following 87North’s collaborative tradition, Eusebio assembled a crew of trusted teammates he’d worked alongside for years. “Now that I’m directing, my team stepped into the roles I once held,” Eusebio says. “Having grown together, there’s a natural trust. We’ve shared so many projects together that they understood my vision instinctively. What I love about working with this group is our shared sensibilities—we grew up watching the same films, share the same drive, the same senses of humor and relentless work ethic. I gave them room to be creative because I completely trust their instincts, and they often surprised me with ideas I hadn’t considered. When you find the right team, you stick together.”
After nearly two decades, Love Hurts has found its moment. “It’s funny, this script has been around longer than I have—at least in David’s world,” McCormick says. “But sometimes, the best stories are worth waiting for.”
Bold Casting
The role marks a transformative moment for Quan, who began his career as a beloved child star in Indiana Jones and the Temple of Doom and The Goonies before stepping away from acting for nearly two decades. His triumphant return in 2022’s Everything Everywhere All at Once earned him an Academy Award® for Best Supporting Actor and reignited his passion for performance. Now, as Marvin Gable, Quan confronts Hollywood’s traditional action hero archetype head-on. “When I first read the script, I thought, ‘This part isn’t for me—you should call Jason Statham,’” Quan says. “Over the years, the classic action star hasn’t looked like me—they looked like Arnold Schwarzenegger, Sylvester Stallone, The Rock.”
A meeting with director Jonathan Eusebio and producer David Leitch shifted his thinking. “When I met with JoJo and David, they showed me they wanted to create a different kind of action star—one who could be vulnerable and wear his emotions on his sleeve,” Quan says. “That’s when I knew I had to do this film. This movie is a testament to how far Hollywood has come, being willing to shake up the status quo and give audiences something different. I don’t look like The Rock, my biceps aren’t as big as his, but that’s what I love about Marvin Gable. A true badass doesn’t need to look like a badass. He doesn’t need anyone to think he is one. That’s what makes him stand out—it’s precisely because of that.”
This bold casting continues 87North’s tradition of finding unexpected action heroes, from David Harbour as Santa in Violent Night to Bob Odenkirk as Hutch Mansell in Nobody.
Quan’s journey from child actor to action choreographer to leading man mirrors Marvin’s own path of transformation. During his nearly twenty-year hiatus from acting, Quan immersed himself in the craft of action filmmaking, studying under legendary Hong Kong director and choreographer Corey Yuen (The Transporter, X-Men). “I studied martial arts as a kid, and in my early twenties, I was excited to use those skills in movies—but I never got the chance,” Quan says. “That was a big reason for why I had to step away from acting. After film school, I was lucky enough to be mentored by Corey Yuen, learning the ins and outs of action choreography, how to stage fights and make them look great on screen. Those years of learning under him were invaluable. So, with Love Hurts, it’s incredible—I finally got to bring everything together, to do everything I’d always dreamed of and more. To play cool characters is already an amazing opportunity, but to do it as the lead was something I never thought I’d have the chance to do.”
Under the direction of stunt designer & coordinator and second-unit director Can Aydin, Love Hurts marks a unique fusion of Eastern and Western action styles, blending the physical comedy and intricate choreography of classic Hong Kong cinema with 87North’s signature approach to intense, character-driven combat. Having collaborated with director Jonathan Eusebio for more than a decade, Aydin brought his extensive experience from previous 87North productions like The Fall Guy and Violent Night to craft action sequences that go beyond spectacle. Each fight sequence mirrors Marvin Gable’s emotional journey, beginning with restrained precision and building to explosive confrontations as his carefully constructed façade begins to crack.
The shared appreciation for Hong Kong cinema created an immediate creative connection. “David Leitch grew up watching the same classic Hong Kong action films I did—Jackie Chan, Donnie Yen, Jet Li,” Quan says. “He took that knowledge, worked in Hong Kong, and brought it back to Hollywood with a fresh perspective. At 87North, they truly understand this genre—it’s about combining incredible stunt work with emotional depth. For two and a half months, I had this love-hate relationship with one of my trainers, PHONG GIANG, during prep. I’d pretend and say, ‘Oh my God, this hurts,’ and he’d see right through it and say, ‘We need more weights.’ I kept pushing to add more kicks to the choreography, wanting to tap back into my Taekwondo days. I pulled them off too—I just needed a lot more Tylenol than I used to.”
From Page to Screen
The film’s fusion of Eastern and Western fighting styles creates a unique visual language, ranging from Jackie Chan-inspired physical comedy to dynamic combat sequences reminiscent of John Wick and Atomic Blonde. This blend leverages the diverse backgrounds of both cast and crew to create something entirely new.
Daniel Wu’s extensive background in Hong Kong cinema, including his work with Jackie Chan, adds another layer of authenticity. His experience in Hong Kong’s demanding action film industry enhances the film’s cultural fusion while grounding the more intense combat sequences.
Can Aydin’s decade-long collaboration with director Jonathan Eusebio created an efficient creative shorthand, allowing them to translate complex visions into dynamic action quickly. Their partnership, developed across multiple 87North productions, proved crucial given the production’s tight schedule.
Despite time constraints, complex fight scenes such as the kitchen sequence were meticulously planned and executed, often in just one or two days. This efficiency came from careful coordination of props, set pieces and character motivations.
The stunt team prioritized practical effects over digital enhancement, capturing spectacular sequences in-camera whenever possible. Visual effects were used primarily to enhance surroundings rather than create action, maintaining the visceral impact of practical stunts.
The film’s cinematographer, Bridger Nielson, has a long-standing relationship with 87North, having served as the second unit director of photography on several of their productions including Bullet Train, Violent Night and The Fall Guy.
The film’s visual style was heavily influenced by Hong Kong cinema, particularly the action sequences and use of color in the gangster world of Gable’s past. Nielson drew inspiration from the contrast between cookie-cutter neighborhoods in the western U.S. and vibrant Asian night markets. This contrast reflects Gable’s journey from his carefully controlled, uniform life as a real estate agent to the colorful chaos of his past.
Nielson created a visual bible with reference images that followed the film from beginning to end and served as a style guide for the progression of the look in story order. A special vintage lens system was used for flashback sequences to put viewers in Gable or Rose’s point of view as their memories unfolded.
Marvin Gable’s dual life was visually distinguished through color contrast: his new life as a real estate agent is portrayed with a muted, monotone palette, while his past life featured increasingly vibrant colors. As Rose re-enters his life, she gradually brings back the vivid hues associated with his former world.
Production designer Craig Sandells created a visual concept lookbook early in the production process, establishing the film’s contemporary, slick aesthetic with a cool vibe and elements of humor. The lookbook was available digitally and mounted in large scale in the art department for the team to reference.
Visual inspirations for Love Hurts included Atomic Blonde, the John Wick series, Kung Fu Hustle, The Avenging Eagle and Bullet Train.
Concept renderings were created for all sets and locations, providing director Jonathan Eusebio with a tool to understand the design, its relationship to the original concepts and how the space could be used for characters and action.
The Team
Jonathan Eusebio is a highly skilled martial artist, stunt coordinator, and action choreographer. Born on September 15, he has made significant contributions to the film industry through his expertise in martial arts and action sequences. He has worked on numerous high-profile films, including Black Panther (2018), John Wick (2014), The Avengers (2012), and 300 (2006). He has served as an assistant director and second unit director on films like Obi-Wan Kenobi (2022) and Violent Night (2022). Jonathan has also appeared in various roles in films such as The Bourne Legacy (2012) and Never Back Down (2008). He trained at the Inosanto Academy and has extensive knowledge in various martial arts disciplines, including Filipino martial arts, Brazilian jiu-jitsu, and Western boxing. Jonathan is known for his ability to enhance performances cinematically while maintaining the integrity of the story. He is a member of 87Eleven, a full-service action film company, and has trained many action stars at their gym in southern California.
Matthew Murray began his career with guest roles in television series such as The Firm and Suits. He gained recognition for his recurring role as Officer Duncan Moore in the Canadian police procedural series Rookie Blue. Matthew has also appeared in Kevin from Work, 9JKL, and In the Dark. He is known for his versatility and dedication to his craft. He has written for several projects, including CloudStreet: Soaring the American West (2015) and Sheltered (2010). He is also credited as a writer for Love Hurts (2025).
Josh Stoddard is a talented producer, writer, and actor. He is known for his work on The Shannara Chronicles, Kaleidoscope, and Into the Badlands. Josh has served as a co-executive producer, writer, and director on various projects. His contributions to the entertainment industry have been widely recognized, and he continues to be involved in exciting new projects.
Luke Passmore is a writer and producer known for his work on The Day, Trick ‘r Treat, and Slaughterhouse Rulez. He has also contributed to TV series such as The Walking Dead and Teen Wolf. Luke’s creative talents have made a significant impact on both film and television, and he continues to be involved in various projects.
by Daniel Dercksen·Comments Off on The Brutalist – Immigration, Art, and Resilience: Exploring Brady Corbet’s Cinematic Labour
“The Brutalist was written as a sort of exorcism and response to what my wife and I had been through,” says writer-director Brady Corbet, who co-wrote the screenplay with his wife, Mona Fastvold, drawing from their personal experiences in the film industry to craft the story. “Corbet mentioned that the film was “It was a way to “exorcise“ the challenges and frustrations they faced, particularly the struggle to maintain creative control and protect their artistic vision.
POINT OF VIEW:The Brutalist is a thought-provoking and visually stunning film that addresses complex themes and encourages viewers to consider the intersection of identity, displacement, and art. The film delves into the struggles and resilience of immigrants, particularly Jews, in post-World War II America. It portrays the challenges they face in establishing themselves and preserving their cultural identity. The film highlights how art can be a powerful tool for healing and making sense of one’s experiences. The film offers a critique of American society, particularly its history of oppression and exclusion. It challenges viewers to reflect on the darker aspects of the American dream and the systemic issues that persist. The film is noted for its technical achievements, including its use of VistaVision and a hauntingly beautiful score by Daniel Blumberg. The cinematography and editing are deliberate and evocative, enhancing the narrative’s emotional impact.
From writer-director Brady Corbet comes the story of László Tóth, a Hungarian-Jewish architect who, after surviving the Holocaust, emigrates to the United States to begin a new life while awaiting the arrival of his wife, Erzsébet, trapped in Eastern Europe with their niece following the war. What László finds upon his arrival in the West is an America far different from the one he expected. The promise of the American Dream proves to be illusory as his stature and reputation as a successful architect in Budapest do not translate to his blue-blood Pennsylvania surroundings.
“It’s a journey of a refugee connected to his past who has also been stripped of his past. He’s trying to find his way in a new land with a new set of rules.,” says Adrien Brody, who plays László Tóth.
“It examines how the immigrant experience mirrors the artistic one in the sense that whenever one is making something bold, audacious or new — like the Institute László constructs over the course of the film — they are generally criticized for it,” says Corbet, who spent seven years making the film. “And then over time they are lionized and celebrated for it.”
Adds Mona Fastvold, who co-wrote The Brutalist, as well as Corbet’s features The Childhood of a Leader and Vox Lux, “We loved the partnership, friendship, and love story that developed between László and Erzsébet as we wrote the screenplay. These were the first sparks and ideas that became The Brutalist.”
It’s not the journey, it’s the destination.
Brutalist architecture came into style in the United Kingdom in the 1950s, among the reconstruction projects of the post-war era. Minimalist constructions showcasing bare elements like exposed concrete or brick, Brutalism emphasizes structural elements over decorative design, as demonstrated in the works of Le Corbusier, Marcel Breuer, William Pereira, Moshe Safdie, Denys Lasdun, and Alison & Peter Smithson.
Corbet and Fastvold became fascinated by Brutalist architecture for its physical and psychological resonance. “For us, post-war psychology and post-war architecture — including Brutalism — are linked, something we bring to life in the movie through the construction of the Institute, a manifestation of 30 years of trauma in László Tóth, and the ramification of two World Wars,” says Corbet. “We found it poetic that the materials that were developed for life during the war were then incorporated into residences and corporate projects in the ‘50s and ‘60s by the likes of Marcel Breuer and Le Corbusier.”
Adds Corbet: “Brutalism can be austere but it’s also monumental in style — these strange objects that are loved and loathed in equal measure and take time to unfold in the public imagination because people can’t seem to figure them out in the moment. This for me mirrors the immigrant experience — and Brutalism is a style of architecture that was predominantly created by immigrants. In scope and scale, Brutalist buildings are begging to be seen — but the people who designed or built them were fighting for their right to exist.”
Corbet has made two previous features, both historical movies: The Childhood of a Leader (2015), the story of a young American in France who grows up to be a fascist dictator, was set between 1918 and 1940; his follow-up, Vox Lux (2018), took place between 1999 and 2017, tracking the rise of a female American pop star against a backdrop of gun violence and the 9/11 terror attacks.
Corbet’s features wrestle with the defining moments of the 20th century. The Brutalist, his most expansive work to date, focuses mainly on the mid-century era in American and European life — the decade immediately following the two World Wars. “It’s a time period that has always fascinated me, primarily in the way that post-war psychology had this extraordinary imprint and influence on post-war architecture,” says Corbet. “Something all three of my movies have in common is that they are very much about the cyclical nature of history. The Brutalist is a historical film, and the characters are written to their circumstance. The film has much to say about the immigrant experience in America, and how the American Dream fails László and Erzsébet Tóth.”
While researching The Brutalist, Corbet consulted architectural scholar Jean-Louis Cohen, whose works on Le Corbusier and Frank Gehry are widely respected. Visiting him at Princeton, where he teaches, Corbet asked Cohen if he knew of a real-life figure in history who established an architecture firm in one part of the world, only to experience displacement and exile in the war that forced the designer to start over again abroad.
Cohen couldn’t name anyone, so Corbet and Fastvold set about creating the fictional components that became László and Erzsébet Tóth. “The story chronicles 30 years in the life of an architect that was well established before the Second World War,” says Corbet. “He and his wife get stuck in the quagmire of war and emigrate separately to America — László in the late ‘40s and Erzsébet in the late ‘50s. The Brutalist is essentially about László trying to re-establish himself in America after being separated from his wife for a decade.”
While a figment of Corbet and Fastvold’s imagination, László’s experiences in America reflect those of key artists of The Brutalist movement, including Louis Kahn, Mies van der Rohe, and most of all, the Hungarian-born Marcel Breuer, who designed the Whitney Museum in New York City, now the Met Breuer.
“The truth of the matter is that most Eastern or Central European Jewish architects that got stuck in Europe during the war did not make it out alive,” says Corbet. “In Breuer’s case, he was a well-regarded academic who was invited to work with Walter Gropius in America in 1937.”
As they researched and wrote, Corbet and Fastvold became interested in Breuer’s relationship with his wife — not to mention his volatile relationship with his own critics, who were often merciless towards his work in both Europe and America. “In the latter part of his life, Breuer was not a particularly celebrated architect,” says Corbet. “Now he’s considered to be one of the finest architects of the 20th century.”
The Brutalist is the story of how the American Dream becomes toxic in the eyes of both Tóths after László meets and accepts the patronage of the wealthy industrialist Harrison Lee Van Buren, in exchange for constructing a memorial to Van Buren’s late mother on the oligarch’s sprawling Pennsylvania property. Over the course of the film, that monument becomes a testament to Tóth’s genius, his struggles in the war, and the epic battle he engages in with the capitalist Van Buren to get it made.
“It’s wonderful to have a storytelling approach that allows enough time with a character to see and experience a life in total, which is what Brady and Mona have achieved in The Brutalist. Oftentimes you jump into the action and things happen in a story — but you don’t know the person you’re on the journey with. This film encompasses a 30-year span of one man’s life.”
To add air to the The Brutalist’s expansive running time of 3 hours and 35 minutes , Corbet and Fastvold incorporated a 15-minute intermission into the script, which arrives at the film’s mid-point, separating into two distinct chapters László’s arrival in America with his wife’s.
“It’s a rolling intermission because it’s a long story that plays out across multiple years and decades,” says Corbet. “We didn’t want exhibitors to stop the movie and turn on the lights, which messes with their routine.”
For the editing process, Corbet turned to Dávid Jancsó, his collaborator on The Childhood of a Leader as well as Fastvold’s on The World to Come. A Hungarian native, Jancsó is the son of lauded filmmaker Miklós Jancsó, who achieved international prominence in the 1960s for his historical allegories featuring long-sequence shots; the elder Jancsó went on to influence Hungary’s most famous filmmaker, Béla Tarr, who turned Slow Cinema into an art-house phenomenon.
“David was a no-brainer for this project because there’s so much Hungarian dialogue, and he has such a unique sensibility in his cutting — he has no trouble letting a scene or sequence breathe,” says Corbet.
“So many scenes in the movie feature dialogue and conversation; David went out of his way to distil every scene to its essence.”
For Jancsó, László Toth’s monumental work in the film became the stylistic reference for how he thought about structuring the film’s equally monumental runtime: “The architectural motifs were also mirrored in the editing style,” he explains. “The clean, geometric precision of brutalist architecture influenced the cutting patterns, with long, unbroken shots interspersed with sharp, abrupt cuts, creating a rhythm that reflected the tensions in László’s life.”
It also gave Jancsó opportunity to rewatch and reconsider a wide range of epics from Hollywood and international filmmakers over the last sixty years, films that similarly told something of a generation and a nation by tracking the stories of their ambitious, single-minded protagonists: from Bernardo Bertolucci’s chilly and chillingly modernist The Conformist, with “memories and flashbacks woven seamlessly into the present” to Francis Ford Coppola’s era-defining The Godfather, which showcased editors “William Reynolds and Peter Zinner’s ability to slowly build tension within quiet, emotionally charged scenes.”
Jancsó’s deep knowledge of celluloid filmmaking, including shooting in the antiquated VistaVision format, helped Corbet and Crawley develop peace of mind during the film’s 18-month post-production process.
“The film couldn’t have been in better hands because David’s technical prowess in the editing room is unmatched,” says Corbet. “Very few people are as dialed into the analog post-production process as David is, which gave Lola sense of calm when he was handing over the footage. David handled everything with expert gloves.”
Brady Corbet is a writer, director and actor. Brady made his feature directorial debut in 2015 with THE CHILDHOOD OF A LEADER, starring Academy Award nominee Bérénice Bejo and Robert Pattinson. The film was lauded with critical acclaim and decorated at the Venice Film Festival with the Orrizonti Best Director Award and Luigi De Laurentiis Lion of the Future Award for Best Debut Film. His previous directing effort was the short film PROTECT YOU + ME, which won an award at the 2009 Sundance Film Festival and was shot by legendary cinematographer Darius Khondji. His second feature film, VOX LUX was hailed by critics after it premiered in competition at the 2018 Venice Film Festival, London Film Festival and Toronto International Film Festival. Starring Academy Award Winner Natalie Portman and Academy Award Nominee Jude Law, with original music by Sia, the film was picked up for US theatrical distribution by NEON. His next original feature is THE BRUTALIST,which premiered at the Venice Film Festival to huge critical acclaim, with Brady being honoured with the Silver Lion award for Best Director. As an actor, Corbet has worked with world class filmmakers such as Michael Haneke, Olivier Assayas, Ruben Östlund, Noah Baumbach, Lars Von Trier, Gregg Araki, Lisa Cholodenko and Antonio Campos, among many others.
Mona Fastvold is a New York and Oslo based director / writer. She made her directorial debut in 2012 with THE SLEEPWALKER, which went on to premiere at Sundance in U.S. competition and was later distributed by IFC Films. THE SLEEPWALKER was co-written by Brady Corbet (who also starred). Corbet and Fastvold continued their close collaboration with THE CHILDHOOD OF A LEADER, which had its international premiere at the Venice Film Festival, where it won Best Director and Best First Feature, and earned Fastvold an Independent Spirit Nomination. Fastvold frequently writes for and in collaboration with several directors, including Brady Corbet with VOX LUX and Laure de Clermont-Tonnerre with MUSTANG, a feature film distributed by Focus Features. Her latest collaboration with Brady Corbet on THE BRUTALIST which premiered at the Venice Film Festival to huge critical acclaim, with Brady being honoured with the Silver Lion award for Best Director. Fastvold directed her second feature THE WORLD TO COME, starring Katherine Waterston and Vanessa Kirby. The acclaimed film premiered in official competition at the Venice Film Festival in 2020 and was distributed by Sony Pictures worldwide. Fastvold is currently in post-production on her third directorial feature, co-written with Brady Corbet.
by Daniel Dercksen·Comments Off on Ink of Authenticity: Writing What You Know
“Write what you know” is timeless advice that encourages writers to draw from their own experiences, emotions, and knowledge. By infusing your writing with the authenticity and depth that comes from real-life experiences, your work will resonate more with readers, creating a sense of genuine connection.
If you’re familiar with a specific setting, profession, or hobby, or wish to explore your inner truth, incorporating those details can bring your story to life. Drawing from your personal emotional experiences can help create relatable characters and scenarios, enhancing the authenticity of your narrative.
But don’t feel limited! Imagination and research can take you beyond your immediate knowledge. By blending the familiar with the fantastical, you can ground your story in real experiences while allowing your creativity to soar. Researching unfamiliar topics, places, and cultures, combined with your vivid imagination, opens up endless possibilities. This mix enables you to create richer, more diverse worlds and characters that captivate and engage your readers, transcending the limitations of your own experiences.
Ground your story with real experiences, anchoring it in authenticity and depth.
Let your creativity break free of confines and provoke your imagination to soar. Research new topics, explore unknown places, and let your mind wander into the realms of the fantastical. This dynamic fusion of the real and the imagined not only brings your story to life but also captivates your readers with its authenticity and boundless creativity.
Writing with authenticity and depth can make your work more engaging and relatable
Draw from Personal Experiences: Use your own life experiences, emotions, and memories as a foundation for your writing. Even if the story is fictional, grounding it in reality can add a layer of authenticity.
Develop Complex Characters: Create multi-dimensional characters with flaws, desires, and backgrounds. Readers connect more with characters who feel real and relatable.
Create intricate, fictional worlds with their own rules, cultures, and histories. Let your creativity soar and imagine places and scenarios beyond your reality.
Show, Don’t Tell: Instead of just telling what happens, show it through actions, dialogues, and sensory details. This technique helps immerse readers in the story.
Research Thoroughly: If you’re writing about a topic you’re less familiar with, research extensively. Accurate details can enhance the credibility and richness of your narrative.
Embrace Vulnerability: Don’t shy away from exploring difficult emotions or situations. Vulnerability in writing can resonate deeply with readers and add depth to your story.
Write with Passion: Choose subjects that genuinely interest and excite you. Your passion will come through in your writing and captivate your audience.
Be Honest: Be true to yourself and your voice. Authenticity in your writing voice can create a strong connection with your readers.
Think outside the box to devise surprising and engaging plot twists that keep readers on their toes.
Edit and Reflect: Take time to revise your work and reflect on its authenticity. Ask yourself if it feels true to your experiences and intentions.
The Write Journey course empowers you to blend imagination and research, creating stories that are both fantastical and grounded, offering readers an engaging and enriching experience.
by Daniel Dercksen·Comments Off on Queer – A Masterwork of Obsession and Desire
“Queer is a journey into the depths of human emotion and the search for meaning in a world filled with uncertainty, says director Luca Guadagnino. “Through the eyes of William Lee, we explore the intricacies of identity, the struggle for connection, and the relentless pursuit of understanding oneself.”
REVIEW: The significance of the film Queer lies in its exploration of deeply human themes and its ability to resonate across different generations and cultures. The film delves into the protagonist’s struggle with his identity and his place in the world. This introspective journey reflects the universal quest for self-discovery and acceptance, making it relatable to a wide audience. At its core, Queer is about the complexities of human relationships. It examines the desire for connection, the pain of unrequited love, and the challenges of truly understanding another person. These themes are timeless and resonate with anyone who has experienced the highs and lows of relationships. The film goes beyond surface-level storytelling to explore the psychological and emotional depths of its characters. This approach allows for a more profound and immersive viewing experience, encouraging the audience to empathize with the characters’ struggles and triumphs. Themes such as obsession, desire, loneliness, and the search for meaning are universal and timeless. Queer stands as a significant work in contemporary cinema, offering a poignant and reflective exploration of what it means to be human. It’s a film that challenges viewers to look beyond superficial judgments and recognize the shared humanity in everyone.
Luca Guadagnino was deeply inspired by William S. Burroughs’ 1985 semi-autobiographical novella, Queer. Guadagnino first read the book as a young man in Palermo, Italy, and was captivated by its vivid imagery and themes of obsession and desire. He described the book as having a profound impact on him, and he began working on an adaptation of it even before he directed his first feature film.
“I first read William S. Burroughs’ novella ‘Queer’ as a young man in Palermo, Italy. The book’s vivid imagery and themes of obsession and desire profoundly impacted me. I wanted to bring Burroughs’ freewheeling prose to life on screen, exploring the protagonist’s unruly obsessions and quest for enlightenment.”
Guadagnino’s vision for the film involved staying faithful to the source material while also reimagining certain period details with anachronistic elements to create a unique cinematic experience. He aimed to bring Burroughs’ freewheeling prose to life on screen, exploring the protagonist’s unruly obsessions and quest for enlightenment.
The film follows William Lee (played by Daniel Craig), an American expatriate who becomes infatuated with a much younger man named Eugene Allerton (played by Drew Starkey).
It’s fascinating how a book can have such a lasting impact on an artist and inspire them to create something so meaningful
The novella so inspired Guadagnino that he began working on an adaptation of it long before he directed his first feature film. His passion for the story and its themes of obsession and desire drove him to pursue this project over many years.
This deep connection to the material is evident in the film, as Guadagnino’s unique vision brings Burroughs’ prose to life in a visually stunning and emotionally compelling way.
Although Luca Guadagnino initially crafted a draft of the screenplay, Justin Kuritzkes was brought on to adapt Burroughs’ novella and bring his touch to the project. This was Kuritzkes’ first experience adapting source material, and he worked closely with Guadagnino to ensure the film stayed true to the spirit of the novella while also making it accessible to a modern audience.
“While Queer depicts a very specific time and place, its themes — longing, loneliness, and the limits of what we can seek in another person; what they can do for us, and what we must do for ourselves — remain universal,” says Kuritzkes.
Kuritzkes focuses on the timeless themes of longing, loneliness, and the limits of human connection. These are emotions and experiences that transcend specific time periods and locations, making the story relatable to anyone who has ever felt a sense of unfulfilled desire or the pain of isolation.
The screenplay delves into the complexities of the protagonist’s inner world, exploring his obsessions and desires with a raw honesty that mirrors Burroughs’ prose. This emotional depth ensures that the characters feel real and their struggles resonate on a personal level.
While staying true to the period setting of 1950s Mexico City, Kuritzkes incorporates modern sensibilities that make the story accessible to today’s viewers. This includes nuanced character development, contemporary dialogue, and a focus on the internal rather than just the external conflicts.
Working with Luca Guadagnino, Kuritzkes integrates visual and symbolic elements that enhance the storytelling.
Visual and Symbolic Images
Kuritzkes’ screenplay integrates visual and symbolic elements that significantly enhance the storytelling in Queer.
A centipede appears prominently in the film and is a key symbol. It represents change and transformation, reflecting the protagonist William Lee’s struggle with his identity and desires. The centipede’s many legs can symbolize the complexity and multiplicity of Lee’s inner world. In one of the film’s dream sequences, William Lee sees a centipede necklace come to life, which then transforms into an ouroboros (a snake eating its own tail). This symbolizes the cyclical nature of Lee’s obsession and his inability to move on from his past.
Throughout the film, Lee often appears translucent, especially when he is alone. This visual metaphor represents his internal struggle and the divide between his public persona and his true self. It highlights his shame and the disconnect between who he is and who he wants to be.
Lee’s obsession with the telepathic drug “yage” symbolises his desire for deeper connection and understanding. It represents his longing to communicate his true feelings and thoughts, which he struggles to express outwardly.
These symbols enhance the storytelling by providing visual and thematic depth, allowing the audience to engage with the protagonist’s inner turmoil on a more profound level.
These elements work hand-in-hand with Luca Guadagnino’s direction to create a more immersive and impactful film experience.
The film uses specific color palettes and lighting to evoke the mood and atmosphere of 1950s Mexico City. This helps to transport the audience into the protagonist’s world, making the setting almost a character in itself. Throughout the film, certain objects, scenes, and visual motifs are used symbolically to reflect the protagonist’s internal struggles and emotional journey. For example, mirrors might be used to symbolize self-reflection and the duality of identity, while certain landscapes could represent isolation or freedom. The film employs visual metaphors to convey complex themes without relying solely on dialogue. These metaphors allow the audience to infer deeper meanings and emotional nuances, adding layers to the storytelling.
Art Direction and Cinematography
The meticulous art direction and set design by Guadagnino’s frequent collaborator, production designer Letizia Battaglia, and set decorator Luca Massimo Gamberini, helped to create an authentic and visually striking world. Details like period-appropriate decor, costumes, and locations enhance the narrative and bring the story to life.
Creative camera techniques by cinematographer Sayombhu Mukdeeprom, such as close-ups, long takes, and unconventional angles, are used to highlight key moments and emotions. These techniques draw the audience’s attention to specific aspects of the story and characters, making the viewing experience more engaging.
By incorporating these visual and symbolic elements, Kuritzkes and Guadagnino create a rich, multi-dimensional narrative that goes beyond the written word. This approach not only honors the essence of Burroughs’ novella but also elevates the film to a work of art in its own right.
These elements help to convey the protagonist’s psychological state and the overall atmosphere of the film, creating a rich, immersive experience that echoes the vivid imagery of the novella.
By weaving these elements together, Justin Kuritzkes not only honors the spirit of Burroughs’ work but also brings a fresh perspective that allows the story to resonate with a new generation. The themes of longing, loneliness, and the search for connection are universal, and Kuritzkes’ adaptation ensures that they remain relevant and impactful.
Luca Guadagnino is an Italian film director, screenwriter, and producer known for his visually arresting style and emotionally complex films. Guadagnino spent part of his childhood in Ethiopia, where his father taught history and Italian literature. The family moved back to Italy in 1977 to escape the Ethiopian Civil War. Guadagnino developed a passion for cinema from a young age and began making amateur films after receiving a Super 8 camera from his mother. He studied literature at the University of Palermo and later graduated from Sapienza University in Rome. Guadagnino made his directorial debut with the feature film “The Protagonists” in 1999. He is best known for his films “I Am Love” (2009), “A Bigger Splash” (2015), Call Me by Your Name (2017), and Challengers. Guadagnino has also directed documentaries, including “Bertolucci on Bertolucci” (2013) and “Salvatore: The Shoemaker of Dreams” (2020). In addition to filmmaking, Guadagnino has been involved in the world of fashion, directing advertisements for brands like Fendi and Salvatore Ferragamo. He founded the production company Frenesy Film Company in 2012. Guadagnino is openly gay and has been involved with several notable men.
Justin Kuritzkes is an American playwright, novelist, and screenwriter. Kuritzkes studied philosophy and literary arts at Brown University, where he graduated with a Bachelor of Arts in 2012. He has been active in his career since 2011. Kuritzkes is best known for writing the screenplays for Luca Guadagnino’s films Challengers and Queer. He gained early recognition for his one-act play An Autobiography of My Brother, which won honours at the 2010 Young Playwrights Competition. His novel “Famous People” was published in 2019. In addition to his writing, Kuritzkes has a presence on YouTube, where he has posted videos, including the viral “Potion Seller” video. He has also received a MacDowell Fellowship twice, in 2012 and 2016. Kuritzkes is married to filmmaker Celine Song, and they live together in New York City. He continues to work on various projects, including screen adaptations of novels and collaborations with notable actors and directors.
by Daniel Dercksen·Comments Off on Emilia Perez – A Bold Epic of Identity and Redemption
“I wanted to create a film that exists between reality and fantasy, blending the gritty world of crime with the stylised elements of musicals,” says visionary writer-director Jacques Audiard of Emilia Perez.
REVIEW: Emilia Pérez holds significant cultural and cinematic importance. The film is notable for its groundbreaking representation of transgender characters. Karla Sofía Gascón’s portrayal of Emilia Pérez has made her the first openly transgender actress to be nominated for an Oscar, marking a historic milestone in the entertainment industry. Directed by Jacques Audiard, it seamlessly blends genres—musical, film noir, and crime drama—creating a unique and innovative narrative that challenges traditional storytelling conventions. The film addresses themes of identity, transformation, and redemption, offering a poignant commentary on societal expectations and the quest for self-acceptance. It boldly pushes the boundaries of cinema and contributes to the ongoing conversation about representation and diversity in film.
Audiard was inspired by the 2018 French novel Écoute by Boris Razon, which featured a minor character who was a drug lord dreaming of transitioning into a woman. This character intrigued Audiard and sparked the idea for Emilia Pérez.
Audiard’s interest in exploring the complexities of identity and transformation drove the creation of Emilia Pérez. “I was fascinated by the paradox of this idea of the hyper-violent and hyper-masculine world, and the idea of wanting to transition. When I read the novel Écoute, the character of the drug kingpin dreaming of becoming a woman struck me as a powerful and intriguing contradiction. This paradox became the seed for the film.”
Writing A Treatment
Audiard first wrote a treatment for the story, envisioning it as an opera libretto with three acts. This format allowed him to explore the stylized and dramatic elements he wanted to incorporate.
“The operatic way of thinking led to a certain stylization which is still in the DNA of the project. The musicals I admired growing up also had a political undertone: ‘Cabaret’ and the Nazis, ‘The Umbrellas of Cherbourg’ and the Algerian War. I wanted to bring that same depth and stylization to this story.”
Audiard’s admiration for the political and stylistic elements of classic musicals influenced his approach to Emilia Pérez, blending the grandeur of opera with the narrative depth of film noir and crime drama.
The format allowed him to explore themes of transformation, identity, and redemption in a heightened, almost theatrical manner.
“The operatic structure gave me the freedom to delve deeply into the characters’ transformations and struggles. The heightened, almost theatrical manner allowed us to explore themes of identity and redemption with a richness and intensity that traditional narratives might not have captured. It was about embracing the dramatic flair of opera to tell a deeply personal and complex story.”
The structure of the opera libretto introduced the main themes and motifs, dividing the narrative into segments that escalate in complexity and emotional intensity. The Arias and Recitatives allowed the characters to express their emotions and advance the plot through song.
Audiard’s vision for the film incorporated musical numbers integrated within the narrative to enhance emotional moments and provide deeper insights into the characters’ inner worlds. The choreography was crafted by the talented Damien Jalet, best known for his innovative and expressive dance style,bringing a unique vision to the film’s dance sequences. His work helped to elevate the film’s themes of transformation, identity, and redemption through powerful and evocative movement.
“Working with Damien was a revelation,” says Audiard. “His understanding of movement and its emotional impact brought a new dimension to the film. He wasn’t just choreographing dance; he was helping to tell the story through the body. His innovative approach and willingness to experiment made him an invaluable part of the team.”
“The operatic structure was pivotal in building suspense and emotional impact. Much like an opera, the heightened theatrical elements allowed us to delve deeply into the characters’ journeys. Every scene was crafted to escalate the tension, ensuring that the audience remained engaged and emotionally invested. The dramatic flair of opera provided the perfect canvas for this.”
Initially, Audiard’s treatment for Emilia Pérez was a concise, high-level outline. It was conceptualized as an opera libretto with three acts, which provided a dramatic and structured framework. This treatment included the fundamental storyline and main character arcs, exploration of transformation, identity, and redemption, and songs, arias, and stylized scenes to heighten emotional moments.
Expanding to a Screenplay
To turn this treatment into a full screenplay suitable for a cinematic audience, Audiard undertook several key steps. Maintaining the Three-Act Structure, he introduced the protagonist, Emilia (formerly Manitas), her backstory, and her initial struggles with identity. This act set the stage for the transformation, building a solid foundation for the narrative. The second act delved deeper into Emilia’s journey, exploring her attempts to reconcile with her past while establishing her new identity. This act introduced major conflicts, both internal and external, to heighten tension. The resolution and climax brought the story to its dramatic conclusion, resolving key conflicts and exploring the consequences of Emilia’s actions. This act aimed to deliver an emotionally impactful ending, staying true to the operatic style.
Adaptation for Cinema
Audiard expanded the treatment’s character sketches into fully developed characters with detailed backgrounds, motivations, and relationships. Emilia’s complexity as a character was explored in depth to resonate with audiences. He expanded the treatment’s character sketches into fully developed characters with detailed backgrounds, motivations, and relationships. Emilia’s complexity as a character was explored in depth to resonate with audiences.
“Writing the dialogues and lyrics for the musical numbers was a delicate balance,” says Audiard. “Each word had to serve the narrative and deepen the characters’ development. The songs weren’t just interludes; they were pivotal moments where characters expressed their inner struggles and transformations. By integrating lyrics seamlessly with the dialogue, we ensured that the emotional and narrative flow remained uninterrupted, enhancing the overall storytelling.”
Audiard incorporated detailed visual descriptions to guide the cinematography and set design. “Every scene in the screenplay was meticulously detailed to capture the atmospheric and stylized look we envisioned. Lighting, camera angles, and set pieces weren’t just technical aspects—they were integral to the storytelling. The visual language had to reflect the emotional and dramatic tone of the film, creating a cohesive and immersive experience for the audience.”
“Crafting the screenplay with a rhythmic flow was essential. Balancing the musical interludes with the narrative progression ensured that the story remained engaging and emotionally resonant. The songs were woven into the fabric of the narrative, allowing the characters’ journeys to unfold seamlessly. This careful pacing kept the audience invested, allowing them to experience the full emotional arc of the film.”
Seamlessly blending the elements of musicals, film noir, and crime drama, Audiard ensured that each genre complemented the others. “Ensuring that each genre complemented the others was a central part of our approach. By seamlessly integrating elements of musicals, film noir, and crime dramas, we created a rich and layered narrative. Each genre brought its own unique strengths, and together they enhanced the emotional depth and complexity of the story. This blend allowed us to explore themes of identity and transformation in a way that felt both fresh and resonant.”
Collaboration and Refinement
Throughout the process, Audiard collaborated closely with his team, including screenwriters, musicians, and choreographers. Their feedback and expertise helped refine the screenplay, ensuring that it stayed true to the original vision while enhancing its cinematic appeal.
“The magic of Emilia Pérez truly came to life through collaboration. Working closely with screenwriters, musicians, choreographers, and the entire creative team was essential. Each collaborator brought their unique expertise and vision, enriching the film in ways I couldn’t have imagined alone. It was this collective effort that allowed us to blend genres seamlessly and tell a story that resonated on multiple levels.”
By expanding the treatment into a full screenplay, Audiard was able to create a richly layered and visually stunning film that retained the dramatic intensity and emotional depth of its operatic roots.
Film Noir Characteristics
The film employs classic film noir techniques such as low-key lighting, stark shadows, and dramatic contrasts to create a moody and atmospheric visual palette. Cinematography often uses tight framing and unconventional angles to build suspense and draw viewers into the characters’ world. Themes of crime, moral ambiguity, and complex characters align with the film noir tradition. Emilia Pérez’s journey from cartel leader to a woman seeking redemption fits well within this genre’s exploration of flawed, multi-dimensional protagonists.
The central storyline revolves around a former cartel leader’s struggle to escape her past and live authentically. The tension and stakes associated with her criminal background drive the narrative forward. Intriguing plot twists and conflicts keep the audience engaged, as Emilia faces threats from her former associates and navigates her new identity.
“At its heart, Emilia Pérez is a story about transformation and redemption. It’s about a person who has lived a life of violence and power, grappling with their true identity and seeking a path to make amends. The narrative explores the complexities of human nature, the struggle for self-acceptance, and the impact of our past actions on our present. It’s a deeply personal and emotional journey, framed within the larger context of societal expectations and the quest for a second chance.”
Research
Audiard and his team conducted several scouting trips to Mexico to get a sense of the environment and culture. They also did extensive research on production design, costumes, and music to ensure authenticity. Audiard’s commitment to authenticity is evident in his meticulous approach to Emilia Pérez.
“Authenticity is crucial in storytelling. It’s about capturing the truth of the characters and their experiences, even when dealing with stylized genres. For Emilia Pérez, this meant immersing ourselves in the culture and environment, ensuring that every detail felt genuine and resonated with the audience. Authenticity isn’t just about accuracy; it’s about creating a believable world that audiences can connect with emotionally.”
Shooting the film
The film was shot over 49 days in France, with 5 days on location in Mexico. Audiard chose to shoot in a studio environment to have more control over the musical numbers and choreography. This approach allowed the team to create a stylized and controlled setting for the film.
“Filming in a studio allowed us to have complete control over every aspect of the production, from lighting to choreography. It was like working on a blank canvas, where we could create the world of Emilia Pérez from scratch. This environment gave us the freedom to blend reality and fantasy seamlessly, ensuring that every frame was imbued with the desired atmosphere and visual style.”
Audiard worked with a talented team, including frequent collaborators like cinematographer Paul Guilhaume, editor Juliette Welfling, and artistic director Virginie Montel. The team’s efforts ensured that every aspect of the production was infused with the authenticity and creativity Audiard envisioned.
Karla Sofía Gascón
Karla Sofía Gascón is a talented Spanish actress who began her acting career at the age of 16 and earned a degree in acting from the ECAM (School of Cinematography and Audiovisual of the Community of Madrid). Gascón has worked in various television shows and films, including Spanish daily soap operas and telenovelas. In 2009, she moved to Mexico to further her career, taking on roles in popular telenovelas such as Corazón Salvaje. Gascón came out as a trans woman in 2016 and published her autobiography, Karsia: Una Historia Extraordinaria, in 2018. Her role in Emilia Pérez has garnered critical acclaim, and she made history by winning the Best Actress award at the Cannes Film Festival in 2024, becoming the first openly transgender actress to do so. Gascón is married to Marisa Gutiérrez, whom she met at the age of 19 at a nightclub in her hometown. Together they have a daughter, born in 2011.
“Casting Emilia was a crucial part of the process,” says Audiard, whose process reflects his dedication to bringing his singular vision to life, blending different genres and styles to create a provocative and ambitious film. “We needed an actress who could embody the complexity and depth of the character, someone who could navigate the emotional and physical demands of the role. Karla Sofía Gascón brought an incredible authenticity and vulnerability to Emilia, making her journey both believable and deeply moving.”
Says Karla Sofía Gascón “It’s a dream role that is hard to find because it has so much depth, so much richness, and for an actor to get into it, it needs a lot of dedication. Playing Emilia was a transformative experience, not just for the character but for me as well. It allowed me to explore facets of identity and humanity that are rarely portrayed on screen. I’m incredibly proud to be part of this project and to bring this story to life.”
“Working with Jacques was incredibly enriching,” says Gascón. “He was open to my input and allowed me to shape the character of Emilia in ways that felt authentic to me. His generosity and collaborative spirit made the process deeply rewarding. He guided me through the complexities of the role, ensuring that my portrayal was both nuanced and powerful.”
Jacques Audiard
Jacques Audiard is a renowned French film director, screenwriter, and producer, born on April 30, 1952, in Paris, France. He comes from a family deeply rooted in the film industry; his father, Michel Audiard, was a well-known screenwriter and director.
Audiard began his career in the film industry as an assistant editor before transitioning to screenwriting in the 1980s. Some of his early screenwriting credits include successful thrillers like “Mortelle Randonnée” and “Saxo”. He made his directorial debut in 1994 with “See How They Fall”, which won several awards, including the César Award for Best First Film.
Over the years, Audiard has directed a number of critically acclaimed films, including “Read My Lips” (2001), “The Beat That My Heart Skipped” (2005), “Rust and Bone” (2012), and “A Prophet” (2009), which earned him the Grand Prix at the Cannes Film Festival and an Academy Award nomination for Best Foreign Language Film.
In 2018, he directed his first English-language feature film, “The Sisters Brothers”, and most recently, he directed the musical crime comedy “Emilia Pérez” (2024), which has received significant acclaim and multiple award nominations.
Audiard’s films are known for their strong scripts, compelling lead performances, and his ability to blend different genres seamlessly. He has won numerous awards throughout his career, including three Golden Globes, ten César Awards, and four prizes from the Cannes Film Festival.
by Daniel Dercksen·Comments Off on Flight Risk – A high-stakes suspense thriller
“Every movie is tricky to make, but that is especially true of one that requires a deft balance of tension, humour, drama, and action… all while unfolding in more or less real-time,” says screenwriter Jared Rosenberg of Flight Risk, aiming to create a high-stakes, claustrophobic thriller focusing on intense character dynamics within the confined space of a small aeroplane, blending elements of suspense and dark humour, creating a unique and engaging story.
Producers John Fox and John Davis of Davis Entertainment discovered the spec script of Flight Risk by Jared Rosenberg, a versatile screenwriter, editor, and producer.
“We fell in love with the script. It felt very producible, but also very original,” says Davis. “John and I started working with the writer and then decided to figure out the best way to move forward.” When Mel Gibson’s agent reached out, they sent Gibson the script, and he came on board to direct.
“The beauty of the film is that it takes place over the beautiful Alaskan Alps, which are stunning and spectacular, as well as intimidating and scary,” says Gibson, who was also drawn to the project because the script “kept me guessing and had some unexpected laughs; it was terrifying and had an intriguing mix of elements I found charming. There are no dead spots.”
Bruce Davey, Gibson’s longtime producing partner at their company Icon Productions, similarly remembers that the script was “a real page-turner, a great dramatic thriller, and it kept me at the edge of my seat.”
Screenwriter Jared Rosenberg found inspiration for the script from his great-grandfather, who converted his farm into a small grass airfield. “Growing up, relatives would take us up in these small, single-engine aircraft,” he says. “That sense of flight is unlike anything you get on a commercial jet: it is tactile and analogue. You feel every bump and air pocket — the rivets rattle — and when you turn, the entire world seems to shift around you. It feels amazing, and unique, and a little dangerous. I was excited by the opportunity to replicate that sensation on the big screen.”
Jared Rosenberg
Rosenberg adds, “Every movie is tricky to make, but that is especially true of one that requires a deft balance of tension, humor, drama, and action… all while unfolding in more or less real-time. To accomplish that feat is a testament to [Mel Gibson’s] skill and care as a director.”
Gibson embraced the challenge, and his longtime producing partner, Davey, notes, “When Mel approaches a script to direct, he does so from inside the story, characters, and production, not from the outside. He puts you inside the action, making you feel that he and you are right there.
For director and producer Mel Gibson, Flight Risk presented challenges and opportunities unlike any he’d tackled before, including the helming of Braveheart, the blockbuster historical drama The Passion of the Christ; and the epic adventure Apocalypto. “Any time you’re in an aircraft, especially one as small as ours, it’s going to be claustrophobic,” Gibson explains. “We’ve played into everyone’s fear of flying, high altitudes, falling, and crashing.”
To help bring audiences inside the film, Gibson relied on some technical wizardry, but most of all, on the talents of his three cast members.
Mark Wahlberg plays a pilot transporting an Air Marshal (Michelle Dockery) accompanying a fugitive (Topher Grace) to trial. As they fly over the Alaskan wilderness, tensions soar and trust is tested, as not everyone on board is who they seem.
While filming aboard a tiny Cessna as it was airborne was impossible, the filmmakers did the next best thing.
To provide the stunning visuals of the plane soaring high above the Alaskan wilderness and snow-capped mountains, they used an immersive soundstage known as a Volume, in which LED panels are used as a backdrop for a set on which video or computer-generated imagery can be displayed in real-time. The majority of the film was shot at on a stage in Las Vegas, where the Volume was installed and so most of the film’s action unfolds within the confines of this Cessna Grand Caravan airplane.
Set on a 10-foot gimbal, the plane was surrounded by 1,830 LED panels arranged in a 270- degree display capable of playback at 24k horizontal resolution at 24fps.This immersive setup allows audiences to feel as though they are inside of the plane and in the scene with these characters – sharing in their claustrophobia and growing suspicion of one another. Yet, even within the tight space, the plane soars over the vast, breathtaking vistas of the Alaskan Snow Alps.
As Gibson puts it, “So, while Flight Risk is set inside a small plane, it feels open, and the vistas are magnificent. The scope is huge.”
“The Volume helped to open up our world,” says director of photography Johnny Derango. “It emphasizes how small our characters and plane are, in context to the magnificent world around them. That was something we focused on: there were times we would go from a super wide exterior shot, and then come in on a tight closeup. I love the juxtaposition of transitioning from the vastness of the world around them to the microfocused interior and drama.”
“Keeping everything grounded and feeling real was important to Mel and myself,” Derango continues. “We always wanted the audience to feel like they were in that plane with the characters.
The fourth “star” of Flight Risk is the film’s sole set – the plane itself, a Cessna 208B.
Production designer David Meyer looks back at the plane’s casting: “We wanted the largest bush plane we could find, and the Grand Caravan did the trick. Inside, it’s only five and half feet wide, and four and half feet tall, and that presents many challenges, starting with the fact that the actors and crew couldn’t stand up in it. Everyone was always in a crouched position. We did some interesting things, like taking the nose cone off where the engine would be, so that the camera could rest on platforms in front of the plane and be close to the actors.”
Writer Jared Rosenberg says “The movie is, first and foremost, an original, non-stop thrill ride (no IP here!)” And continues “But beyond that, this is a story that takes place in real-time, confining strangers together in a small plane, and so seeing the movie in theaters — with strangers — creates an environment for the audience that mimics the experience of the characters on screen. That’s a unique opportunity that elevates the movie-going experience and simply cannot be replicated at home.”
Jared Rosenberg is a screenwriter with more than a decade of experience in the entertainment industry. Jared grew up in Massachusetts and graduated from Middlebury College, where he was subsequently a writing fellow at the Middlebury Script Lab. He has written screenplays for a number of production companies, and he co-produced the feature documentary Money For Nothing, which premiered at Lincoln Center and appeared at festivals worldwide. He is currently at work with Netflix on a high-stakes, military action thriller.
Mel Gibson was born in upstate New York, but moved to Australia with his family at age 12. After high school, Mel attended the Australian National Institute of Dramatic Arts, where he was trained in classical British theatre tradition and appeared in a number of plays, including Death of a Salesman and Waiting for Godot. Read more
by Daniel Dercksen·Comments Off on Companion – A genre-blending tale
“There are so many movies about AI, and I think everyone’s first instinct is to do a story of AI gone wrong. I thought, ‘What if it’s a story about AI gone right?’ As soon as I had that, it was like, let’s play with this and see where it will lead,” says writer/director Drew Hancock, who decided that defying genre expectations was the more compelling path to take with Companion.
“Once I had the basics – in the not-too-distant future, six friends gather at a remote lake house for a weekend of leisure – I immediately began to relate to Iris,” says Hancock. “I thought about every time I had met my girlfriends’ friends and family, and how alienating that feeling is. And the more I related to her, the more I started to think, ‘What if the robot is the most empathetic person in the story?’”
Hancock was deeply immersed in writing what would become Companion in 2021 when a friend, connected with someone at BoulderLight, slipped him Zach Cregger’s script for the horror Barbarian.
The filmmaker recalls, “I’m writing ‘Companion’ and I’m reading ‘Barbarian.’ And it was a great reminder that you don’t have to follow all the rules. You can, halfway through the movie, switch POVs and do whatever you want. Just forget about all the structure nonsense. You can do whatever you want, as long as it’s interesting.”
This revelation gave Hancock the creative freedom to explore unconventional storytelling techniques in his screenplay, transforming Companion into a complex story that weaves together the genres of sci-fi, horror and thriller, laced with a large and very intentional streak of dark comedy.
After completing the script, Hancock sent the script to J.D. Lifshitz at BoulderLight, whose response was enthusiastic. Excited by the script’s originality and constant surprises, it quickly caught the attention of other key figures at BoulderLight, including producer Raphael Margules and Vertigo’s Zach Cregger and Roy Lee.
Hancock recalls with a smile, “It was 48 hours after I’d written ‘The End’ on the script, and I already had four producers attached.”
Producer Zach Cregger remembers, “When I read the script, I was surprised continually. I was just never ahead of the movie. I’ve seen so many movies, I’ve read so many scripts, you know, oftentimes I can predict where things are going to go, and I’m disappointed when I’m right. This was one of those scripts where I just had no idea all the way through.”
Originally set to direct the film, Cregger played a crucial role in transitioning the directorial duties to Hancock himself. During an early discussion, Cregger realized that Hancock had an exceptionally clear vision for the film. This led Cregger to rethink his role in the project: “This guy had the movie in his head so clearly, the best thing I could do was kind of get out of his way and support him in making the movie. I think there’s something really special that happens when the writer is also the director, because they just have an innate understanding of the material and the world.”
Taking a role as producer, Cregger approached BoulderLight and Vertigo, seeking their approval to offer the director’s chair to Hancock.
Hancock admits, “When Zach asked me, I was so caught off-guard that I was like, ‘Oh, I need to think about this…’ But then I realized, I really wanted to take on the challenge.”
The production of Companion was driven by the team’s shared enthusiasm for its innovative narrative. Producer Raphael Margules says, “We were really lucky that our partners at New Line recognized immediately that they had something special on their hands, and they really opened the doors for us to just get this thing up and running.”
“Companion” is a genre-blending tale, with Hancock managing to upend the traditional structure for each genre touched upon, engineering a story with twists and turns to create a timely and unique visual tale that defies easy categorization.
The journey to writer-director Drew Hancock’sfirst feature film Companion is marked by talent, perseverance and an unwavering dedication to his craft. The film showcases Hancock’s deep passion for the horror genre, blending it with thrills, action and a generous dose of humor.
Margules offers, “I think people go to the movies for one reason and one reason only: to have fun, to have a good time. And Companion delivers on that and gives you a good time, whether that be as a thriller, a sci-fi movie, a horror movie, a comedy, a hangout movie. It’s a genre picture that combines a lot of genres. It’s a midnight movie. It’s a fun movie.”
Cregger describes it as “a sci-fi hybrid movie about a young woman who goes on what should be a routine weekend vacation with her boyfriend and his gang, and it devolves into something grizzly and surprising… but not in the slasher kind of standard fare that we’ve all seen a bunch of times. This is definitely a hot twist on an old theme. Drew’s done a really great job of setting up a friend group, a dynamic that feels like it has a lot of history and a lot of backstory.”
That young “woman” accompanying her boyfriend Josh on the getaway is the ‘companion’ Iris, who is played by Sophie Thatcher. Thatcher reflects, “When you first meet both of them, I feel like you definitely want to support them. I think they both seem a little bit like outsiders. She’s a little bit stressed, but very put together. She’s very ‘60s. She’s very classic. He’s a bit nerdy, and they seem like a very charming couple. But actually, Iris is in a very codependent relationship, and she’s willing to give anything to make Josh feel loved and cared for.
“Adding to her stress,” adds Thatcher, “is this house in the woods, which is a character in and of itself. It deepens her feeling of isolation—that nobody can help you. She is actually on her own.”
Hancock explains, “Iris is someone who initially doesn’t understand her own strength and capabilities. She’s almost like someone suffering from imposter syndrome, feeling out of place and unsure of her own identity. Sophie brings a very incredibly natural quality to Iris as a character… a robot that doesn’t know how to necessarily be human. She brings a quality to the character that is just so deeply human.”
It’s when Iris realizes that she’s not human that her journey really begins. Thatcher offers, “Her whole world is completely shifted and she realizes that she can’t be with Josh. There’s self-discovery, and she starts finding her own free will and sets out to be independent.”
Jack Quaid, who plays Josh, was the first actor cast for the film. Margules recounts, “Jack was actually our first attachment, and that really helped get everything moving. He completely got the script immediately.”
“I remember when I read the script,” says Quaid, “I immediately said, ‘I have to do this,’ and I tried to get a meeting with Drew as soon as I possibly could.”
Described by Hancock as “a character who appears charming and supportive on the surface, but harbors a need for control and dominance over Iris,” Josh’s duality adds layers to his character, making his interactions with Iris more complex and unsettling.
“It’s a really interesting character to play and a fascinating relationship dynamic to explore,” explains Quaid. “You want the audience to not really suspect anything’s wrong. Part of that comes from Drew, who’s a really funny guy, and he always made sure that the comedy played. Doing that, he’s made this movie that really defies typical genre.”
Hancock’s vision for “Companion” was to balance sci-fi, thriller and horror elements without leaning too heavily into any single genre. This balance was likewise reflected in the visual effects strategy.
“We tried to keep things a nice balance between horror and sci-fi. We didn’t want to go too sci-fi, but we also don’t want to go too horror with it, either,” says Hancock.
Visual effects supervisor Jamison Goei blended practical effects with digital enhancements to find that balance and maintain a sense of realism. “I don’t like seeing tons of CGI all over the place,” says Goei. “So, whenever I can, I’ll always advocate for doing it practically.”
To build the world of “Companion,” Hancock collaborated with production designer Scott Kuzio. The brief was to create a familiar yet subtly futuristic setting, maintaining a sense of ambiguity about the time and place in which the film is set. “We originally discussed a very sci-fi futurist vibe,” says Kuzio. “I think as we got more and more into it, we wanted more minimalism without trying to play too much into sci-fi futurism. We wanted the viewer to always be questioning where they were in time.”
“I know it is a sci-fi movie at its core, but I didn’t want it to look and feel like a sci-fi movie,” says Hancock. “We wanted it to feel almost like a soap opera a little bit—a relationship drama.” This approach was pivotal in guiding the design choices, aiming to create an atmosphere that felt both familiar and, at the same time, subtly unsettling.
The setting in the screenplay called for a secluded location. “Drew wrote it to be something that felt isolated,” explains Kuzio. “It’s a classic horror trope: the house, the cabin in the woods.”
This archetypal horror setting is complemented by modernist design elements that give the house a sense of age and abandonment, despite its luxurious nature. “Although it’s a modernist house, we wanted it to feel like there’s still age to it… like it could have been something that has been let go,” continues Kuzio. “Most of this movie takes place there. We wanted it to immediately feel like it offered a sense of comfort, but then there is the realization that it’s in the middle of the mountains, in the middle of nowhere.”
With “Companion,” Drew Hancock aims to create a world that feels both familiar and slightly off-kilter, heightening the film’s psychological impact. He reflects, “I felt the key was to ground these characters in reality while allowing for the sci-fi elements to naturally emerge. I hoped this approach would keep the audience invested in their journeys and the unfolding mystery.”
Along the way, the theme of AI’s place in the modern world emerges. But it’s not what the filmmaker wants to take center stage: “This is not a statement about AI being good or bad. The real bad guy is not Iris, but the company that created her. Iris is special, and no one at the company seems to grasp that. They really don’t comprehend the responsibility of putting that kind of technology in the hands of people who want to use it for other, selfish purposes.”
He concludes, “In the end, I made a movie that I wanted to make. The whole point of it is to subvert what you’re expecting the next 10 minutes to be. It’s kind of reinventing itself constantly. I think of it as ‘horror adjacent.’ People might be expecting it to be a ‘horror film,’ but hopefully we subvert their expectations and it becomes even more fun—because it’s not the movie that they expect it to be—and they just hang on and fully commit to the ride.”
After graduating college, Drew Hancock headed west and took on a variety of production roles, eventually finding his way to Channel 101, a pioneering online comedy platform that predates both Funny or Die and YouTube. Channel 101 became a creative playground for Hancock, where he wrote and directed shows such as Cautionary Tales Of Swords, The Mountain and Wastelander. He even took on acting, playing John Oates of Hall & Oates in the iconic Channel 101 series Yacht Rock. Hancock continued to sharpen his skills in television, writing for comedy series such as Blue Mountain State (Spike TV), Mr. Pickles (Adult Swim), and Suburgatory (ABC). He also contributed to multiple high-profile award shows, including the MTV Video Music Awards, Spike TV’s Video Game Awards and Nickelodeon’s Kids’ Choice Awards. In 2018, he created My Dead Ex for Awesomeness TV, a series that earned a Grand Jury Award nomination in the Independent Episodic category at the SXSW Film Festival. Determined to transition out of television, Hancock set his sights on the big screen and wrote the screenplay for Companion, a dark and twisted tale of romance gone awry. The project initially drew the interest of Zach Cregger (Barbarian) as director. However, after recognizing Hancock’s clear vision for the film, Cregger encouraged him to take the helm, opting instead to serve as producer. The result is a film that showcases Hancock’s confidence and skill as a filmmaker, earning him a spot on Variety’s “10 Directors to Watch” list in 2025.
by Daniel Dercksen·Comments Off on Black Butterflies – The riveting true life story of South African poet Ingrid Jonker
Black Butterflies is a powerful portrayal of a woman’s fight for artistic freedom and personal identity against the backdrop of a repressive political regime. It serves as both a tribute to Ingrid Jonker’s remarkable life and a reflection on the broader social and political context of South Africa during her time. From an early age, Ingrid found her freedom and solace in writing, whenever and wherever she could.
The story follows Ingrid Jonker (played by Carice van Houten) as she navigates her tumultuous life during the apartheid era in South Africa. The film explores her relationships, struggles with mental health, and her passionate pursuit of love and freedom through her poetry. Ingrid’s life is marked by her strained relationship with her father, Abraham Jonker (played by Rutger Hauer), a prominent politician and chair of the Censorship Board. Despite her challenges, Ingrid’s work gained recognition posthumously when Nelson Mandela read one of her poems during his first speech to the South African Parliament in the 1990s. The film also stars Liam Cunningham as Jack Cope, a writer and one of Ingrid’s lovers.
Black Butterflies is a significant film because it tells an important story with emotional depth and artistic integrity. It serves as a reminder of the power of poetry and the enduring impact of those who fight for justice and freedom through their art.
The film brings attention to South African literature and poetry, highlighting the rich cultural heritage of the country. It encourages viewers to explore Jonker’s work and the broader context of South African art and history.
The film was directed by Paula van der Oest, a celebrated Dutch filmmaker known for her works such as “Zus & Zo” and “The Domino Effect. The screenplay was written by Greg Latter and David Thompson, who crafted the script based on the life of Ingrid Jonker, bringing her story to the screen with a focus on her poetic journey and personal struggles.
Carice van Houten’s portrayal of Ingrid Jonker is both nuanced and compelling. Her performance captures the complexity of Jonker’s character, balancing her vulnerability with her fierce determination.
The title is a metaphor that captures the essence of Ingrid Jonker’s life and work. Butterflies are often symbols of transformation, beauty, and fleeting moments. However, the addition of “black” introduces a sense of darkness and tragedy, reflecting the struggles and emotional turmoil Ingrid faced throughout her life. Ingrid Jonker’s poetry was a means of transformation, both for herself and for those who read her work. Her poems were often beautiful and poignant, yet they also carried the weight of her personal battles and the oppressive political climate of apartheid South Africa. The “black butterflies” symbolize this duality—the beauty of her artistic expression intertwined with the darkness of her personal and social struggles. The title encapsulates the tragic beauty of Jonker’s life, a life marked by both remarkable poetic talent and profound personal challenges.
The film brings Ingrid Jonker’s story to the screen with a poignant focus on her poetic journey and personal struggles. It beautifully captures her passion for poetry, her intense emotional experiences, and the impact of her work against the backdrop of South Africa’s turbulent political landscape.
Jonker’s poetry is central to the narrative, reflecting her inner turmoil, love, and resistance. Her personal struggles, including her complicated relationship with her father, her battles with mental health, and her romantic entanglements, are depicted with sensitivity and depth. The film not only portrays her as a talented poet but also as a deeply human figure grappling with her own demons.
It depicts Ingrid Jonker as a literary icon and a deeply complex and flawed individual. Her struggles with mental health, her tumultuous relationships, and her fight for artistic freedom are portrayed with nuance and empathy. The film captures the essence of her poetry, which often reflected her inner battles and her unyielding spirit.
Ingrid’s life was a powerful testament to the human condition—full of passion, pain, and resilience. Her story is both inspiring and heartbreaking, and the film does justice to her legacy by showing her as a real person with dreams, flaws, and an indomitable will.
The beautiful and often stark cinematography was handled by Giulio Biccari, adding a visual depth to the story. The haunting and evocative score was composed by Philip Miller, a South African composer known for his work on other significant films like “Long Walk to Freedom.” The film’s authentic and detailed production design was created by Darryl Hammer, adding a historical and atmospheric feel to the film.
Real-Life Story of Ingrid Jonker
Early Life: Ingrid Jonker was born on September 19, 1933, in Douglas, South Africa. She had a troubled childhood, with her mother passing away when she was young and a strained relationship with her father.
Poetry: Despite the challenges, Jonker’s poetry became a powerful voice against apartheid and censorship. Her work often reflected her deep emotional struggles and her love for her country.
Recognition: One of Jonker’s most famous poems, “Die Kind wat Doodgeskiet is deur Soldate by Nyanga” (“The Child Who Was Shot Dead by Soldiers at Nyanga”), was read by Nelson Mandela during his speech at the opening of the first democratic parliament in South Africa in 1994.
Personal Struggles: Ingrid’s life was marked by personal turmoil, including battles with mental health, turbulent relationships, and societal pressures. These aspects are poignantly depicted in the film.
Legacy: Despite her tragic death at the age of 31, Ingrid Jonker’s legacy lives on through her powerful poetry and her contributions to South African literature and resistance against apartheid.
Stories are a timeless way for humans to connect, reflect, and understand the world around us and the inner workings of our minds. We write stories for a multitude of reasons—each as unique as the stories themselves. Stories hold a profound significance in our lives.
Through storytelling, we communicate emotions, experiences, and ideas that transcend the boundaries of language, culture, and time.
Stories allow us to forge deep connections with others, bridging gaps across different backgrounds and experiences. They provide a shared space where we can relate to one another, fostering empathy and understanding.
Writing and reading stories offer a mirror to our own lives. They invite us to explore our thoughts, feelings, and behaviors, helping us gain insights into ourselves and the world around us.
Stories open up realms of imagination, letting us journey to places we’ve never been and encounter characters who live only in our minds. They allow us to experience adventures, emotions, and scenarios that might be impossible in real life.
They inspire us to dream, explore, and envision new possibilities, encouraging innovation and artistic expression.
By writing stories, we leave behind a part of ourselves. These narratives become a lasting record of our perspectives, dreams, and creativity, offering future generations a glimpse into our minds and times.
Stories are powerful tools for teaching and learning. They encapsulate knowledge, wisdom, and cultural heritage, passing them down through generations in an engaging and memorable way.
Above all, stories entertain us. They captivate our minds, providing an escape from the mundane and a source of joy and excitement.
They captivate our minds, providing an escape from the mundane and a source of joy and excitement. Stories draw us into their narrative worlds, transporting us from our everyday routines into realms filled with adventure, emotion, and imagination. They spark our curiosity and engage our senses, allowing us to experience the thrill of unexpected twists, the satisfaction of resolved conflicts, and the sheer delight of creative storytelling.
Through stories, we can live vicariously through the characters, experiencing their triumphs, challenges, and growth. This immersion in fictional or factual narratives offers a refreshing break from reality, enriching our lives with new perspectives and emotional depth. Whether it’s through the pages of a novel, the scenes of a film, or the cadence of an oral tale, stories have the power to ignite our imaginations and leave us feeling inspired, entertained, and more connected to the human experience.
In essence, stories are the threads that weave the fabric of human experience, connecting us to one another and to ourselves in ways both profound and enchanting.
by Daniel Dercksen·Comments Off on 11th European Film Festival
Film lovers can look forward to an entertaining and provocative array of new award-winning European films as the European Film Festival returns for its 11th edition in South Africa from 10-20 October.
Presenting films from 14 countries, and including two Oscar nominations, the festival is a showcase of high-quality cinema from the film industries in the respective participating countries of Belgium, Denmark, France, Georgia, Germany, Ireland, Italy, The Netherlands, Poland, Portugal, Spain, Switzerland, Ukraine, and the United Kingdom.
NOTE: Although the Festival is over, you can search for the films on other streaming platforms
Italian director Matteo Garrone’s Oscar-nominated IO CAPITANO recounts the epic journey of two teenage boys from Senegal who make their way across Africa in pursuit of a dream called Europe and is based on accounts of actual experiences by people who have undertaken these arduous contemporary odysseys. Amidst the multiple dangers of desert, sea and hostile racketeers along the way, it’s ultimately a journey of hope and heroism and puts a very human face on migration issues that remain a tragic challenge to the world. TRAILER /
The Portuguese film BAAN directed by Leonor Teles epitomises the pensive restlessness of 21st century Youth. It’s an innate search for freedom and belonging in what is ultimately a journey of ongoing self-discovery when L. meets the elusive K. This explorative and gorgeously shot film is by one of the brightest young filmmakers emerging out of Portugal today – who wrote it, directed it and filmed it.TRAILER /
The Swiss film BLACKBIRD BLACKBIRD BLACKBERRY, directed by Elene Naveriani, is about a 48-year-old woman in a Georgian village who finds herself passionately falling for a man and is suddenly faced with the decision whether to pursue the relationship or continue her life of independence. The film makes a powerful statement about ageism, sexual awakening, and self-empowerment. It won the Best Film prize at the Swiss Film Awards this year. TRAILER /
From Georgia, CITIZEN SAINT is an evocatively shot black-and-white classic by Tinatin Kajrishvili, which tells the story of a mining town where the disappearance of a revered statue of a saint coincides with the arrival of a mysterious stranger. A series of miracles create more chaos than good and controversial choices must be made. This satirical film was Georgia’s submission to the Academy Awards this year. TRAILER /
From Germany, the often comedic DYING directed by Matthias Glasner, unpicks the dynamics and dysfunctionality between the very different members of the Lunies family; the demented father, the sickly wife, the orchestra conductor son, and the radical hedonistic daughter. Dying is one thing, but Life is the real difficulty…. It won the Best Film prize at the German Film Awards this year. TRAILER /
The Ukrainian film GREY BEES, directed by Dmyto Moiseiev, is about the last two remaining inhabitants in a tiny village in the no-man’s-land between loyalist and separatist forces in the Donbas region in the days before the Russian invasion. Sergiich the beekeeper is Ukrainian, Pashka is Russian, and circumstances have brought them together in a stubborn and sometimes adversarial companionship. It is a powerful testament to human connection going beyond our differences in moments of need. TRAILER /
From the UK, KNEECAP by Rich Peppiatt, presents a riotous look at a hip-hop trio in Belfast who by rapping in their native Irish language become the unlikely figureheads of a Civil Rights movement to save their mother tongue. In this fiercely original sex, drugs and hip-hop biopic Kneecap plays themselves, laying down a global rallying cry for the defence of native cultures. The film won the coveted Audience Award at Sundance this year. TRAILER
From Belgium, LOVE ACCORDING TO DALVA directed by Emmanuelle Nicot, is a beautiful portrait of friendship, recovery and identity through a young girl’s childhood sexual abuse story.Nicot’s poignant film explores the ramifications of abuse with deep sensibility and grace, in Dalva’s journey to reconstruction and hope. The film won a remarkable 7 awards at Belgium’s Magritte Awards including Best Film. TRAILER /
From the Netherlands, SWEET DREAMS, directed by Ena Sendijarević, is an audacious tale of the delicious demise of colonialism on a remote Indonesian island. Satirical and sometimes surreal in tone, personal ambitions play out against a backdrop of workers’ uprisings, lust, and deep intrigue. Winner of the Best Film award in The Netherlands, it was also that country’s submission to the Academy Awards this year. TRAILER /
In the Spanish film THE OTHER WAY AROUND directed by Jonás Trueba, a filmmaker couple have decided to separate and come up with the idea of throwing a party to celebrate the break-up. It is a very contemporary comedy-drama that teases out witty and highly believable performances from the cast with some revealing insight into how relationships work…. or don’t work. TRAILER /
From Poland, THE PEASANTS, directed by Dorota Kobiela Welchman and Hugh Welchman is a comic, tragic, and reflective story of one woman’s yearning for independence in a rural Polish village in the 19th century. Full of ornamental songs and rapturous dance, the acted performances are meticulously painted frame after frame by more than 100 oil painters in a unique form of animation, reminiscent of the film LOVING VINCENT, by the same husband and wife directors. This film was Poland’s submission to the Academy Awards this year. TRAILER
In the Irish film THE QUIET GIRL, directed by Colm Bairéad, a young girl is sent away from her dysfunctional family to live with relatives for the summer where she blossoms and discovers a new way of living. Simultaneously raw and profoundly empathetic, it is a story about childhood and the transformative power of love and human kindness. It won an Oscar nomination at the 2023 Academy Awards, the first Irish film ever to do so. TRAILER /
From France, THE TASTE OF THINGS is directed by Trần Anh Hùng, and stars Juliette Binoche and Benoît Magimel. Set in 19th-century France, it is a touching love story that revolves around gastronomy in a way you won’t see in modern foodie films and TV series. This refined masterpiece of Cinema won the Best Director prize at Cannes and went on to be France’s submission for the 2024 Academy Awards. TRAILER /
Women’s stories are very prominent in this year’s line-up and none more so than in the Danish film UNRULY. Here, director Malou Reyman’s unflinching and empathetic depiction of young women battling patriarchy and suppression of their rights in a 1930s women’s institution is a deeply personal example of how women’s voices will not be silenced. It is also a strong reminder that achieving emancipation remains an ongoing process today. TRAILER
by Daniel Dercksen·Comments Off on Famous Writers And Their Cats
Writers and cats have always shared a special bond. Cats, like writers, are willful creatures, who don’t like to be controlled.
There is a long recorded history of the love writers have for their cats. In fact, there are so many writers who have adored cats that it’s difficult to ignore.
Cats are elegant, mysterious, and beautiful. They are also ruthless and selfish when they have to be. Many cats have inspired works of literature including Edgar Allan Poe’s Catterina, Cleveland Amory’s Polar Bear, and T.S. Eliot’s Jellylorum.
Canadian novelist and playwright Robertson Davies once wrote, “Authors like cats because they are such quiet, loveable, wise creatures, and cats like authors for the same reasons.”
Most authors are creative introverts and cats fit beautifully into an introvert’s world. As the American author, Andre Norton said, ‘Perhaps it is because cats do not live by human patterns, do not fit themselves into prescribed behaviour, that they are so united to creative people.’
They say that a dog is a man’s best friend, but these writers found solace—and occasional inspiration—in another four-legged companion.
Sir Anthony Hopkins he loved to play piano for his cat, Sir Niblo
10 Spiritual Lessons You Can Learn from Your Cat
Do we rush through life without noticing our surroundings? Do we spend enough time caring for our own basic needs and comfort? Take a page from the feline playbook to keep you purring. By mimicking the behavior of the cats that share our homes, we can develop fuller, richer spiritual lives. From the patterns of play, to the need for sleep, to finding joy in the smallest of things, cats show us how to reach inside ourselves for higher goals, a less stressful life, and a newfound ability to purr in tune with the world. Photographs of prancing, prowling, and playful cats provide the necessary inspiration to make the most of all of your nine lives. Add Joanna Sandsmark’s inspiring book to your collection.
James Bowen, a homeless heroin addict, quit his addiction because of a stray cat he named (Bob). James found (Bob) injured in 2007 and began caring for him, which gave his life a purpose and aided him in quitting heroin and returning to a normal life. James Bowen wrote a book featuring the cat Bob as the main character. The book made it to the bestseller list and was turned into a film (A Street Cat Named Bob) in which Bob himself appeared. James has written several books starring Bob the cat, and he now works in supporting the needy and homeless, as well as charity work and rescuing street animals.
“He gave me this look, almost saying, ‘help’, but also ‘sort it out’,” said the author today. Bowen nursed Bob back to health, only to find the cat following him everywhere he went, even joining him when he busked and sold the Big Issue. The pair became well-known in London, going on to attract the attention of a literary agent, who sold Bowen’s story of how, with Bob’s help, he would get over his addictions to heroin and methadone, to Hodder & Stoughton. It also inspired two films. Bob the cat died in June 2020.
Marlon Brando – was American legendary actor who became iconic figure in 1950s for antisocial figure was also a great writer. He had photographed with his cats several times and Vito’s cat in iconic figure in 1950s for antisocial figure.
Marlon Brando once said, “I live in my cat’s house.”
He had a real love for felines, and gave a big movie break to a stray that was found by director Francis Ford Coppola on the set of The Godfather. Brando held the tabby in his lap throughout the opening scene, and people have thought it intentional brilliance ever since, reading symbolism into the hidden claws and softening the first impression of a mafia boss.
One of most important and influential writers in history, Charles Dickens once said: “What greater gift than the love of a cat?” He would sit entranced for hours while writing, but when his furry friends needed some attention, they were notorious for extinguishing the flame on his desk candle. In 1862, he was so upset after the death of his favorite cat, Bob, that he had the feline’s paw stuffed and mounted to an ivory letter opener. He had the opener engraved saying, “C.D., In memory of Bob, 1862” so he could have a constant reminder of his old friend. The letter opener is now on display at the Berg Collection of English and American Literature at the New York Public Library.
Mark Twain—the great humorist and man of American letters—was also a great cat lover. ‘I simply can’t resist a cat, particularly a purring one. They are the cleanest, cunningest, and most intelligent things I know, outside of the girl you love, of course.’ Twain kept eleven cats at his farm in Connecticut. When his beloved black cat Bambino went missing, Twain took out an advertisement in the New York American offering a $5 reward to return the missing cat to his house at 21 Fifth Avenue in New York City. It decribed Bambino as “Large and intensely black; thick, velvety fur; has a faint fringe of white hair across his chest; not easy to find in ordinary light.”
The feline protagonists in Stephen King’s novels lead haunted lives. In Pet Sematary, King tells a story of loss inspired by his family’s own tragic experience with their pet cat Smucky who was hit by a car. King’s cat-filled publicity photo for the movie Cat’s Eye, based on several of the author’s short stories, proves that the author’s fascination with the macabre didn’t stop him from being a cat magnet. This famous cat-lover wrote that ‘it might be that the biggest division in the world isn’t men and women but folks who like cats and folks who like dogs.’ The Shawshank Redemption author has owned several pets over the years, including “a rather crazed Siamese cat” named Pear.
‘The cat does not offer services. The cat offers itself,” says William Burroughs, who is known for his wild, drug-induced writings, but he had a softer side as well—especially when it came to his cats. He penned an autobiographical novella, The Cat Inside, about the cats he owned throughout his life, and the final journal entry Burroughs wrote before he died referred to the pure love he had for his four pets: “Only thing can resolve conflict is love, like I felt for Fletch and Ruski, Spooner, and Calico. Pure love. What I feel for my cats present and past. Love? What is it? Most natural painkiller what there is. LOVE.”
Aside from peppering his high Modernist poetry with allusions to feline friends, T.S. Eliot wrote a book of light verse called Old Possum’s Book of Practical Cats, a collection of 15 poems, dedicated to his godchildren, regarding the different personalities and eccentricities of cats. Names like Old Deuteronomy, the Rum Tum Tugger, and Mr. Mistoffelees should be familiar to people all around the world—the characters and poems were the inspiration for Andrew Lloyd Webber’s long-running Broadway musical, Cats. Later publications of Old Possum’s included illustrations by noted artist Edward Gorey—yet another avid cat lover. You can listen to Eliot read “The Naming of Cats” here.
Patricia Highsmith doesn’t have the friendliest literary reputation around (she once said “my imagination functions much better when I don’t have to speak to people”). But The Talented Mr. Ripley and Strangers on a Train author nevertheless found a perfect way to let her imagination function with her many four-legged companions. She did virtually everything with her cats—she wrote next to them, she ate next to them, and she even slept next to them. She kept them by her side throughout her life until her death at her home in Locarno, Switzerland in 1995.
Highsmith was an animal lover who absolutely loved cats, especially Siamese. She had up to six at the same time. Urich Weber, the curator of Highsmith’s archive, once explained that “she was very happy among cats. They gave her a closeness that she could not bear in the long-term from people. She needed cats for her psychological balance.”
She didn’t have the friendliest literary reputation around—she once said “my imagination functions much better when I don’t have to speak to people” nevertheless found a perfect way to let her imagination function with her many four-legged companions. Time and again they were the object of her literary and artistic work. She did virtually everything with her cats—she wrote next to them, she ate next to them, and she even slept next to them. She kept them by her side throughout her life until her death at her home in Locarno, Switzerland in 1995.
“A cat makes a home a home, a writer is not alone with a cat, yet is enough alone to work. More than this, a cat is a walking, sleeping, ever-changing work of art.” ~ Patricia Highsmith
British Nobel Prize-winning author Doris Lessing wrote of her affection for cats many times, but she felt a particular affinity for her pet El Magnifico. “He was such a clever cat,” she remarked to the Wall Street Journal in 2008. “We used to have sessions when we tried to be on each other’s level. He knew we were trying. When push came to shove, though, the communication was pretty limited.”
Ernest Hemingway and his family initially became infatuated with cats while living at Finca Vigía, their house in Cuba. During the writer’s travels, he was gifted a six-toed (or polydactyl) cat he named Snowball. Hemingway liked the little guy so much that in 1931, when he moved into his now-famous Key West home, he let Snowball run wild, creating a small colony of felines that populated the grounds. Today, some 40 to 50 six-toed descendants of Snowball are still allowed to roam around the house. Polydactyl felines are sometimes called “Hemingway Cats.”
American writer Ernest Hemingway is probably the most famous cat lover in the literary world, along with Mark Twain (who took his love of cats to such an extent that he refused to be friends with people who didn’t like cats and rented cats when he was on tour and couldn’t take his own cats with him).
Many of you are probably familiar with the Hemingway House in Key West, Florida, which is home to about 60 cats. Hemingway’s first polydactyl cat, named Snow, was given to him by a captain and marked the beginning of his love for these animals.
Many of the cats that live at the Hemingway House today are descendants of Snow and are well cared for by the staff there. It’s a fantastic place for literature and cat lovers. All Hemingway cats after Snow were named after famous people (Mark Twain was one of them, as he was Hemingway’s literary role model) – a tradition that the Hemingway House continues to this day.
“A cat has absolute emotional honesty: people can hide their feelings for some reason, but a cat cannot.” – Ernest Hemingway
Known to be a general cat lover during his life, this 18th century jack-of-all-trades was immortalized in James Boswell’s proto-biography The Life of Samuel Johnson.
In the text, Boswell writes of Johnson’s cat, Hodge, saying, “I never shall forget the indulgence with which he treated Hodge, his cat: for whom he himself used to go out and buy oysters, lest the servants having that trouble should take a dislike to the poor creature. I am, unluckily, one of those who have an antipathy to a cat, so that I am uneasy when in the room with one; and I own, I frequently suffered a good deal from the presence of this same Hodge.” Although Boswell was not a fan, Johnson called Hodge “A very fine cat indeed.” Hodge is immortalized, with his oysters, with a statue of his likeness that stands outside Johnson’s house at 17 Gough Square in London.
The Osaragi Jirō Memorial Museum in Yokohama, Japan is dedicated to the author Jirō Osaragi and features numerous cat ornaments as an integral part of its feline-themed decor. Osaragi wrote several novels connected to Yokohama, including Gento (Magic Lantern) and lived at the Hotel New Grand for over 10 years (in room 318). It’s often said that the Shōwa-period author cared for over 500 cats throughout his lifetime at his home in Kamakura, Japan—which is sometimes open to the public. Visitors can lounge on Osaragi’s terrace and sip tea while picturing the hundreds of semi-feral cats that once frolicked in the gardens.
Ray Bradbury compared parts of the writer’s creative process to cat ownership, saying that ideas, like cats, “come silently in the hour of trying to wake up and remember my name.”
His advice for writers?
“Treat ideas like cats … make them follow you.”
In his short story, The Cat’s Pajamas, two cat lovers fight over who will keep a stray cat they find in the middle of a California highway.
Though not overt, William Yeats’s love for cats can be found in poems like “The Cat and the Moon,” where he uses the image of a cat to represent himself and the image of the moon to represent his muse Maude Gonne, a high society-born feminist and sometime actress who inspired the poet throughout his life.
The poem references Gonne’s cat named Minnaloushe, who sits and stares at the changing moon. Yeats metaphorically transforms himself into the cat longing for his love that is indifferent to him, and the heartsick feline poet wonders whether Gonne will ever change her mind. Too bad for Yeats; Maude Gonne never agreed to marry him, despite the fact that he asked for her hand in marriage—four separate times.
Raymond Chandler had an immense influence on detective fiction and came to define the tenets of hard-boiled noir. He used femme fatales, twisting plots, and whip-cracking wordplay in his evocative classics starring the detective Philip Marlowe, including The Big Sleep and The Long Goodbye. But it wasn’t all serious business for Chandler because—you guessed it—he really loved cats. His cat Taki gave him endless enjoyment, but also occasionally got on his nerves.
Here’s a passage from a letter Chandler wrote to a friend about Taki:
“Our cat is growing positively tyrannical. If she finds herself alone anywhere she emits blood curdling yells until somebody comes running. She sleeps on a table in the service porch and now demands to be lifted up and down from it. She gets warm milk about eight o’clock at night and starts yelling for it about 7.30.”
by Daniel Dercksen·Comments Off on A Real Pain – How Ancestral Events Shape Today’s Lives
It was during a trip to Poland that Jesse Eisenberg had what he calls a ‘strange revelation’. A two-week trip through the country landed him at the tiny house in the village of Kranystaw, where his aunt Doris had lived before the Holocaust displaced her entire family. “Had the war not happened, this is where I would be living,” Eisenberg remembers thinking. “What would my life be like? Who would I be?” Twenty years later Eisenberg found himself back at that house, this time as the director, writer, and co-star of A Real Pain.
Eisenberg was so inspired by that initial trip to Poland that he first wrote a play, The Revisionist, which debuted off-Broadway 2013. Eisenberg played a different character named David, a young American visiting his older Polish cousin, a Holocaust survivor, played by Vanessa Redgrave. The play was a success, but his attempts to adapt it into a screenplay didn’t get far. “All of my adaptations were bad,” Eisenberg says plainly. “And I thought, you know, I really want to write and set a movie in Poland, to be able to film there, to be able to experience another story there. It took about 15 years to get something good, but I finally came up with this story, which is a buddy story. And that takes place on a tour of Polish history.”
It was a different Eisenberg project, and another attempt at adapting it to the screen, that provided that other essential part of the story. “I wrote a short story several years ago for Tablet magazine about these two guys going to Mongolia together, and the story was very similar to the dynamic in A Real Pain,” Eisenberg says.
When he hit a wall attempting to adapt it as a film, he happened upon a ‘depressingly fortuitous advertisement’ online, promising ‘Holocaust tours (with lunch)’.
As Eisenberg explains, “It took me to this company that was advertising a tour through the Holocaust sites of Poland—but with all of the creature comforts that an upper middle class American tourist would want. I read it with just a mix of awe and shock and feeling icky that I would be one of those people going on this tour where I would kind of demand my comforts while also viewing the horrors of my family’s history. And I just thought, that is a phenomenal framework to set this movie.”
In A Real Pain Eisenberg plays David, a New Yorker and young father who goes on a tour of Polish Holocaust history accompanied by his cousin Benji, played by Kieran Culkin, thanks to money left by their recently deceased grandmother. Joining a tour group led by the affable James, played by Will Sharpe, David and Benji rekindle their childhood bonds as they grapple with the family tragedies of the past that still, in some ways, define them.
Of the two cousins at the centre of the film, Eisenberg initially intended to play Benji, the free spirit who charms and exasperates the tour group in equal measure. “I’ve written a lot from the perspective of a character like that because I aspire to be somebody like that,” says Eisenberg. “Someone who’s looser, who is more open, who lives in the moment, who struggles with possibly the same depression I struggle with but deals with it in this freer way.”
Instead, he plays the role of David, who initially seems more grounded than Benji, with a stable if unglamorous tech job and a wife and child back home in Brooklyn.
When David and Benji meet up in the airport for their flight to Poland, it’s the first time they’ve seen each other in years, and their paths have diverged considerably. “They were very tight in their childhood, almost like brothers,” says Culkin, who plays Benji. “When they got older they just grew apart, and to me a lot of the story is about how they handled that very differently. One seemingly moves on from that and seems pretty well-adjusted, and the other one seems to be a bit of a case of arrested development, particularly when it comes to that particular relationship.”
As David is overshadowed by Benji throughout the tour, and as he confronts his family history throughout Poland, his internal struggle— essentially, a struggle with whether he should even allow himself to feel a sense of struggle — becomes clearer. “That’s why the movie is called A Real Pain,” Eisenberg says. “It’s questioning what is real and what is valid pain. Is David’s OCD pain real even when you’re visiting the sites of genocide? Is David’s general anxiety disorder real and valid even though his cousin is experiencing something far worse in his own life? That’s what the movie is questioning.”
Benji is introduced as the kind of guy who can chat up a TSA agent without seeming annoying, and whose unexpected outburst during the tour group’s first meeting is seen as charming, not inappropriate. But as the film goes on it becomes clear that his freewheeling lifestyle is the result of, yes, real pain. Still grieving the loss of the grandmother who inspired the trip, as well as mental health struggles that have recently reached a breaking point, Benji is a stark emotional contrast to his more reserved cousin.
“I think David has managed his baggage a bit and Benji really, really has not,” says Culkin. That baggage comes out in unexpected ways throughout their trip, like Benji resisting sitting in a first-class cabin on a train, or walking away from a jovial group dinner moments after he seemed to be enjoying himself.
As Eisenberg sees it, ”Benji is the real star of the movie. He’s the character that the audience is going to be, by design and thankfully because of Kieran’s brilliance, watching the whole time, trying to kind of figure out.” Enthusiastic and charming one moment, then sullen and sarcastic the next, Benji is “hard to nail down,” Culkin says. But nearly everyone knows a Benji. “It’s interesting how many people will say they know this one person that they can never quite nail down or fully understand,” Culkin says.
“He’s very charismatic and loveable, but also detestable. I know one person in my life who’s kind of like this, and I’ve since met people that have watched this movie that have said I have a Benji in my life. I’m like, you’ve got one too? Is it the same as mine?”
Culkin, who had wrapped the fourth and final season of “Succession” shortly before making A Real Pain claims he did “everything in my power to get out of doing this movie,” but was ultimately too compelled by what he read in Eisenberg’s script. “I instantly went, ‘I know who this guy is, I know I can play this,’” Culkin says. “I don’t want to think about it. I can do it. It’s very, very rare when that happens.”
A Real Pain was Culkin’s first major role since Succession, and required some adjustment from the fast pace of production on that show, where scripts would shift from day to day and improv was encouraged. “I think I chose this movie because the script was tight,” Culkin says. “It was perfect. It didn’t need my help.” Both Culkin and Eisenberg, who comes from the theater world where a script is literally called the Bible, expected to play the film exactly as written.
Basing the film so closely on his own travels, as well as his family’s specific history, Eisenberg was committed to filming in real locations across Poland.
“I could not have had a better experience shooting anywhere in the world—including my hometown New York City, or my adopted town of Bloomington, Indiana—than shooting in Poland,” says Eisenberg.
Production took place with an almost entirely Polish crew, including cinematographer Michał Dymek, winner of the National Society of Film Critics award for his work on 2023’s EO. “They were just artists,” says Eisenberg. “It was just an unbelievably ambitious shoot that I can’t imagine any other group of a hundred people being able to pull off.”
Eisenberg took inspiration from road movies like Y Tu Mama Tambien for the film’s style and met with Dymek to discuss ways to “create a road movie that’s also beautiful, that shows Poland in a really beautiful light, but mixes the kind of elements of horror and history.” He wanted to capture the “quiet unease” of being in a comfortable tourist group while learning about horrific history.
To accomplish that, he knew the film couldn’t have a traditional score, and instead turned to one of Poland’s greatest cultural treasures: Frederic Chopin. He had visited Chopin’s home on that first trip to Poland and incorporated his Nocturnes into the sound design for his play The Revisionist. Unlike in a traditional score where the music would highlight the characters’ emotions, the Chopin’s music in A Real Pain “plays almost like a running commentary,” says Eisenberg. “It gives the movie this sophisticated removed tone that I just found very helpful. When we started editing the movie and were putting these Chopin pieces in the places that they belonged, the editor and I just turned to each other and said, ‘This is the tone of the movie.’”
Eisenberg, who poured so much of his own story into the film, sees two ways for audiences to experience it — as a buddy comedy about “these mismatched two guys flailing alongside each other in these various contexts,” and then as something much deeper. “Because it’s a personal movie, it hits people in personal ways,” says Eisenberg. “Some people watch this movie and tell me, ‘My family came from there, and I wept the whole movie.’ So that’s a wonderful reaction, because it makes them feel something.”
Jesse Eisenberg is an Academy Award nominated actor and an acclaimed playwright and author. His film credits include Roger Dodger, The Squid and the Whale, Adventureland, Zombieland, The Social Network, Now You See Me, The Double, Night Moves, The End of Tour, American Ultra, Louder Than Bombs, Batman v. Superman, Now You See Me 2, Café Society, Justice League, The Hummingbird Project, The Art of Self Defense, Zombieland: Double Tap, Resistance, Vivarium, Wild Indian, Manodrome, and Sasquatch Sunset which sees him play the urban legend Sasquatch. On the small screen, Eisenberg was recently seen playing the titular character of ‘Toby Fleishman’ in the FX limited series ‘Fleishman Is in Trouble’ based on Taffy Brodesser-Akner’s best-selling novel of the same name. Eisenberg made his directorial debut with A24’s When You Finish Saving the World, which premiered at the 2022 Sundance Film Festival to glowing reviews and screened as a part of Critics Week at the 2022 Cannes Film Festival. The film is based on the Audible Original of the same name, both of which were written by Eisenberg. Eisenberg has written four plays, including “The Spoils,” which had a box-office record-breaking run-on West End. He also wrote and starred alongside Vanessa Redgrave in his play “The Revisionist,” and “Asuncion.” His play, “Happy Talk” starring Susan Sarandon and Marin Ireland opened April 2019 at the Signature Theater in New York. Born in New York, Eisenberg is a frequent contributor to The New Yorker, the author of the collection, Bream Gives Me Hiccups from Grove Press and the Audible Original When You Finish Saving the World, which won “Best Original Work” at the 2021 Audie Awards.
by Daniel Dercksen·Comments Off on Better Man – A daring and innovative approach to the musical biopic genre
Better Man was co-written, produced, and directed by Michael Gracey, who was inspired to write the docudrama through his friendship with Robbie Williams and the singer’s influence on Hugh Jackman during the making of The Greatest Showman. Williams often referenced himself as a “performing monkey” and shared captivating stories about his life, which Gracey found intriguing. This unique perspective and Williams’ charismatic personality provided the creative spark for the film.
Better Manis based on the true story of the meteoric rise, dramatic fall, and remarkable resurgence of British pop superstar Robbie Williams, one of the greatest entertainers of all time. Under the visionary direction of Michael Gracey, the film is uniquely told from Robbie’s perspective, capturing his signature wit and indomitable spirit. It follows Robbie’s journey from childhood, to being the youngest member of chart-topping boyband Take That, through to his unparalleled achievements as a record-breaking solo artist – all the while confronting the challenges that stratospheric fame and success can bring.
Better Man is a song that has resonated deeply with audiences since its release. Its powerful lyrics, emotive melody, and impeccable production have contributed to its status as a beloved musical piece.
“I wanted to find a creatively interesting way into the story, but not for the sake of having a gimmick,” says Michael Gracey. “I wanted to honor the way Rob sees himself. In the recordings we did over the course of a year and a half, he mentioned himself as a performing monkey time and time again. Robbie was incredibly open and honest about his life. He shared stories that were both heartbreaking and inspiring. It was an honor to bring his journey to the screen “
“I trusted Michael with my story because he understands the highs and lows of fame,” says Robbie Williams. “He’s been through it himself in the visual effects world, and he gets the performing monkey analogy I often use for myself.”
“Better Man shows how I powered through challenges like childhood trauma, fame too early, mental illness, addiction, and rehab. It’s a raw and honest look at my journey. I didn’t derive any joy from all the success that I had. But now, I’m experiencing joy, happiness, and gratitude. These are my golden years.” Robbie Williams’ candid reflections add a personal touch to the film’s narrative
“The idea of portraying Robbie as a chimpanzee came from his own words. He often referred to himself as a ‘performing monkey,’ and I thought it was a perfect metaphor for his life as a performer. Working with Robbie was a dream, but it wasn’t without its challenges. We had to find the right balance between his real-life experiences and the creative liberties we took to make the film engaging.”
The creation was a collaborative effort, involving the talents of numerous individuals. Songwriters, musicians, producers, and engineers contributed their skills and expertise to the project. The collaborative process was marked by open communication and a shared vision, resulting in a cohesive and well-crafted final product.
Better Man represents a completely original, daring and innovative approach to the musical biopic genre. And its success hinged on a central character being stylized sufficiently to stand apart from the other characters, yet possessing enough humanity to integrate smoothly into an otherwise realistic live-action setting. It’s a miraculous feat of filmmaking that strikes the perfect balance between mesmerizing cinematic imagery and the grounded reality of one man’s life with all its highs and lows.
“This is a very honest account of Robbie Williams’ life,” says Gracey. “And there are things people won’t know. So from that point of view, it is very satisfying to share such a raw account of someone’s rise to fame. But for me, it’s perhaps even more exciting that audiences who don’t know Robbie Williams will be meeting him for the first time. If you know the songs, it’s a film where you will hum along to the tunes, and it will feel very satisfying. But if you don’t know the music and are hearing it for the first time within this narrative, then you will always associate these songs with these visuals. Hopefully, the imprint is so strong that people will never be able to hear the song again without thinking back to these moments.”
And so, as Gracey and the rest of the creative team prepare for this incredible labor of love to go out into the world, the director says that audiences should also expect everything that comes with an epic spectacle musical with song and dance numbers they will never have seen brought to life in this way before. “I want people to feel the joy and the excitement and how remarkable those moments are, but I also want them to experience the desperation, the sorrow, and the sadness that is part of this journey because that’s part of all our lives,” Gracey says. “And one of the joys of crafting these numbers is that you put so much up on the screen that you actually can’t see everything in one sitting, so there is a desire to go back. We have incredible music, an incredible narrative in Rob, and we have technology that is only just now able to pull off what we wanted to do. It’s a moment in time when all those things came together and that’s what makes Better Man so special.”
Davies thinks that’s exactly why audiences will be kept on the edge of their seats as they’re taken on this high-octane, emotional and euphoric ride. “I also think people will be screaming Robbie Williams’s lyrics for the next three weeks after they watch the film,” says the actor. “And I hope we see Robbie at the top of the charts again, where he belongs.”
As for the entertainer himself, Williams suggests that when audiences see the film, they may begin to view him in a new light. “Because people may think they know how things were, but they don’t know,” he concludes. “I want people to feel emotionally connected to what they’ve just seen. I want people to leave the cinema or leave their sofa or turn the TV off having thought that it was completely worth their time. This film has been a huge swing for me, for Michael Gracey, for the cast, for everybody. It’s a huge dream. And if it became the fabric of people’s pop culture lives that would be wonderful. If I could dream that big.”
Born in Stoke-on-Trent in England’s north, Robbie Williams has carved a unique path in the music industry since bursting onto the scene with boy band Take That in the early 1990s. After leaving the band in 1995, lightning struck twice as he embarked on an even more successful, chart-topping solo career. His debut album “Life Thru a Lens” was released in 1996 and showcased his gift for storytelling through music. In the years that followed, Williams evolved into a beloved entertainer known for his captivating stage presence and ability to connect with audiences worldwide.
One of the most decorated music artists in the world, Williams has had six of the top 100 best-selling albums in British history, a huge 85 million album sales worldwide, 14 number 1 singles and a record 18 BRIT Awards – more than any other artist. He secured his 14th UK number 1 album in 2022 with “XXV,” breaking the record for the solo artist with the most UK number 1 albums. His total chart-topping UK albums across his solo work and records released with Take That now stands at 19. It places him in the top two acts of all time with the most number 1s across their catalog. In 2003, his concerts held at Knebworth attracted 375,000 fans over three nights – a record attendance that has yet to be surpassed.
Over the years, Williams continued to show versatility as an artist, shifting his musical style to embrace the sound of swing and big band music artists like Frank Sinatra and Dean Martin. His successful 2001 album “Swing When You’re Winning” featured reinterpretations of the classics and cemented his ability to masterfully blend his pop sensibilities with the timeless appeal of the standards, earning him a new legion of fans spanning generations. But through it all, Williams struggled with paralyzing anxiety, along with drug and alcohol issues fueled by rocketing to global stardom when he was still just a teenager.
Despite his extraordinary career, Williams is known for living in the present, rarely spending too much time taking stock of what has happened over the course of his life. Looking back, he says, only ever happens when he talks to someone who is asking the right questions.
Better Man’s origins can be traced back to when director, producer and co-writer Michael Gracey was in the midst of making The Greatest Showman in 2016, which starred Hugh Jackman as the American showman, politician, and businessman, PT Barnum. “Whenever Hugh referenced PT Barnum, Hughwould say, ‘Just like Robbie Williams,’” recalls Gracey. “And it became a joke amongst everyone working on the film that whenever he would mention anything about his character, he would reference Robbie Williams, whether it was about the showmanship, the swagger, his musicality or any part of the performance. Robbie Williams was always his North Star.”
And so when Jackman needed reassurance about the film’s music, Gracey knew there was only one person who could convince him that it was in great shape. “I got a meeting with Robbie on a Sunday and went to see him at his house in LA,” recalls the director. “He listened to the songs, and I could see that he was enjoying them, so I asked him to record a video for Hugh. I think Hugh loved hearing from the greatest showman himself.”
“We got on like a house on fire straight away,” recalls Williams of that meeting. “I was transfixed on this man and the story he was telling about his film. Then he played me all the music from The Greatest Showman, and song after song was phenomenal. I’m in awe of Michael’s capabilities.”
The pair gradually became close friends and each time Gracey spent time with Williams, he was reminded of the entertainer’s natural gift for storytelling. “His stories were amazing,” Gracey recalls. “It’s a story of rising to fame but what made it really interesting was the way he told it. He’s very good at remembering the details. So I said to him, ‘You should get these stories down.’ At that point, I didn’t know what it was for but I told him that the next time I was in Los Angeles, I’d come over and we’d hit record and talk. Over the course of 18 months, that’s what we did. There was always a sweet spot where the storyteller in him, the performer in him, loved recounting the life he’s led, and we captured that in a raw, very informal way.”
Gracey began to go back through the recordings, shuffling them around and editing them together to determine whether there was a narrative arc. “I would shut my eyes and imagine what the film could be,” recalls Gracey of listening to Williams narrate his life story. “And it got me excited because there were universal themes. It’s about following your dreams. It’s also about being able to look at yourself in the mirror and love what you see, and be able to accept the person you are. Rob was a kid from Stoke-on-Trent in Northern England, who is not a musical genius but he has ‘it,’ whatever ‘it’ is. And that took him from Stoke-on-Trent to the entire world.”
With his signature self-deprecation, Williams describes his life story as “very remarkable things happening to a particularly unremarkable person.” He continues, “But what I’ve managed to do, what I’ve managed to achieve, and what I’ve managed to overcome, is the equivalent of stretching an elastic band from Stoke-on-Trent to Mars. Hopefully, people will find that interesting. Everybody has a story in them. Everybody is interesting. Everybody has a hero’s journey. That’s part of being human. I just hope that mine, in particular, appeals to people. And musicals are powerful because of their transformative nature and the ethereal quality that music has. Music talks to you on a soul level, deeper than words alone can.”
In 2019, Gracey teamed up with longtime friends and creative collaborators Oliver Cole and Simon Gleeson to write the script, and together they developed the themes, added nuance to the characters, and expanded the story beats and key musical numbers of the film. But the script never strayed too far from its foundation in those initial voice recordings. “We discussed the recordings and picked out our favorite moments in the stories Rob was telling,” recalls Cole. “Michael then asked us to come to Sydney for 11 days and nights, and we wrote constantly. At the start, it was a bit of a whirlwind process, but it was refreshing to work creatively under that pressure.”
“We got excited about it very quickly because Rob is such a unique guy,” adds Gleeson. “His music is good, but he is flawed and he can be silly. His fallibility was the best part. He’s emotionally honest. He was courageous to say to us, ‘Go for it.’ Because we didn’t want to sugarcoat anything. We wanted to tell something truthful and emotional. You don’t get to the level of success Rob has had without caring. So what is his drive and where does it come from? It was really important for us to delve in and show what really motivates him. This biopic is not watered down at all.”
Williams admits that he isn’t sure where the compulsion to be equally open about both the good and the bad comes from, but at this point in his life he’s stopped questioning it. “For this film, I’ve revealed way more than I should,” he laughs. “But on a day-to-day basis, I also reveal way more than I should about exactly what’s going on in my life.”
As the trio of co-writers including Gracey developed the project, it quickly became clear that those early recordings should be utilized in the final film. “The majority of the time you hear Rob in the film it is from those original recordings because even when we tried to recreate them, we couldn’t,” shares Gracey. “There’s a certain delivery and conversational manner in which Rob talks in those recordings, which is different to someone being given a script and reading lines.”
Producer Paul Currie soon came on board and, having known Gracey for many years, the pair were thrilled that they had finally found a project to collaborate on together. “Michael has a unique way of telling stories,” he says. “And with Better Man, we were both at a point in our careers where we could give everything to this bold, amazing and ambitious story that we both felt had to be told. Michael has always loved musicals and his career has been about blowing out sequences and making them visually compelling, while also maintaining the heart and emotion. He has an edge and musicality about everything he does, but there’s also a sense of idealism in his characters. So in tackling a story like Rob’s, you knew that with Michael behind it, it was going to have all the grit and reality but also a sense of wonder and fantasy about the story as well. It has been the most challenging ride and journey of my life, but it’s something that we’re all very, very proud of.”
Originally from Melbourne, Australia, but now working across the globe, Gracey relocated back to his home country to make the film early in 2021. The majority of the project was shot in Australia over the course of four months, with the exception of some key sequences that took place in the United Kingdom and Serbia. “To go home to shoot this film with the incredible Australian crews and the talent we have there was a joy,” says the filmmaker. “And to have that many people rally around what is a very ambitious film, was really humbling. This movie would never have happened if it wasn’t for Screen Australia and VicScreen and what they allowed us to do. The epic scale of what we were able to realize is only possible thanks to them.”
“To have someone like Michael be able to return home is a special thing for the growth of the industry because he brings his skills back to the teams of people he works with,” says Currie, who produced the film alongside Gracey, Coco Xiaolu Ma, Jules Daly, and Craig McMahon. “And the ripple effects of what a large-scale film like this does for the industry are substantial. I hope that when audiences watch Better Man they feel the passion that everyone who worked on this film put into it. This is a movie of sheer defiance, energy, love, collaboration and craft poured into every frame.”
As Gracey developed the film, he knew they had an incredible story, but he felt a certain amount of pressure to present it in a novel way. “It’s an original story and Rob’s a unique character,” he says. “And so I wanted to make sure that how we depicted this story and how we lensed it – in terms of where our focus was – was also creatively unique.”
Whenever Gracey returned to the recordings, he honed in on Williams referring to himself as a monkey over and again. “Rob would say things like, ‘I’m up the back dancing like a monkey,’ or ‘I was completely out of it, but they were dragging me up on stage to perform like a monkey.’ And after a while, I thought, ‘Wouldn’t it be amazing to represent Rob as a monkey in the film?’ Because Robbie is telling this story – just as he was telling me the story in those interviews – and that’s how he sees himself.”
Given the way rock stars can shift the energy of a room, making it suddenly seem to orbit around them, the filmmaker also soon discovered that the monkey delivered that same captivating intensity. “When you put a monkey in a scene, you can’t help but be drawn to that monkey, even if he’s not talking,” explains Gracey. “And that captures what it is to be a star. You cannot keep your eyes off that person. So, to me, not only does the monkey satisfy the way Rob sees himself, but there is this other element to it, which is that it creates a real star in every single frame of the film that you become so compelled by. Wētā FX created the lead character of the film, and the work they have done and the passion they put into it is the most impressive thing I’ve ever seen. Long before he was famous, Rob has always been that person that when he walks in the room, he’s the center of attention.”
“My life always seems to be a tightrope act with no safety harness,” admits Williams. “I could fall off at any moment and a lot of the time I do. So when Michael came to the house and said, ‘Let’s have you be a monkey,’ instantly I felt that it was the biggest swing that could ever happen for this movie. I loved the risk that he was taking so much, and I knew we had to go with it. It made perfect sense to me, and it’s so exciting and different. There is a surrender to the machinery of the industry that requires you to be a robot or a monkey. And I chose a monkey.”
Another added benefit that unexpectedly arose from this creative choice was the natural human reaction we have to seeing animals go through challenges on screen. “Our hearts go out to animals as there’s an innocence to them,” notes Gracey. “And when you see animals in pain, or being hurt, it’s very confronting. So there was something really powerful about representing Rob as a monkey and watching him go through those darker moments when he is in pain, whether that’s self-harm or a situation where he’s being hurt. You feel so much more for him.”
But what is perhaps most surprising is how quickly you forget that you’re even watching a monkey. “The first five minutes of a film is where you set the contract with the audience,” explains Gracey. “You’re basically saying, ‘This is what we’re going to be doing.’ Then everyone connects, and you don’t think about it for the rest of the film. You buy into this beautiful character, these amazing performances and these very human qualities. There’s something primal about looking at a monkey and his experiences in a world, where he is quite noticeably different to everyone else. And as an audience, we can relate to that character. Because at the end of the day, we all feel different and often question who we really are. We all look in the mirror – particularly as teenagers – and we go, ‘I’m not this, and I’m not that.’ So watching Rob experience that as a character, as he’s struggling with who he is, is a very relatable and beautiful conceit.”
Casting Robbie Williams
For Robbie Williams, songwriting was something he felt he had an inherent ability to do – even before he’d ever tried to write his first song. “I wrote poetry when I was in Take That,” the singer remembers. “And then I’d recite my poetry to people, and they genuinely thought it was something that wasn’t shit. So then I thought, ‘Well, I’ve got to turn this into music. I’ve got to put notes to these words.’ And once I figured out how to do that, I didn’t want to stop. I’ve written about 800 songs, and I just constantly want to keep doing it. I’ve been incredibly fortunate that I get to be creative.”
When it came to bringing Robbie Williams to the screen in a dramatized telling of his life story, Michael Gracey always knew that a conventional approach would never work for such a unique individual. Instead, Gracey devised a completely original, somewhat audacious method that took advantage of a CGI monkey being the center of practically every scene. To start, Williams himself was digitally scanned and motion-captured while performing a song from the film, so production could authentically reference his facial expressions, mannerisms and performance movements. Gracey then cast two actors to play the younger Robbie Williams – Australian actress Asmara Feik and English actor Carter J. Murphy – with English actor Jonno Davies taking on the lead role of Williams as a teen and adult. After filming their respective performances via motion capture, Gracey and the groundbreaking, award-winning digital effects house, Wētā FX, fused all of these elements to create the monkey character and deliver a profoundly impactful portrayal of this once-in-a-generation performer.
“Casting Rob was really difficult,” admits Gracey of finding a lead actor who would carry the majority of the weight of bringing Williams to the screen. “There’s a lot that goes into the character – a lot of heart and a lot of showmanship – and there’s a lot of talent that’s required. Some people had the dramatic chops, some people had the amazing showmanship, some people had the ability to be witty and charismatic. But to find one person who could do all of those things to a degree that satisfied what and who Robbie is, proved almost impossible.”
So impossible in fact that ten days prior to the start of production, the lead had still not been cast. It was actor Kate Mulvany, who plays Williams’ mother Janet, who suggested Davies, who she’d worked with on the series, Hunters. Davies proved to be the ideal fit to represent all the complexities of Williams, delivering a remarkable performance that perfectly embodies his charisma and physicality with striking accuracy. “Jonno gave this film his all,” raves Gracey. “His commitment to portraying Robbie in a truthful, exciting, and energized way was so impressive. It blew me away. He did a deep study of what makes Robbie Robbie, including his relentless nature. Take after take, he always gave it 150%. This film is as good as it is because of Jonno’s dedication to that performance.”
For Davies, it was a role he knew he passionately wanted from the get-go, and he inadvertently brought a lifetime’s amount of research to the performance. “It was the lead in a Michael Gracey film playing one of the icons of my childhood,” he says of his excitement at the opportunity. “Robbie was one of the first people I saw live with my parents when I was about nine years old. It was around the time of his Knebworth shows. It is imprinted in my mind. Robbie is a person whose emotion has always been right on the outside layer of his skin and his heart is on his sleeve. We go very deep into that in this film. But no matter what Robbie puts other people through, we’re on his side.”
Williams was thrilled with the casting choice, noting that the young actor has something special that translates to not being able to take your eyes off him when he’s performing. “But first and foremost, Jonno is a fantastic human being,” says Williams. “He’s such a lovely person, and he’s immensely talented. Watching him do his thing – which is my thing – was very interesting, confusing, wonderful, and a weird thing to watch. He’s amazing.”
And while it isn’t Davies’ human face that we see on screen, the performance is very much his, asserts Gracey, with layers then added on top. “The animators created a digital version of Robbie as they had all of this footage of Robbie himself to incorporate into Jonno’s performance,” explains the director. “So there are moments, for example with ‘Let Me Entertain You,’ where there are iconic things that Robbie does – from the way he moves to certain expressions, even in the way he shouts out in the breaks of songs – and we got all of those from Robbie himself. And Jonno, to his credit, would study the way Robbie performs. It was amazing to watch just how much of Robbie was in Jonno’s performance. So it ended up being this beautiful hybrid in moments where we could bring in the real Robbie Williams when we needed to. But Jonno really nailed the performances, even in moments where it’s unspoken and he’s just doing a reaction, he reacts in the way that Robbie would. All biopics need an iconic central performance, and we’ve been so fortunate to have one in this.”
The amount of his performance that would come through under the guise of the monkey was something Davies himself had wondered about until his first meeting with Gracey made it crystal clear. “Michael assured me that I was the puppeteer, the person pulling the strings for this character,” he recalls. “They captured all my micro-movements, hence the 101 dots that I had attached to my entire body every morning. The monkey was the canvas, but I was the painter. So for the most part, I never played it as a monkey and although that’s the visual representation, I never wanted people to see Robbie as a Neanderthal or a primitive figure because he’s got so much heart, and he’s very complex. But I loved starting with the physical. Apes are chest-forward and have a ‘bring it on’ approach, which I think Robbie has an abundance of, especially when he’s on stage.”
At the heart of the film is a beautifully complicated father-son story between Robbie Williams and his entertainer father Peter Williams – who went by the stage name Peter Conway (Steve Pemberton) – as well as close and loving relationships between Williams and his mother, Janet (Kate Mulvany) and grandmother, Betty (Alison Steadman). Williams’ parents divorced when he was three, and Peter put all of his energy into stand-up comedy and singing rather than being fully present for his son. Pemberton’s portrayal of Peter infused the role with empathy, comedy, and showmanship; Steadman’s performance as Robbie’s nan added emotional depth to the film and symbolized unwavering love and support; and Mulvany captured the authenticity, heart, and humor of a single mother’s relationship with her son.
“In all of Rob’s stories, I was drawn to the father-son aspect of it,” shares Gracey. “Someone once said that all rock stars are sons on stage crying out for their dads. But in Rob’s case, he had a unique experience in that he had a father who idolized Frank Sinatra, Dean Martin, and Sammy Davis, Jr., and his excitement and passion for that music was passed on to Robbie. Narratively, there was something beautiful about a father who doesn’t get to realize his dream, but his son does. And in Rob realizing his dream, he allowed his father to stand on stage in front of thousands of people and perform. It’s a very satisfying, unique, and true element to Rob’s story.”
“There were not many people from where I’m from who would even dream of being in the entertainment industry because it was not available to us to have that kind of dream,” recalls Williams. “But yet, my dad was part of that dream. He lived it. He was in it. So I could see that it was possible. The way my father talked about people in his industry that he admired and loved was like he was talking about the gods. My relationship with my father has been one with him as my hero. He’s charismatic, engaging, and wonderful company. Everybody loves Peter, and no one more than me.”
And no one could believe it when the production landed Pemberton, the beloved comedian and BAFTA-winning actor to portray the lovable rogue, Peter. “He had to be able to be the clown, but he also had to have heart,” says Gracey of what he was searching for in an actor to play the part. “He had to be the person Rob looks up to, but he’s also flawed as a human, as we all are. What Steve brought to that character was incredible. He’s a comic genius and an amazing writer, so his ad-libs kept the entire crew in stitches. It was pure joy. I remember those days because my cheeks hurt from smiling all day. The way he portrays Rob’s father is incredibly powerful and touching, and in some of the more unlikable moments, he still makes you care for him.”
“The story is told in an extraordinary way that makes you reevaluate everything you think you know about Robbie Williams,” says Pemberton of why he was drawn to the project. “It’s fun, it’s funny, and it’s dramatic as well. I firmly believe that any drama needs comedy in it and any comedy needs drama in it because life is funny one minute, and dramatic and sad the next. You’ve got to have all of that going on within your performance.”
In addition to Michael Gracey, the film Better Man was co-written by Simon Gleeson and Oliver Cole.
Michael Gracey is an Australian filmmaker known for his work in visual effects, music videos, and commercials before transitioning to directing feature films. He grew up in Melbourne and began his career at Animal Logic, an animation and visual effects studio, where he worked as an animator and visual effects compositor. Gracey gained recognition for his innovative and often viral approach to commercials, winning numerous awards for his work on spots like Evian’s “Roller Babies” and T-Mobile’s “Dance” flashmob. His directorial debut came with the 2017 musical film “The Greatest Showman”, starring Hugh Jackman, which became a global success. He followed this with producing “Rocketman” and directing “Pink: All I Know So Far” before releasing his latest film, “Better Man”, a musical biopic about Robbie Williams. Gracey is also set to direct the live-action adaptation of “Tangled”
It’s impressive how both Simon Gleeson and Oliver Cole have diverse talents and have contributed to different aspects of the entertainment industry
Simon Gleeson is an Australian actor, singer, and screenwriter. He is best known for his roles in musical theatre, particularly as Jean Valjean in the Australian production of Les Misérables, for which he won a Helpmann Award. Gleeson has also performed in numerous other productions, including Love Never Dies, Mamma Mia!, and Eureka. He has appeared in television series such as EastEnders and City Homicide, and released a solo album titled Elements in 2015.
Oliver Cole is an Australian musician and songwriter. He was the frontman for the bands Swampshack and Turn, and has released several solo albums, including Father, Brother, Son. Cole is known for his evolving musical style and has been involved in various musical projects3. He has also contributed to film and television scores, including The Wall and Tempvs.
The success of Better Man can be attributed to the dedication and hard work of several key contributors. The lead songwriter’s vision and creativity laid the foundation for the song.
The producer’s technical expertise and artistic sensibilities helped shape the sound. Musicians brought their unique talents to the recording sessions, adding depth and character to the performance. Engineers ensured that the recording quality met the highest standards.
Like any creative endeavour, the production of Better Man faced its share of challenges. Technical issues, scheduling conflicts, and creative differences were all part of the process. However, the team’s commitment to excellence and their ability to problem-solve ensured that these challenges were overcome. Open communication and a willingness to compromise were key factors in navigating these obstacles.
Better Man stands as a testament to the power of collaboration and the importance of meticulous production. The song’s emotional depth and musical complexity are the result of careful planning, technical expertise, and creative vision.
The conceptualisation of Better Man began with the songwriter’s reflections on relationships and personal growth
Drawing from real-life experiences, the lyrics encapsulate the emotional journey of longing, regret, and the desire for self-improvement. The heartfelt narrative is complemented by a poignant melody that enhances the song’s emotional depth.
The songwriting process involved multiple stages, beginning with the initial draft of the lyrics. The songwriter meticulously crafted each line to ensure the message was clear and impactful. The melody was then composed to align with the lyrical content, creating a harmonious blend of words and music. Collaborative input from fellow songwriters and musicians helped refine the song, adding layers of complexity and richness.
The lyrics of are characterised by their raw honesty and emotional intensity. The songwriter employed various literary devices, such as metaphors and similes, to convey the depth of their feelings. Each verse builds upon the previous one, culminating in a powerful chorus that serves as the emotional climax of the song.
The melody of was crafted to evoke a sense of melancholy and hope simultaneously. The chord progression plays a crucial role in establishing the song’s mood, with minor chords conveying a sense of sadness and major chords providing a sense of resolution. Harmonies were carefully arranged to complement the lead vocals, adding depth and texture to the overall sound.
The recording sessions for took place in a state-of-the-art studio, equipped with the latest recording technology. The process was meticulously planned and executed, with a focus on capturing the best possible performance. The sessions were marked by a collaborative spirit, with each member of the production team bringing their expertise to the table.
The instrumental tracks for “Better Man” were recorded using a combination of live instruments and digital enhancements. The production team employed a variety of microphones and recording techniques to capture the unique sound of each instrument. Special attention was given to the acoustic guitar and piano, which play a central role in the song’s arrangement.
The instrumental tracks were recorded using a combination of live instruments and digital enhancements. The production team employed a variety of microphones and recording techniques to capture the unique sound of each instrument. Special attention was given to the acoustic guitar and piano, which play a central role in the song’s arrangement.
The production of involved a blend of traditional and modern techniques. The goal was to create a sound that was both timeless and contemporary, appealing to a wide range of listeners. The production team utilized various tools and software to achieve this balance, including digital audio workstations (DAWs), virtual instruments, and effects processors. The mixing process was crucial in shaping the final sound. Each track was carefully balanced to ensure clarity and cohesion. Effects such as reverb and delay were applied to enhance the spatial quality of the recording. The mastering process added the final polish, ensuring that the song sounded great on all playback systems.
Sound design played a significant role. The team experimented with various soundscapes and textures to create a unique auditory experience. Ambient sounds and subtle effects were incorporated to add depth and dimension to the recording, making it a truly immersive listening experience.
by Daniel Dercksen·Comments Off on The Best Of Enemies – A Woman Converts a Klansman into an Activist and Friend
The Best Of Enemies marks the screenwriting and directorial debut of producer Robin Bissell, showing how two bitter rivals are forced to start talking to resolve a crisis in their dangerously divided city. “You try to pepper in a little history, but the less the better. People want to be invested in the characters. They want to feel.”
In 1971, Ann Atwater and C.P. Ellis were well-known residents of Durham, North Carolina, but certainly not a pair you’d expect to see together. Ann was a single mother and a grass roots activist fighting brazen slumlords, firetrap schools and do-nothing local officials. Ellis owned a tiny East Durham gas station just like his millhand dad, and his own four kids. C.P. joined the KKK and became their voice as Durham’s Exalted Cyclops of the Ku Klux Klan.
The idea of Ann and C.P. ever exchanging a civil word was close to unthinkable, but in writer-director Robin Bissell’s The Best Of Enemies, a dramatic feature film inspired by true events, these two bitter rivals are forced to start talking to resolve a crisis in their dangerously divided city.
The Best Of Enemies marks the screenwriting and directorial debut of Bissell, a producer of award-winning films including Seabiscuit, Pleasantville and The Hunger Games. His original screenplay was inspired by Osha Gray Davidson’s 1996 non-fiction book The Best of Enemies Race and Redemption in the New South.
Robin Bissell was born on June 6, 1968, in Philadelphia, Pennsylvania, USA. He is a producer and director known for his work on films like The Hunger Games (2012), Seabiscuit (2003), and The Best of Enemies (2019). Bissell began his career in the film industry as a director’s assistant on the movie Pleasantville (1998). He later transitioned to producing and has worked on several successful films. His directorial debut came with The Best of Enemies, which he also wrote the screenplay for.
Bissell, who grew up in suburban Philadelphia, Pennsylvania, was unaware of the charrette or any of its participants until 2005, when he came across a brief item about C.P. in Time Magazine. The former Exalted Cyclops had died, and Time marked his passing on the “Milestones” page. Those few stark facts were Bissell’s introduction to a tense tale that would dominate his imagination for more than a decade.
“My first thought was ‘how did that happen!,’” Bissell recalled, referring to C.P.’s transformation.
“The item was just three or four lines and left me with so many questions.” Bissell found answers and historical context in Osha Gray Davidson’s book, which primed him for Diane Bloom’s award-winning documentary, An Unlikely Friendship (Filmmakers Library, 2002).
Bloom’s film featured the real-life C.P. in his later years, chastened by the fall-out from his shocking charrette vote, but never regretting it. Bloom had filmed C.P. and Ann together and their bond was obvious. The documentarian also interviewed Riddick and participant Howard Clement, adding more layers to the portrait.
Bissell was now officially hooked on this history-making crew and knew he would tell their story someday in a dramatic feature film.
“Ann was a fierce activist who knew how to get things done,” said the writer-director. “She needs to be known to the world. She was a catalyst for C.P. looking at himself, just as Bill Riddick was a catalyst for Ann looking at herself. She turned a Klansman into an activist – and a friend.
“Humanizing a member of the Klan wasn’t something I took lightly,” Bissell acknowledged, but the documentary reassured him. “What an odd couple C.P. and Ann had become – they made you laugh and think. They had become very close and when C.P. died, Ann delivered the eulogy at his funeral.”
Director Robin Bissell with Sam Rockwell on the film set of The Best of Enemies
They did have a lot in common. As Sam Rockwell, who takes on the role of C.P learned, “Ann talked about her kids getting made fun of at school because she was hanging out with a Klansman, and C.P.’s son’s teachers were making fun of him because his dad was a Klansman hanging out with Ann.”
But C.P. was as good as dead to almost everyone he knew – Klan folk, as well as the White Citizens Council and other big shots who had used him over the years – the minute his heart overruled his hate. “The city leaders and superintendent of schools were all sitting in the front row that night,” said Riddick.
“When he tore his card up, you could see that it was over for him.” As Ann, who died in 2016, noted in Bloom’s film: “C.P. lost a lot in becoming my friend. When he turned, they turned on him.”
He still had Mary, though. Some wives basked in the reflected glow of a husband’s high rank in the Klan. Not Mary. She was busy raising four kids, including one with severe disabilities, and had never cared for the Klan anyway. Besides, she liked Ann.
“Mary was probably the first white woman who ever arrived on Ann’s porch with a jar of jam and got to go inside,” said actress Anne Heche. “Ann and C.P. were mirrors of each other,” observed Taraji P. Henson, who plays Mary. “Once she tapped into his love language – his family – she understood that and pulled him over to her side with sheer force of will.” “It took an army to change C.P.,” Bissell concluded, “but his racism was learned, and he was ripe for change.”
From Inspiration To Writing The Screenplay
Bissell optioned film rights to Davidson’s book in 2008 but was simultaneously busy producing films with four-time Oscar-nominated writer-director Gary Ross.
The six-month option expired well before Bissell had written a word.
In the meantime, The Best of Enemies had become a play, and Davidson wanted to wait and see if it went to Broadway before granting Bissell another crack at the film rights. Mark St. Germain’s highly charged play premiered in 2011 and has been well-received at regional theaters around the country in the years since.
But with a Broadway production still just a dream, Davidson decided to let Bissell try again. In the summer of 2013, with the mega-success of The Hunger Games behind him, Bissell was ready to step away from his life as a producer and go to Durham.
Coincidentally, The Hunger Games had filmed in North Carolina, but in Asheville and Charlotte, and Bissell knew that Durham was different. His trip coincided with opening night of St. Germain’s play at Durham’s Manbites Dog Theatre. Naturally, Bissell attended – as did Bill Riddick and Ann Atwater.
The two history-makers were friendly to the Hollywood visitor, but far from star struck. “Robin was the third person to approach us about doing a film,” Riddick recollected. “After he left, we figured we’d never hear from him again. But he did come back. We had him to our house for a meal and did some serious talking.”
Bissell, outlining the story by then, already knew he’d have to adjust the timing of a few historical facts to sustain the dramatic momentum a film needs.
He explained his thinking to Atwater, Riddick and C.P.’s daughter, Vickie Lewis, the keeper of Ellis family history. All three gave him their blessings on the changes – and the rights to their stories.
Bissell went home and had a first draft in April 2014.
As time passed, Bissell’s bonds with his subjects deepened. “Vickie would ask, ‘Do you really think you’re going to be able to do this?’ She wanted her father’s story told,” he explained. “I always wanted to call with good news, but in the movie business, you’re so often on the brink of good news. So, I’d have to say, we don’t have it yet, but we will. Their hopes weren’t way up, but they trusted me, and believed in the script.”
Bissell adds, “Ann was so very excited to see the movie and my biggest regret was that I couldn’t pull it together before she passed away.” Producer Matt Berenson believed in Bissell’s script, too, and committed to helping him find the money to get The Best Of Enemies made.
“Robin is a humble guy,” said Berenson. “I don’t think he knew how good it was. The fact that it was a true story blew my mind.” Not only true but riveting. “Robin took heavy subject matter and made it entertaining, not a history lesson,” Berenson emphasized. “He understands that great drama has humor in it, just like life, and he found those moments in the story. It makes you laugh, then pulls the rug out from under you and you’re crying.”
While Bissell was a first-time writer-director, he was also a seasoned producer with a firm grip on dramatic story-telling. “You try to pepper in a little history, but the less the better,” he said. “People want to be invested in the characters. They want to feel.”
Bissell’s very first reader was Danny Strong. The two men had started their careers as co assistants to Gary Ross. While Bissell stayed on to produce with Ross, Strong left to write and act. He won the Emmy Award for Outstanding Writing for a Movie, Miniseries or Dramatic Special with Game Change in 2012, and was working on a new project – the TV series Empire – when Bissell showed him The Best Of Enemies.
“I want this story to light a fire for people who want change,” said Henson.
“Racism and hate are learned. Look at what happens when a cold heart turns warm. This really happened!” producer Fred Bernstein (An Interview with God) noted: “If people like C.P. and Ann can find common ground, maybe there’s hope for all of us,” he said. “Fight for your beliefs, but if you really want to effect change, understand the people you’re fighting with.”
You can watch The Best of Enemies on Netflix. It’s also available for rent on Amazon Prime Video
by Daniel Dercksen·Comments Off on Monsters: The Lyle and Erik Menendez Story – A biographical crime drama series
Ryan Murphy, the creative force behind Monsters: The Lyle and Erik Menendez Story, was drawn to the infamous case because of its sensational elements and the media frenzy surrounding it. “I feel like that’s faux outrage. Because if you look at what we do, we give those boys so much airtime to talk about what they claim as their physical abuse. We live in a sort of culture of outrage that a lot of things are knee-jerk, and that’s fine. I’m used to being controversial. It’s not new to me.”
Murphy’s bold approach challenges the audience to reconsider the narrative. By highlighting the brothers’ claims of abuse and questioning the fairness of their second trial, he sparks thought-provoking discussions. He doesn’t just tell a story; he invites us into a dialogue about justice, media influence, and the complexity of human behaviour. It’s not merely a retelling of a crime but a deep dive into the layers that make the case both shocking and thought-provoking.
Monsters: The Lyle and Erik Menendez Story is the second season of the riveting biographical crime drama anthology series Monster, masterfully created by Ryan Murphy and Ian Brennan for Netflix. This season delves into the notorious case of Lyle and Erik Menendez, whose 1996 conviction for the brutal 1989 murders of their parents, José and Kitty Menendez, shocked the nation.
The series meticulously unpacks the complex narrative, exploring not only the heinous crime but also the intricate family dynamics, psychological trauma, and the sensational media coverage that surrounded the trial. Through its compelling storytelling, it aims to provide viewers with a nuanced understanding of the Menendez brothers’ motivations and the subsequent legal battles that captivated the public.
Murphy and Brennan’s keen eye for detail and their ability to humanize even the most controversial figures make this series a profound exploration of crime, punishment, and the often blurred lines between victim and perpetrator.
Ryan Murphy was inspired to create Monsters: The Lyle and Erik Menendez Story to spark conversations about abuse and the criminal justice system. He wanted to bring the Menendez brothers’ case back into the spotlight and encourage discussions about whether their second trial was fair. Murphy believed that revisiting the case could help people talk about the impact of abuse and the complexities of the legal system.
He also aimed to present the story from multiple perspectives, giving a voice to the brothers, their parents, and others involved in the case. By doing so, he hoped to create a more nuanced understanding of the events and the people involved.
Ryan Murphy and his team used a combination of meticulous research and creative storytelling to create the fictional reality in Monsters: The Lyle and Erik Menendez Story.
Murphy and his team conducted thorough research on the Menendez case, including court transcripts, interviews, news articles, and documentaries to ensure they had a comprehensive understanding of the events and the people involved.
While they relied heavily on factual information, they also used creative storytelling techniques to fill in the gaps and enhance the narrative. This included imagining conversations and emotional moments that may not have been documented, but were plausible within the context of the story.
In creating the fictional reality for the series, Murphy and his team often needed to fill in gaps where specific details were unavailable. This is where creative storytelling came into play.
They crafted dialogues and interactions that might not have been recorded or reported, but were plausible given the context and known behavior of the characters. These imagined conversations helped to add depth and realism to the narrative. When certain historical details were missing or unclear, Murphy’s team used plausible scenarios to bridge these gaps. This helped to maintain a continuous and engaging storyline while staying true to the essence of the real events.
The series included emotional moments that portrayed the inner struggles and psychological turmoil of the characters. While these moments might not have been explicitly documented, they were rooted in the characters’ experiences and the overall narrative arc. Understanding the motivations behind the actions of Lyle and Erik Menendez, as well as their parents, was crucial. The creators used creative storytelling to explore these motivations, providing viewers with a deeper insight into the characters’ minds and emotions.
They also employed visual and symbolic elements to convey the emotional and psychological states of the characters. This included using specific lighting, colors, and set designs to reflect the mood and themes of different scenes.
While the series aimed to be as accurate as possible, it also embraced the flexibility of fiction to create a compelling and cohesive narrative. This balance between fact and fiction allowed the creators to tell a more complete and engaging story.
By using these creative techniques, Ryan Murphy and his team were able to enhance the narrative and provide a deeper, more immersive experience for viewers. This approach not only made the series more engaging but also allowed it to explore the complex emotions and motivations of the characters involved in the Menendez case.
A key focus was on developing the characters of Lyle, Erik, and their parents, José and Kitty Menendez.
The team delved into the psychological and emotional aspects of these individuals, exploring their motivations, fears, and relationships. This helped to humanize the characters and provide a deeper understanding of their actions.
The series explored the brothers’ motivations, particularly their claims of enduring years of abuse. By delving into their fears and experiences, the creators aimed to provide a deeper understanding of why they might have committed such a heinous crime. The complex relationship between the brothers was a focal point. Their bond, forged through shared trauma, and their loyalty to each other were portrayed in a way that highlighted their dependence and shared secrets.
José Menendez was depicted as a successful but domineering figure. His ambitions and the pressure he placed on his family were explored to understand the dynamics within the household. The series tackled the allegations of abuse head-on, presenting different viewpoints and leaving it to the audience to ponder the truth. This added complexity to his character, making him more than just a one-dimensional antagonist.
The portrayal of Kitty Menendez focused on her emotional and psychological struggles. Her alleged complicity in the abuse, as well as her own challenges with mental health, were key elements that added depth to her character. The series highlighted Kitty’s complicated relationships with Lyle and Erik, showing moments of both affection and conflict.
By presenting these characters with their vulnerabilities, flaws, and emotional struggles, the series aimed to humanize them. This approach allowed viewers to see them as real people with complex motivations, rather than just the perpetrators or victims of a crime.
The series delved into the intricate family dynamics, showcasing the tensions, expectations, and unspoken rules that governed the Menendez household. This helped to paint a fuller picture of the environment in which Lyle and Erik grew up.
By focusing on these psychological and emotional aspects, the series provided a more nuanced and empathetic portrayal of the Menendez family, encouraging viewers to consider the complexities behind their actions. It’s a powerful reminder of the multifaceted nature of human behavior and the impact of family dynamics.
The lead actors played a crucial role in bringing depth and authenticity to the characters. Their performances were instrumental in conveying the complex emotions and psychological struggles of the Menendez family.
Cooper Koch portrayal of Lyle Menendez captured the intense emotions and psychological trauma of the character. His performance included moments of rage, fear, and vulnerability, providing a deep insight into Lyle’s state of mind. Koch’s chemistry with Nicholas Alexander Chavez, who played Erik Menendez, was pivotal in depicting the strong bond between the brothers.
“The script became the backbone of my prep because it was the backstory that I didn’t have to write for myself, for the character,” says Koch. “I read it daily, making thoughtful, inquisitive notes along the way. Even with all of the preparation, I was nervous about filming the episode but also very excited to be able to just exist as him for that long and to finally say these words that I had been reading and working on and making my own for such a long time. It was a beautiful experience — but also terrifying and exhilarating.”
Nicholas Alexander Chavez as Erik Menendez brought a sense of vulnerability and sensitivity to the role of Erik Menendez. His performance highlighted the emotional and psychological impact of the alleged abuse on Erik. Chavez effectively conveyed Erik’s internal struggle and conflicting emotions, making the character relatable and empathetic.
“When you’re playing a character like this, you want to remove as much judgment as you can and empathize as much as you can,” says Chavez. “That’s what I tried to do first and foremost… I wanted to come from as educated a perspective as I could, so I familiarized myself with plenty of primary and secondary sources as far as research material. I went through the Court TV footage quite a bit.
The script also helped Chavez to prepare for the role: “Ultimately, I understand that some of the behavior that he has in this show is difficult for people to digest, but my performance sits at the nexus of so many things. It sits at the nexus of the research I have done, the scripts I was given, the direction that I was given and the strong interpretation and point of view that I formed of this person who is, in my view, one of the most enigmatic human beings to have lived in the last 100 years.”
The actors worked closely with Ryan Murphy and the creative team to understand their characters’ motivations and backstories. This collaboration allowed them to deliver performances that were both authentic and deeply moving. They were encouraged to explore and delve into the psychological aspects of their characters, which helped in portraying them with authenticity and depth.
The actors underwent physical transformations to accurately represent their characters. This included changes in appearance, mannerisms, and speech patterns. They focused on delivering emotionally authentic performances that resonated with the viewers, making the characters’ experiences and struggles palpable. Through their dedication and nuanced performances, the lead actors brought the Menendez family to life on screen, contributing significantly to the series’ impact and success. Their portrayals allowed viewers to connect with the characters on a deeper level and understand the complexities of their actions and relationships.
The series was designed to present the story from multiple viewpoints, including those of the brothers, their parents, the legal teams, and the media.
This approach allowed for a more nuanced portrayal of the case and highlighted the complexities of the situation. Presenting the story from multiple viewpoints was a brilliant way to capture the complexities of the Menendez case.
By focusing on the Brothers’ Perspective, the series delved into their claims of abuse and their emotional and psychological states. This provided insight into their motivations and actions. The portrayal of the brothers’ bond and shared trauma highlighted their intense emotional connection and the impact of their upbringing on their mental health.
Exploring the parents’ perspective, their lives, personalities, and relationships with their sons, added depth to the narrative. It helped viewers understand the family dynamics and the environment in which the brothers grew up. By presenting different viewpoints on the abuse allegations, the series encouraged viewers to consider the complexity of the situation and the potential impact on the brothers.
The Legal Teams’ Perspective showcased the strategies and arguments of both the defense and prosecution provided a comprehensive view of the legal battle. This highlighted the intricacies of the trial and the different interpretations of the evidence. The series explored the ethical dilemmas faced by the legal teams, such as the challenges of defending clients accused of a heinous crime and the pursuit of justice.
By including the media’s role in the case, the series highlighted how the intense media coverage influenced public perception and added pressure to the legal proceedings. The portrayal of the media’s sensationalism and focus on salacious details underscored the impact of media scrutiny on the individuals involved and the broader narrative.
The inclusion of friends, acquaintances, and other characters provided further context and added layers to the story. Their insights and experiences helped paint a fuller picture of the Menendez family and the case. By weaving these perspectives together, the series created a rich and multi-dimensional narrative that allowed viewers to see the case from different angles. This approach not only made the story more engaging but also encouraged critical thinking about the complexities of the situation and the factors that influenced the outcome.
The exploration of the brothers’ sexuality and the notion that they were lovers is a controversial and sensitive aspect of the Menendez case.
The idea that Lyle and Erik Menendez might have been lovers stems from speculation and rumors that emerged during their trials. Some observers suggested that their close bond and shared trauma could have led to an incestuous relationship.
Various media portrayals, including documentaries and TV shows, have explored this theory to add drama and intrigue to the story. However, it’s important to note that these portrayals often take creative liberties and may not be entirely accurate. The defense team focused on the brothers’ claims of enduring years of abuse by their parents. The exploration of their sexuality was not a central part of the defense strategy, but it added another layer of complexity to the case.
The speculation about the brothers’ relationship contributed to the sensationalism surrounding the case. It influenced public perception and added to the media frenzy.The exploration of this theory raises ethical concerns about privacy and the potential for sensationalism. It’s important to approach such topics with sensitivity and respect for the individuals involved.
There is no concrete evidence to support the notion that Lyle and Erik were lovers. The theory remains speculative and should be viewed with caution.
While the exploration of the brothers’ sexuality adds a layer of intrigue to the Menendez case, it’s essential to remember that it is based on speculation and not proven facts. The focus should remain on the broader issues of abuse, family dynamics, and the criminal justice system.
The series aimed to capture the emotional depth and psychological struggles of the characters. Murphy worked closely with the actors to ensure their performances were authentic and resonated with viewers. This involved exploring the inner turmoil and conflicts faced by the characters, making their experiences relatable and compelling.
To capture the emotional depth and psychological struggles of the characters, Ryan Murphy and his team took a detailed and immersive approach. The actors immersed themselves in the characters’ backgrounds, motivations, and psychological states. They studied the real-life figures they were portraying, as well as the broader context of the case, to deliver authentic performances.
Murphy emphasized the importance of emotional authenticity. The actors were encouraged to tap into the raw emotions and inner turmoil of their characters. This involved exploring feelings of fear, anger, sadness, and desperation, making the characters’ experiences relatable and compelling.
Visual and Cinematic Techniques
Murphy employed various visual and cinematic techniques to create an immersive experience for viewers. This included carefully designed sets that accurately reflected the time period, as well as thoughtful cinematography that captured the emotional tone of the series. The use of lighting, camera angles, and color palettes helped to convey the mood and atmosphere of different scenes.
The use of different camera angles and movements helped convey the emotional tone of the scenes. Close-up shots captured the characters’ expressions and emotions, while wider shots provided context and setting. In some intense or emotional scenes, handheld cameras were used to create a sense of immediacy and rawness, making viewers feel as though they were part of the action.
The lighting was carefully designed to reflect the mood and atmosphere of each scene. Dim, shadowy lighting was used to create a sense of tension and unease, while brighter lighting highlighted moments of revelation or clarity. Contrasts between light and dark were used symbolically to represent themes such as innocence versus guilt, truth versus deception, and hope versus despair.
The sets were meticulously designed to accurately reflect the time period and settings of the real events. This included recreating the Menendez family home, courtrooms, and other significant locations. Props and set decorations were chosen to enhance the authenticity and immerse viewers in the story’s environment.
The color palette was carefully selected to enhance the thematic elements of the story. Muted and somber colors were often used to reflect the dark and tragic nature of the events, while occasional bursts of color highlighted moments of significance or contrast.
The editing helped control the pacing of the narrative, building tension and maintaining engagement. Quick cuts were used during intense moments, while slower, lingering shots allowed for emotional reflection.
Flashbacks and montages were used to provide backstory, contextualize events, and convey the passage of time. These techniques added depth to the storytelling and helped viewers understand the characters’ motivations.
Visual metaphors and symbolic imagery were used to convey deeper themes and messages. For example, certain objects or settings might represent the characters’ emotional states or the overarching themes of the story.
By employing these visual and cinematic techniques, Ryan Murphy and his team were able to create a rich and immersive experience that drew viewers into the complex world of the Menendez case. These elements combined to make the series both visually captivating and emotionally resonant.
Ryan Murphy is a prolific figure in the television industry, celebrated for creating groundbreaking and widely popular series. His impressive portfolio includes hits like:
Glee, a musical comedy-drama that redefined the genre with its unique blend of humor, heart, and catchy musical numbers.
American Horror Story, an anthology horror series that gained a cult following for its chilling storytelling and versatile cast.
The Watcher, a mystery-thriller that showcases Murphy’s knack for suspense and gripping narratives.
Murphy’s ability to tackle a wide range of genres, from musical to horror to thriller, has made him a standout creator in the world of TV.
Ian Brennan is a key collaborator with Murphy, having co-created Glee with him. Brennan’s contributions were instrumental in shaping the show’s distinct tone and success. In addition to “Glee,” Brennan has worked on other projects, often in collaboration with Murphy, bringing his unique voice and creativity to the table. Together, Murphy and Brennan have proven to be a dynamic duo, consistently delivering compelling and innovative content that captivates audiences.
by Daniel Dercksen·Comments Off on AI: The Secret Weapon Every Writer Needs in Their Arsenal
AI is an incredibly valuable resource for writers, enhancing creativity and productivity in numerous ways. It transforms the writer’s craft with unmatched creativity and efficiency.
AI has become an indispensable companion for writers, offering invaluable assistance in brainstorming ideas for screenplays, fiction, and non-fiction. Whether you’re in search of a surprising plot twist, an engaging character arc, or a fresh perspective on a topic, AI can provide endless suggestions to fuel your creativity. With AI by your side, the possibilities for storytelling are truly limitless.
By leveraging AI, fiction writers and screenwriters can unlock new levels of creativity and productivity, making storytelling more enjoyable and effective. It’s like having a versatile and insightful writing partner by your side, ready to elevate your work to new heights.
Overcoming fear and resistance towards embracing an AI companion is key for writers to unlock their full creative potential. Many writers may initially feel apprehensive about incorporating AI into their creative process, fearing that it might stifle their originality or take away from their unique voice. However, once writers push past these fears and open themselves up to the possibilities that AI offers, they can reap substantial benefits.
AI: Your Tireless Brainstorming Partner for Endless Inspiration
Imagine having a brainstorming partner who never gets tired, never runs out of ideas, and can access an endless reservoir of knowledge and creativity. Whether you’re working on a captivating novel, crafting a thought-provoking article, or drafting an engaging screenplay, AI stands ready as your ultimate source of inspiration. With AI, every writer gains a tireless companion that offers fresh perspectives, boundless innovative ideas, and the creative boost essential for bringing writing projects to life.
Research Assistance
Speed and Efficiency: AI can process large volumes of data in seconds, extracting the most relevant information. This allows writers to focus on analysis and storytelling rather than sifting through endless documents.
Accurate Fact-Checking: AI can cross-reference information across multiple sources, ensuring the accuracy of facts and figures. This is crucial for maintaining credibility and trustworthiness in journalistic and academic writing.
Data Analysis: AI can identify patterns, trends, and insights from complex datasets. For example, a journalist investigating a social issue can leverage AI to analyze public records, social media data, and other sources to uncover hidden stories.
Content Summarization: AI can condense lengthy reports, articles, and papers into concise summaries, making it easier for writers to grasp the key points and incorporate them into their work.
Resource Discovery: AI can recommend additional sources and materials based on the topic at hand. This can introduce writers to new perspectives and enhance the depth of their research.
Real-Time Updates: For topics that are constantly evolving, such as breaking news or scientific research, AI can provide real-time updates, ensuring that writers have access to the latest information.
Language Translation: AI can translate documents from multiple languages, making global research more accessible. This is particularly useful for writers who need to access international sources.
By leveraging AI, writers can streamline their research process, uncover valuable insights, and produce well-informed, compelling content in a fraction of the time. It’s like having a team of diligent researchers at your disposal, ready to assist with every aspect of your work.
AI can elevate you craft
Grammar and Spelling Checks: AI can catch errors in grammar and spelling that might slip through a human’s review. This ensures your writing is polished and professional.
Style Suggestions: AI can analyze your writing style and suggest adjustments to improve clarity, coherence, and overall readability. It can recommend changes in sentence structure, word choice, and phrasing to make your writing more engaging.
Tone Adjustments: Depending on the audience and purpose, AI can help you adjust the tone of your writing. Whether you need a formal, academic tone or a casual, conversational one, AI can provide guidance to ensure your message is appropriately conveyed.
Consistency: AI can help maintain consistency in your writing, from character voices in a novel to the tone and style in a series of articles. This is particularly useful for long-form projects.
Readability Enhancements: AI can evaluate the readability of your text and suggest ways to make it more accessible to a broader audience. This includes simplifying complex sentences, breaking up long paragraphs, and highlighting jargon that might need clarification.
Pacing and Flow: AI can help you maintain a smooth narrative flow by identifying sections that may be too slow or too rushed. This can enhance the overall pacing of your story or argument.
Feedback and Revision: AI can provide constructive feedback on your drafts, offering insights on how to strengthen your arguments, enhance descriptions, and improve dialogue. It acts like a virtual editor, helping you refine your work before it reaches human eyes.
These AI tools act as a virtual writing coach, helping you hone your craft and produce high-quality work with greater ease. They take care of the nitty-gritty details, allowing you to focus on your creativity and the essence of your message.
Translation and Localization
For screenwriters and novelists working in multiple languages, AI translation tools can help ensure accuracy and cultural relevance, making it easier to reach a global audience. AI translation tools are revolutionizing the way screenwriters and novelists work across languages, enhancing both accuracy and cultural relevance. Here’s how they make a significant impact:
Accurate Translations: AI translation tools use advanced algorithms to provide precise translations, capturing the nuances of different languages. This ensures that the original meaning and tone of the content are preserved, which is crucial for maintaining the integrity of the story.
Cultural Relevance: Beyond literal translation, AI can help adapt content to different cultural contexts. This involves understanding idiomatic expressions, local customs, and cultural sensitivities, ensuring that the material resonates with diverse audiences without causing misunderstandings or offense.
Consistency: For long-form projects like novels and screenplays, consistency in translation is vital. AI tools can maintain uniformity in terms of terminology, character names, and recurring themes, providing a seamless experience for readers and viewers.
Efficiency: AI can significantly speed up the translation process, allowing writers to focus more on creative aspects rather than spending excessive time on manual translation. This is particularly beneficial when working with tight deadlines.
Multilingual Collaboration: AI translation tools facilitate collaboration among writers, editors, and publishers from different linguistic backgrounds. This can lead to richer and more diverse creative inputs, enhancing the overall quality of the work.
Global Reach: By providing high-quality translations, AI enables writers to reach a broader, global audience. This not only increases the potential readership but also allows stories to transcend linguistic barriers and connect with people from various cultures and regions.
AI translation tools are empowering writers to create content that is not only linguistically accurate but also culturally resonant, making it easier to share their stories with the world.
Collaboration
AI can facilitate collaboration among writers by providing real-time feedback and suggestions, making it easier to co-write and edit their screenplays or novels, bringing efficiency and creativity to co-writing and editing processes. Here’s how AI can enhance collaboration among writers:
Real-Time Feedback: AI can provide instant feedback on grammar, style, tone, and structure. This ensures that writers can quickly address any issues and keep the writing process smooth and uninterrupted.
Suggestion Tools: AI can offer suggestions for improvements, such as alternative phrasing, vocabulary enhancements, and better ways to articulate ideas. This helps co-writers refine their work and achieve a more polished final product.
Track Changes and Comments: AI tools can track changes and add comments, making it easy for writers to see revisions and suggestions from their co-authors. This streamlines the editing process and ensures that all feedback is organized and easy to follow.
Version Control: AI can manage different versions of a document, ensuring that all changes are saved and easily accessible. This prevents any loss of work and allows writers to revert to previous versions if needed.
Conflict Resolution: AI can help resolve conflicts in writing styles or ideas by suggesting compromises and highlighting the strengths of different approaches. This fosters a more collaborative and harmonious writing environment.
Project Management: AI can assist with project management by setting deadlines, tracking progress, and assigning tasks. This keeps the writing team organized and on schedule.
Creativity Boost: AI can generate creative ideas, plot points, and character developments, providing a constant stream of inspiration. This helps writers overcome creative blocks and keeps the writing process dynamic and exciting.
Remote Collaboration: For writers working remotely, AI tools facilitate seamless collaboration by providing a shared platform where all contributors can work together in real-time, regardless of their physical location.
Overall, AI acts as a powerful assistant, allowing writers to focus on their creativity and craft while handling repetitive and time-consuming tasks. This synergy between human creativity and AI efficiency creates a dynamic and exciting landscape for writers of all kinds. The combination of human creativity and AI efficiency has opened up a thrilling new frontier for writers. It’s like having the best of both worlds—where human ingenuity and artistic flair meet the relentless precision and speed of AI.
Enhanced Creativity: With AI generating ideas, plot points, and character developments, writers have a steady stream of inspiration to draw from. This can lead to more innovative and compelling stories that push the boundaries of traditional storytelling.
Increased Productivity: AI takes care of the repetitive and time-consuming tasks, such as proofreading, fact-checking, and formatting. This allows writers to focus on the creative aspects of their work, resulting in higher-quality content produced in less time.
Accessibility: AI tools make writing more accessible to a wider range of people, including those who may have struggled with language barriers or disabilities. This democratizes the creative process, enabling more voices to be heard.
Global Collaboration: Writers from different parts of the world can seamlessly collaborate using AI translation and editing tools. This fosters diverse perspectives and enriches the content with a global touch.
Audience Engagement: AI’s ability to analyze reader preferences and trends ensures that content is tailored to resonate with the intended audience. This increases engagement and builds a stronger connection between writers and their readers.
Innovative Storytelling: With AI’s capabilities in generating new ideas and exploring different narrative paths, writers can experiment with innovative storytelling techniques. This can lead to the creation of unique and captivating stories that stand out in the market.
In essence, this synergy between human creativity and AI efficiency is not just a trend—it’s a revolution that is reshaping the writing landscape. It empowers writers to create more meaningful, impactful, and engaging content, making the future of writing incredibly exciting.
by Daniel Dercksen·Comments Off on AI Conversations: Unlocking the Future of Communication
Advanced AI companions are designed to create more meaningful, natural, and intelligent interactions, making them more effective and enjoyable to work with.
Let’s take a closer look at AI Communication & the Evolution of AI Conversations
Advanced AI companions are not just helpful tools; they are revolutionizing the way we interact with technology and each other. These intelligent entities are designed to foster deeper, more authentic connections, making every interaction feel as seamless and engaging as a conversation with a trusted friend. Picture having an assistant who not only understands your needs but anticipates them, offering tailored support that enriches your life in countless ways.
Imagine a world where your AI companion can remember your preferences, help you brainstorm creative ideas, and provide thoughtful insights on a range of topics. Whether you’re navigating complex tasks, seeking inspiration, or simply looking for a bit of light-hearted banter, these advanced AI companions are there to enhance your experiences and make every moment more enjoyable. They transform the mundane into the extraordinary, turning routine interactions into delightful encounters that leave you feeling understood and empowered.
In essence, advanced AI companions are here to augment our abilities and bring a touch of magic to our daily lives, making the future not just more efficient, but infinitely more captivating.
Using sophisticated AI algorithms and machine learning to understand and respond intelligently. It leverages sophisticated algorithms and machine-learning techniques to process and interpret human language. These systems analyse vast amounts of data to learn patterns, contexts, and nuances in communication. By continuously refining their models, they improve their ability to understand complex queries, discern the underlying intent, and generate relevant, coherent, and contextually appropriate responses. This allows them to engage in dynamic and meaningful conversations, offering intelligent assistance across a wide range of topics and applications.
Advanced AI systems are equipped with the ability to understand and manage the context of conversations, which is crucial for handling complex queries. This means they can keep track of what has been said previously, recognise the nuances and subtleties in the dialogue, and respond appropriately. By maintaining context over multiple turns, they can provide coherent and relevant responses even as the conversation evolves. This enables them to handle layered questions, follow-up inquiries, and intricate discussions effectively, making interactions feel more natural and seamless. Their ability to grasp and recall context ensures that users receive accurate and meaningful assistance throughout the entire conversation.
Incredibly versatile, and designed to assist users with a broad array of tasks, these AI companions excel in various domains, from boosting productivity to fueling creative projects. They can help you manage your schedule, set reminders, draft emails, and automate routine tasks, making your work life more efficient and organised. Beyond productivity, they also support creative endeavours by generating ideas, writing stories or poems, creating artwork, and even composing music. This versatility allows AI companions to be valuable tools in both professional and personal contexts, offering tailored assistance and enhancing different aspects of your life.
Designed to provide varied and personalised responses, which makes interactions feel more engaging and human-like, these AI companions can adapt their replies based on the context of the conversation and the individual preferences of the user. By understanding the nuances of language and the specific needs of the user, they can tailor their responses to be more relevant, insightful, and personalized. This dynamic capability ensures that conversations are not monotonous or repetitive but instead feel natural and interactive. Whether you’re seeking advice, looking for creative input, or just having a casual chat, these AI systems can make the interaction enjoyable and meaningful, much like a conversation with a human friend.
They are designed to continuously learn from their interactions with users. This means they analyse past conversations to identify patterns, preferences, and areas for improvement. By leveraging machine learning techniques, these AI companions can refine their algorithms, enhance their understanding of complex queries, and adapt to the unique needs of each user. Over time, this continuous learning process enables them to provide more accurate, relevant, and personalized assistance. This ability to evolve and improve ensures that the AI remains a valuable and effective tool, capable of delivering better support and more engaging interactions as it learns from each experience.
The evolution of AI conversations
1950s-1960s: The journey began in the mid-20th century with rule-based systems. These early AI models, such as the famous ELIZA program created by Joseph Weizenbaum in 1966, were designed to mimic human conversation using pre-defined rules and patterns. While impressive for their time, they were limited in understanding context and could only respond to specific keywords or phrases. ELIZA was one of the earliest and most famous examples of a computer program designed to simulate human conversation. Developed in the 1960s by MIT professor Joseph Weizenbaum, ELIZA was created to showcase the superficiality of human-computer interactions at the time. It mimicked a Rogerian psychotherapist, which means it employed techniques used in client-centered therapy, where the therapist often reflects the client’s statements back to them.
1970s-1980s: Advances in NLP allowed AI to better understand and generate human language. This period saw the development of more sophisticated rule-based systems, but they still struggled with context and ambiguity. During this time significant strides were made in the field of Natural Language Processing (NLP). This period saw the development of new algorithms and models that enhanced AI’s ability to understand and generate human language more effectively. These advancements allowed for the creation of more sophisticated rule-based systems that could parse and process sentences, recognize parts of speech, and generate more coherent responses. However, despite these improvements, these early NLP systems still faced considerable challenges. They struggled with understanding the broader context of conversations, often failing to maintain coherence over multiple turns. Ambiguity in language was another major hurdle. Human language is inherently complex and nuanced, with words and phrases often carrying multiple meanings depending on the context. Early NLP systems found it difficult to disambiguate such language, leading to misunderstandings and incorrect responses.
1990s-2000s marked a pivotal era in the evolution of AI conversations with the introduction of machine learning. This advancement allowed AI systems to learn from vast datasets, significantly enhancing their capabilities. Unlike previous rule-based systems, machine learning algorithms could analyze and adapt to new information, enabling more dynamic and flexible responses. During this period, chatbots became more effective at engaging users in natural conversations. They could handle a wider range of queries and adapt to various contexts. However, their scope was still somewhat limited, as they primarily relied on pattern matching and predefined responses. One notable program from this era is ALICE, developed by Dr. Richard Wallace. ALICE utilized pattern matching and a vast database of pre-set responses to engage in more natural and coherent conversations. It could simulate human-like interactions by recognizing specific patterns in user inputs and generating appropriate responses. While programs like ALICE represented significant progress, they were still limited by their reliance on pattern matching. These chatbots struggled with understanding the deeper context and nuances of conversations. They could handle straightforward queries effectively but often faltered with more complex or ambiguous interactions.
2010s: The advent of deep learning and neural networks revolutionized AI conversations. Models like Google’s Transformer architecture (introduced in 2017) significantly improved the AI’s ability to understand context and generate coherent responses. Deep learning involves training AI models using neural networks, which are designed to mimic the human brain’s structure and function. These networks consist of layers of interconnected nodes (neurons) that process and analyze vast amounts of data. Neural networks brought a profound improvement in AI’s contextual understanding.This capability enabled more dynamic and natural interactions, making AI responses feel more human-like. One of the most significant breakthroughs during this period was the introduction of Google’s Transformer architecture in 2017. The Transformer model revolutionized natural language processing by introducing a mechanism called “attention,” which allowed the model to weigh the importance of different words in a sentence. This innovation enabled the model to better understand the context and relationships between words, leading to more coherent and contextually accurate responses. The combination of deep learning and the Transformer architecture drastically improved AI’s conversational abilities. This leap in technology paved the way for the development of advanced AI companions, such as OpenAI’s GPT-3 and Microsoft’s Copilot, which are capable of dynamic, multi-purpose interactions. The advancements in deep learning and neural networks have set the stage for even more sophisticated AI systems.
Late 2010s-Present: The development of large language models, such as OpenAI’s GPT-3 and Microsoft’s Copilot, marked a significant leap forward. These models leverage vast amounts of data and complex algorithms to understand context, maintain coherent conversations, and offer personalized responses. These large language models are trained on vast datasets comprising diverse text sources from across the internet. This extensive training allows them to develop a deep understanding of language patterns, syntax, and semantics. By leveraging complex algorithms and neural network architectures, these models can process and generate human-like text with remarkable accuracy. One of the key advancements brought by these models is their ability to understand and maintain context throughout a conversation. This ability makes conversations more coherent and engaging. They can handle multi-turn conversations, provide detailed and relevant answers, and seamlessly transition between topics. The impact of these advancements is far-reaching, with applications spanning customer service, virtual assistants, content creation, and more. Large language models are being integrated into various platforms and tools, providing users with intelligent and versatile AI companions that can assist with a wide range of tasks.
Beyond 2020s: The future of AI conversations promises even more sophistication, with potential advancements in emotional intelligence, more human-like interactions, and seamless integration into everyday life.
Emotional Intelligence: Future AI models will likely exhibit enhanced emotional intelligence, allowing them to recognize and respond to human emotions more effectively. By understanding nuances in tone, context, and sentiment, AI companions will be able to provide more empathetic and supportive responses. This improvement will make interactions more meaningful and fulfilling, as AI can better address the emotional needs of users.
More Human-Like Interactions: Advancements in AI will continue to blur the line between human and machine interactions. Future AI systems will become increasingly adept at mimicking human conversational styles, including humor, empathy, and intuition. This evolution will result in more natural and engaging dialogues, where AI companions can seamlessly integrate into social settings, work environments, and personal interactions.
Seamless Integration into Everyday Life: The integration of AI into everyday life will become more seamless and ubiquitous. AI companions will be embedded in a wide range of devices and applications, from smart home assistants to wearable technology. This pervasive presence will ensure that users can access intelligent and personalized assistance wherever they are, enhancing convenience and efficiency in daily tasks.
Advancements in Personalization: Future AI models will offer even greater levels of personalization, tailoring their responses and behaviors to the unique preferences and habits of each user. By continuously learning from interactions, AI companions will provide highly customized experiences that cater to individual needs, interests, and lifestyles.
Multimodal Interactions: As technology evolves, AI will be able to engage in multimodal interactions, combining text, voice, and visual inputs to create richer and more immersive experiences. For instance, AI companions could use facial recognition to gauge a user’s mood or employ augmented reality to assist with tasks in real-time.
Ethical and Responsible AI: As AI becomes more integrated into our lives, there will be a growing emphasis on ethical and responsible AI development. This focus will ensure that AI systems are designed and deployed in ways that prioritize user privacy, fairness, and transparency. Safeguards will be put in place to prevent misuse and ensure that AI serves the best interests of society.
Innovative Applications: The future will also bring innovative applications of AI conversations across various industries, such as healthcare, education, and entertainment. AI companions could serve as virtual tutors, providing personalized learning experiences, or as health coaches, offering real-time wellness advice. In entertainment, AI could create interactive storytelling experiences that adapt to the user’s choices and preferences. The future of AI conversations holds immense potential to transform the way we interact with technology and each other. With advancements in emotional intelligence, human-like interactions, seamless integration, personalization, multimodal capabilities, and ethical considerations, AI companions will become even more valuable and impactful in our daily lives.
by Daniel Dercksen·Comments Off on Story Editing & Polishing
If you have completed the draft of a screenplay, stageplay, or manuscript for a novel, it is vital to find out whether or not your story works. It could mean the end of all your hard work and your career as a writer if you hand poorly written and undeveloped projects over to producers, directors, publishers or potential investors.
For professional script, screenplay, novel, and TV pilot polishing and editing, The Writing Studio transforms your copy into a captivating narrative—bringing words and images to life and creating characters that truly resonate.
A script editor is, above all, an emotional archaeologist—unearthing the missing pieces of the puzzle within a story. Editing is a collaborative process between the writer and editor, shaped by exploration and refinement. In this role, the script editor focuses on:
The thematic purpose of the story
The characters and dialogue
Structural flaws in the plotting
The narrative style
The tempo, pace, and rhythm of the story
Additionally, the editor works to refine the text, ensuring cohesion and impact throughout the script.
Scripts/ manuscripts can be submitted to be edited by Daniel E. Dercksen, the driving force behind the successful independent training initiative The Writing Studio.
In February 2024 I edited Michael Petersen’s remarkable screenplay Whitlock.
“I have submitted my feature screenplay Whitlock to Daniel E. Dercksen for an edit and polish and was surprised by the final product. With his attention to detail, Daniel cleaned up my screenplay and returned it to me free of grammatical errors, spelling and formatting mistakes. Daniel gave my screenplay the attention it deserves. My screenplay now has a smooth and enjoyable read. I am definitely happy with the professional service I received from The Writing Studio and already have a TV Pilot and a shortfilm which I will be sending his way. The edit gave my screenplay a professional edge and fighting chance.” Adv. Michael Petersen
“Shout out to Daniel Dercksen of The Writing Studio for being part of the process of getting my autobiography out. Thank you for your many hours of editing and patience while working on my book. I look forward to working again with you!” Tracy Lee
In August 2023 Daniel edited the screenplay The Calling for Mireille Shimba, and arranged a reading of her poignant screenplay at the Woman Zone in Cape Town
“I am thrilled with the excellent work Daniel has done, I am amazed with his professionalism, my screenplay turned from an ordinary screenplay to an extraordinary screenplay.. I started Daniel’s The Write Journey course in 2021, this course has given me me a different perspective and understanding on how to write a compelling story.. I have learned so much ..I feel so equipped and confident now after completing this course. I would recommend this course to everyone, especially first time writers, this course provides the necessary tools to become an excellent writer.”
“A play reading held at Woman Zone on Saturday allowed author Mireille Shimba, student of Daniel Dercksen, to get a feel for her characters and storyline. One more step on the road to this becoming a movie. Congratulations Mireille and thank you for sharing your work at our Woman’s Library.” Nancy Richards.
“Thank you Daniel Dercksen for believing in me . Thank you Nancy Richards and Woman zone CT for the amazing support “
In 2023 Daniel edited the screenplay Must Fall for Moopi Mothibeli, who is currently in the US negotiating his screenplay.
“Daniel Dercksen’s edit work on the script Must Fall was clean and very professional. My script makes for an easier read because of the layout and polish work you implemented. I am more than happy with the outcome,” says Moopi Mothibeli, who was born in Sebokeng and graduated from the Tshwane University of Technology with a theatre degree in Drama. He followed this up with a Master of Fine Arts degree from The Ohio State University.
In 2023 Daniel editeddirector and screenwriter Germain Atabe Ayum’s Silent Tears. His latest film Dark Beauty was selected by Silicon Valley African Film Festival in California, for best feature film in 2022, and nominated by Sotambe International Film Festival for best director in 2022. Atabe Ayum also wrote and directed Mzamo, a 2020 feature film now airing on Mnet – DStv, and received a silver award from International Independent Film Festival, USA, in 2020.
“I enjoyed every moment with Daniel Dercksen in the editing of my Screenplay, Silent Tears. His professional experience, passion, and quest for excellence transformed my story from a simple draft to a fully developed screenplay, ready for production. He also assisted me greatly with my Treatment and Top Sheet.” Writer-director Germain Atabe
In 2022 Daniel was fortunate to team up with Tracy Lee Swinson in editing her remarkable true story Unbreakable.
“A special thank you going out to Daniel of The Writing Studio who assisted me in editing and getting my book Unbreakable ready to submit to the publishers.”
“Today is a momentous occasion I have been signed up by Austin Macauley Publishers of London. Finally my story-Autobiography is going to published! This is a dream come true I am so grateful for all the amazing people in my life that came along on this journey with me.”
In 2021 Daniel was contracted for 8-months by the NFVF (The National Film and Video Foundation) to serve as story editor on the screenplay of Karen Van Schalkwyk’s Ren, which is currently in development.
We developed REN over the period of 2021 and what Daniel Dercksen gave to the process was a complete commitment and unwavering compassion for the story. REN is now at a stage, thanks to Daniel’s theoretical knowledge of the structure and the tools of screenwriting, where it is ready to seek production finance.
They say that a great story editor must have the following traits: excellent language and writing skills, creativity, and imagination to come up with original ideas, motivation, and belief in your work, and good marketing skills. Daniel has all of these. He has worked tirelessly to help other writers and developed his own unique stories throughout the years. His knowledge of the craft extends to music, art, and literature, and he has one of the finest minds when it comes to knowing movies from all ages. He has helped me with his uncompromising technique and his non-judgemental nature.
I could not have asked for a more thorough and professional approach to REN. Daniel gave me notes and also helped structure what needed to be done. We met our deadlines and the work was done, REN is now at a stage where I can confidently say as the writer, that I am happy with the story. It takes a great story editor to get stories where they need to be.” The journey with my screenplay editor, Daniel has been smooth sailing. In fact – it was blissful! His unique editing method – reading the script and reacting to it as if watching the movie, ensures that he: pays close attention to every factual detail and picks up any misconstruction, clarifies all fuzziness in action descriptions so that the visual image stays clear in the reader’s mind, evaluates the narrative on its level of character, story, plot, dialogue and cinematic engagement (instead of forcing the script to fit into a specific genre/structural recipe).
The journey with my screenplay editor, Daniel Dercksen (The Writing Studio) has been smooth sailing. In fact – it was blissful! His unique editing method – reading the script and reacting to it as if watching the movie, ensures that he: pays close attention to every factual detail and picks up any misconstruction, clarifies all fuzziness in action descriptions so that the visual image stays clear in the reader’s mind, evaluates the narrative on its level of character, story, plot, dialogue and cinematic engagement (instead of forcing the script to fit into a specific genre/structural recipe). The organic and creative nature of the collaborative process was very rewarding and uplifting. I strongly recommend Daniel as editor. He has the rare ability to see into the mind of the artist and from there navigate the writing of the script into a polished, seamless blueprint for an engaging film. Thanks Daniel! You rock! Libé Ferreira – Former Head of Drama department at The National School of the Arts / Former Writer, Casting Director, Acting Coach at Franz Marx Films(Screenplay: What’s In Your Suitcase, 2020)
Daniel was a most valuable and expert pair of eyes recently when I had to convert a story to a short film script. I would highly recommend him to anyone looking to polish a script to be submitted with confidence. Will most certainly turn to him again with future scripts. “Many thanks. You were definitely the right person to consult. Very happy with the final outcome.” Savyra Meyer-Lippold (Illustrator, animator, copywriter & screenwriter: https://www.savyra.com/ )
by Daniel Dercksen·Comments Off on Nosferatu – A terrifying, gothic reimagining of a classic
“In many ways, my adaptation of Nosferatu is my most personal film,” says visionary filmmaker Robert Eggers. “A story, not engendered by me, but one that I have lived with, within, and dreamed about since childhood.” He looked to the physical screenplay for Nosferatu: A Symphony of Horror for insight and inspiration. “I studied Henrik Galeen’s screenplay with Murnau’s annotations very carefully,” he says, also extensively researching the occult and historical representations of vampires.
OVERVIEW: Robert Eggers’ Nosferatu has a cryptic, beautiful, and unsettling atmosphere, transporting viewers into a world where witches, curses, and vampires are very real. It stands out for its visually stunning and atmospheric storytelling, creating a sense of timelessness and horror that resonates, exploring themes of obsession, love, and the supernatural, making it a compelling and eerie experience. Eggers’ reimagining is a labor of love and respect for the original film, while also bringing fresh, innovative elements to the table. The film features stunning cinematography, with a dark, moody aesthetic that pays homage to the original while incorporating modern techniques to heighten the eerie atmosphere. The settings are crafted with historical accuracy in mind. From the architecture to the costumes, everything is designed to immerse the audience in the period and enhance the Gothic horror ambience. The casting and performances are top-notch. The actors bring depth and complexity to their characters, making them both relatable and terrifying. The portrayal of Count Orlok is particularly noteworthy, capturing the sinister essence of the character while adding new layers of menace. Eggers’ version delves deeper into the psychological aspects of the story. The film explores themes of fear, obsession, and the unknown, making it not just a horror film, but a profound psychological experience. While it brings new elements to the table, Eggers’ “Nosferatu” remains respectful to its source material. It strikes a balance between honoring the classic and innovating within the genre, making it a standout reimagining that appeals to both fans of the original and new audiences. It’s truly a masterful blend of old and new, paying homage to a timeless classic while bringing it into the modern era with style and substance.
Nosferatu is a gothic tale of obsession between a haunted young woman and the terrifying vampire infatuated with her, causing untold horror in his wake.
In Eggers’ Nosferatu, estate agent Thomas Hutter (Nicholas Hoult) travels to Transylvania for a fateful meeting with Count Orlok (Bill Skarsgård), a vampiric prospective client. Ellen (Lily-Rose Depp), Hutter’s new bride, is left under the care of their friends Friedrich and Anna Harding (Aaron Taylor-Johnson and Emma Corrin) in his absence. Plagued by visions and an increasing sense of dread, Ellen encounters a force far beyond her control.
Director’s Statement
In many ways, my adaptation of Nosferatu is my most personal film. A story, not engendered by me, but one that I have lived with, within, and dreamed about since childhood. I often felt I had the same un-jaded creative spark of a first time filmmaker when finally making the film because of the years of thought I have put into it. I feel more fortunate than ever to have had the chance to make it with my trusted team of long-time collaborators.
It is embedded with many of my own memories and personal experiences amplified and transposed to 1830s Baltic Germany. It took time to get there, to understand the fascination. Of course, it was the image and performance of Max Schreck that haunted me as a kid. There was something essential about the mysterious vampire and the simple fairytale of Nosferatu. And I am certain that when Hutter threw open the lid of Orlok’s sarcophagus audiences gasped at the terror and imagined the stench of the undead monster. How could I find my own way there?
As recently as twenty years ago, in Southern Romania, a man believed to be a vampire was exhumed, and his corpse ritually mutilated. He was a difficult man and a heavy drinker. After he died, his family said he returned as a strigoi, attacking them in the night. His daughter-in-law particularly suffered from these nocturnal assaults and became ill. When his body was destroyed, as per the folkloric procedure, the vampiric visitations stopped. His reign of terror ended. His daughter-in-law was cured. What is the dark trauma that even death cannot erase? A heartbreaking notion. This is at the essence of the palpable belief in the vampire. The folk vampire is not a suave dinner-coat-wearing seducer, nor a sparkling, brooding hero. The folk vampire embodies disease, death, and sex in a base, brutal, and unforgiving way. This is the vampire I wanted to exhume for a modern audience.
Robert Eggers
Robert Eggers during filming of Nosferatuu. Copyright: Universal Pictures, Focus Features
Writing Nosferatu
Nosferatu marks the realization of a near-lifelong dream for Eggers, who fell in love with F.W. Murnau’s 1922 film Nosferatu: A Symphony of Horroras a child. As Eggers’ interest in film grew, so did his desire to make his own particular presentation of Nosferatu, inspired by both Henrik Galeen’s screenplay for Nosferatu: A Symphony of Horror and Bram Stoker’s novel, Dracula.
Eggers was inspired to write and perform a stage adaptation with classmate Ashley Kelly-Tata (now an accomplished theater director) at his hometown high school. This production caught the attention of Edouard Langlois, artistic director of the Edwin Booth Theatre in Dover, New Hampshire, who invited Eggers and Kelly-Tata to transfer their production to his space. The opportunity proved fortuitous for Eggers: “This made me know that I wanted to direct.”
After high school, Eggers enrolled in a drama program in New York, and later started a theater company. “I intended to return to Nosferatu again, but it never happened,” says Eggers.
Having directed the high school stage production, Eggers knew he wanted to bring the story back to the big screen in his own unique artistic way and has been working ever since to make that happen.
Eggers made his directorial debut with The Witch, a Puritan era supernatural horror film that screened to acclaim at the 2015 Sundance Film Festival. After the success of The Witch, Eggers completed a draft of Nosferatu and gathered a preliminary cast.
He ultimately set the project aside to direct his reality-bending drama The Lighthouse, which premiered at the Cannes Film Festival in 2019. The Northman, Eggers’ lauded Viking epic, followed.
Eggers returned to Nosferatu, eager to tell the twisted beauty-and-the-beast tale through his own increasingly distinct lens. Eggers’ process included exploring his story in a different medium: “I ended up writing a novella with extensive backstories and scenes that I knew would never be in the film to understand why Nosferatu needed to be told again,” says Eggers. “I had to write that novella to make it my own.”
Ellen emerged as Eggers’ driving force. “As an evolution of the story, the thing that is most significant is that this is Ellen’s film. She is a victim not only of the vampire, but of nineteenth century society,” says Eggers.
In light of this shift in focus, Eggers chose to begin his screenplay with an occurrence that would then be diagnosed as “hysteria.” “This is Ellen’s story. There’s a prologue that begins with her childhood and an unexplained but terrifying haunting,” says Eggers.
Eggers looked to the physical screenplay for Nosferatu: A Symphony of Horror for insight and inspiration. “I studied Henrik Galeen’s screenplay with Murnau’s annotations very carefully,” Eggers says. Eggers also extensively researched the occult and historical representations of vampires.
“His office was filled with hundreds of books,” producer Chris Columbus remembers. “It was almost like walking into the office of a professor of vampirology. There were all these books on the occult, and the history of vampirism.”
Eggers has a practical reason for grounding his scripts with historical authenticity. “The act of research is something that I truly enjoy,” says Eggers. “Part of it is about eliminating decisions; you don’t need to invent anything. you just look for it and find it.”
Dracula remained a secondary influence in Eggers’ writing process. “You can’t ignore Dracula when you’re going to approach this piece. There are a lot of things that have been in Dracula movies that I thought were in the novel but weren’t in the novel. And I had read it several times before! That was interesting, to forget everything that I had learned about Dracula and vampires – and then to relearn it from the bottom up.” Eggers wanted to create a film that was unique to him and pulled upon many references to create his own standalone version of Nosferatu.
Pauses in the careful development of Nosferatu gave Eggers the opportunity to build upon his skills as a writer, director, and producer, and to assemble a world-class team of collaborators, both in front of and behind the camera. “I wouldn’t have had as much control,” says Eggers of the fortuitousness of delaying Nosferatu. “I wasn’t as far along in my career, and I wasn’t as adept at filmmaking. It was helpful to step away from it.”
Casting Nosferatu
Nosferatu assembles a stellar cast that includes Bill Skarsgård, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin, Ralph Ineson, Simon McBurney, and Willem Dafoe.
Lily-Rose Depp portrays Ellen, the conflicted, possessed central figure in Nosferatu. Depp explains her attraction to the script and role: “I always loved haunted gothic tales like this. I could see the whole thing playing out as I was reading it. I was holding my breath the entire time,” says Depp.
Despite elements of possession and fantasy, Depp found that Eggers’ screenplay mined much of its shocking suspense from realism. “There’s something about this script and this movie that feels very real, visceral, and human, which is interesting because we’re talking about demons, and ghosts, and this other realm. That’s what I think is the scariest part about the movie: just how real the nightmares are,” Depp says.
Nicholas Hoult, who plays Thomas, an earnest estate agent who journeys to Orlok’s castle in pursuit of an opportunity to build a better life for his family, was a longtime fan of Eggers’ immersive, entrancing filmmaking. “There’s no one who, in my opinion, creates authentic worlds and builds atmosphere quite like he does in his movies,” Hoult says of Eggers. “The world he has created is incredible.”
Hoult also understood the responsibility of playing a part in realizing Eggers’ childhood dream. “This film has been thirty years in the making in many ways, and I wanted to do service to the story and this character in a way that would make Rob proud,” says Hoult.
A hopeful naïveté surrounds Thomas and Ellen’s relationship. Hoult explains: “It’s a pure love, but I wouldn’t describe it as a passionate love,” says Hoult. “Thomas is very caring for Ellen and loves her deeply, but there’s obviously a lack of truth in their relationship at the start.”
On his trek to meet Count Orlok, Thomas rests at a Romanian village and ignores warnings of danger. “Thomas starts to lose sense of what’s real and what’s not. From that moment on, he is never quite sure if he’s dreaming or if the things he’s witnessing are real,” says Hoult.
Bill Skarsgård, who undergoes an astounding transformation to portray Orlok, remembers watching Nosferatu: A Symphony of Horror as a child. “My dad loves movies, and he gave me an early tour of cinema history, and Nosferatu was one of the films we watched,” comments Skarsgård.
Despite Skarsgård’s familiarity with Nosferatu: A Symphony of Horror, he found Eggers’ script to be breathtakingly original. “I read it and thought, ‘There’s nothing like this,’” Skarsgård remembers. “I thought it was one of the best scripts I had ever read.”
In Nosferatu, Willem Dafoe takes on the role of Albin Eberhart Von Franz, a professor engaged to cure Ellen. Dafoe also already had experience in this realm as he garnered an Oscar nomination in 2001 for his role as Max Schreck in the lauded behind-the-scenes drama Shadow of the Vampire, and also starred in Eggers’ The Lighthouse and The Northman. Dafoe was happy to re-team with Eggers for a third time. “The script is beautiful,” says Dafoe. “It really struck me as kind of a love story. I knew that my role was the role that Rob would play if he were an actor in this. That was a pleasure. He likes many of the things that Von Franz is versed in. Anytime I get to work with Rob I’m happy.”
Aaron Taylor-Johnson responded to his character’s precipitous lack of control. “Friedrich Harding was instantly a relatable character, someone who is a family man, someone who will go to the ends of the earth for his wife and children. It’s slowly slipping through his fingers, and he’s trying to hold it all together,” Taylor-Johnson says. In the face of alarming challenges, Friedrich continues to care for Ellen, even after he realizes that her illness may be beyond human control. “He has a guest under his roof, and a responsibility to his friend. He doesn’t want to go back on his word, but also, at some point, enough is enough,” Taylor-Johnson explains.
Emma Corrin is Anna Harding, Ellen’s friend and Friedrich’s spouse. Corrin echoes their co-stars’ appreciation for the specificity of Eggers’ screenplay. “I know how much he loved creating very curated worlds with all the detail and accuracy, almost like a painting, putting them together. I could see how this story, and its characters, and its architecture, and the whole world in which it’s set leans so much towards what he loves to do,” says Corrin.
Filming Nosferatu
Nosferatu reunites the renowned artists who contributed to the immersive power of Eggers’ previous films, including production designer Craig Lathrop, cinematographer Jarin Blaschke, costume designer Linda Muir, and editor Louise Ford, all of whom worked on The Northman, The Lighthouse, and The Witch. The Northman composer Robin Carolan also returns to the team.
After assembling his cast, Eggers established the production for Nosferatu in Prague’s Barrandov Studio, a longtime hub for European filmmaking. Eggers found opportunities to incorporate Prague’s architecture, and the production made a brief trip to Transylvania to shoot exteriors of Hunedoara Castle for Orlok’s Castle. In addition to the few practical locations, Lathrop designed an astounding sixty sets. “I wanted to build as much as possible,” says Eggers. “It gives me the most amount of control with how Jarin and I like to move the camera.”
Lathrop’s ingenuity led to sets that could accommodate Eggers’ ambitious camerawork. Eggers comments: “Often, it demands that we have movable walls and movable ceilings. There are several shots where a wall will open on a hinge to get the camera through, and then come back around and close back up. It’s a lot, but it’s very fun.”
The delicate dance between the actors, camera department, and crew made for an attentive set: “It’s an enjoyable way to work because every single person on set is dependent on everyone else. The tension and focus are incredibly high. If anyone – from the camera operator to the dolly pusher to the actors – does one little mishap, it all falls apart and we have to do another take. When we get it, it’s incredibly satisfying. It builds a lot of camaraderie.” says Eggers.
Blaschke shot on 35mm film and used special Dagor and Baltar lenses through the gracious assistance of Dan Sasaki at Panavision. Blaschke has a longtime interest in film photography, having developed his own sheet film negatives in trays and made contact prints from them. He brought his knowledge of nineteenth century view camera lens designs in creating the film’s look. Among Blaschke’s many goals for Nosferatu was to accurately portray the pale glow of moonlight. Blaschke explains: “If you made it look like actual moonlight does to your eye, you wouldn’t read people’s faces; you couldn’t tell the story at all. It was really riding that edge of where you can tell the story of the movie, but also believe it, and make it feel like moonlight does to your eye. That was the balancing act.”
“One of the things that we were developing since The Northman was a moonlit look that is very desaturated and closer to black and white,” adds Eggers. In finding the perfect romantic moonlight, Blaschke incorporated real candlelight with the assistance of a high-speed lens. “It’s all real flame,” Blaschke says. “We just kept putting in candles until we got to the right exposure. It got messy, but it’s very gratifying to shoot on film and have real candles.”
Lathrop shares Eggers’ commitment to historical accuracy and authenticity. “Once I got a script, I started digging into it in detail. This film is set in Wisborg, a fictitious town on the Baltic Coast, a Hanseatic town, and so I started researching the rich architectural history of Hanseatic towns.”
Lathrop made the home interiors a reflection of the characters’ disparate levels of wealth. “It’s important to see that Thomas and Ellen live in an extremely modest flat, but they have aspirations of something a bit grander,” says Lathrop. “Thomas is off to Transylvania to start this journey because he wants to make something of himself, or at least he wants to be a success in material way, like his friend.
Romanian screenwriter Florin Lăzărescu assisted the production by translating dialogue into Dacian, a dead language, and researching nineteenth century Transylvanian daily life. “Little by little, I started to talk to the team about different objects: icons, crosses, and toys for Roma kids. I found things I didn’t know about my country, about my culture, before researching for this movie,” says Lăzărescu.
Creating ORLOK
Special Effects makeup artist David White grew up with a love of classic vampires. “When I first became interested in make-up effects, I remember leafing through the pages of reference books in the library, which were so intriguing.” White, together with Eggers, took great pride in the designing of Count Orlok and thoroughly investigated the decay of flesh and bone using medical and historical research papers and books. He noted that “Robert shared illustrations and a mood board he had created. He even showed me his own early painting of the Count, which was very useful and gave me the vibe and tone.” From this reference, David got a greater understanding of the color tones and textures that Eggers liked. Robert also shared images of noblemen of the time, their hairstyles and facial hair, as well as imagery depicted throughout the centuries, including folk art.”
ROBERT EGGERS (Writer-Director, Producer) is an award-winning writer and director. Originally from New Hampshire, Eggers got his professional start directing and designing experimental and classical theatre in New York City. Eggers eventually transitioned to film, directing several short films and working extensively as a designer for film, television, print, theater, and dance.
The Witch, his feature film debut as writer and director, won the Directing Award in the U.S. Dramatic category at the 2015 Sundance Film Festival, where it premiered to critical acclaim. It also garnered two Independent Spirit Award wins for Best First Feature and Best First Screenplay. His second feature film, The Lighthouse, premiered at Directors’ Fortnight in Cannes and won the FIPRESCI prize. The film was nominated for a 2019 Academy Award® for Best Cinematography. The Northman, a Viking revenge saga premiered on April 22, 2022 to great critical acclaim worldwide.
by Daniel Dercksen·Comments Off on The Enduring Impact and Timeless Relevance of A Streetcar Named Desire
A Streetcar Named Desire is a timeless and emotionally charged classic that captivates audiences with its intense performances and compelling storyline. Seventy-four years after its first screening, it continues to resonate and provoke thoughtful conversation.
It’s a powerful narrative that delves deep into human vulnerability and resilience, leaving a lasting impression on viewers.
Renowned playwright Tennessee Williams drew inspiration for A Streetcar Named Desire from several personal experiences and relationships. The character of Blanche DuBois is partly inspired by RoseWilliams’ sister, Rose, suffered from mental illness and underwent a lobotomy, which deeply affected him. Williams’ own struggles with mental health, alcoholism, and his complex family dynamics are mirrored in the play’s themes of fragility, desire, and the harsh realities of life.
Williams wrote the play over one year, from 1946 to 1947. He was living in New York, Los Angeles, and New Orleans during this time, and the vibrant atmosphere of New Orleans, in particular, had a significant influence on the play. It’s fascinating how the setting and his personal experiences shaped such a timeless piece. He found the title for A Streetcar Named Desire quite literally from his observations in New Orleans. The title references the actual streetcars that ran through the city at the time. One particular line was named “Desire,” and the title metaphorically aligns with the themes of the play, as it delves into the desires and struggles of the characters, especially Blanche DuBois.
It’s fascinating how a simple streetcar name captured the essence of the play’s deeper explorations
Marlo Brando and Elia Kazan discuss a scene during the filming of A Streetcar Named Desire.
Tennessee Williams collaborated with Elia Kazan and Oscar Saul to adapt “A Streetcar Named Desire” into the classic 1951 film. Kazan, who had directed the original Broadway production, also directed the film.
The screenplay remained largely faithful to the play, with some dialogue and scenes adjusted for the cinematic format. The 1951 film was produced during a time when the Hollywood Production Code (Hays Code) imposed strict censorship guidelines. As a result, certain elements were toned down or implied rather than explicitly stated. The film’s ending was altered to align with the moral expectations of the time. Some scenes and dialogue were trimmed or adjusted to suit the pacing and structure of a film. This helped maintain the dramatic tension and flow within a more concise runtime.
Despite these changes, the film retained the core essence and intensity of Williams’ original play, making it a powerful adaptation that continues to be celebrated.
Elia Kazan directs Vivian Leigh and Kim Hunter in a scene of the film
The film centres around Blanche DuBois, a fragile and distressed woman who moves in with her sister, Stella, and her brutish brother-in-law, Stanley Kowalski, in New Orleans. Blanche’s arrival disrupts the Kowalskis’ volatile relationship, leading to escalating tension and conflict. As Stanley unravels Blanche’s facade, uncovering her troubled past, the story explores themes of desire, mental illness, and the harsh realities of life.
The enduring significance of the film A Streetcar Named Desire to audiences in 2025 lies in its timeless exploration of human nature and societal issues.
The film delves into themes of desire, power, mental illness, and domestic violence. These issues remain relevant and provoke thought and discussion among contemporary audiences.
The iconic performances of Vivien Leigh and Marlon Brando continue to captivate viewers, demonstrating the lasting impact of exceptional acting.
The film’s direction, cinematography, and adaptation techniques are studied in film schools and appreciated by cinephiles for their innovative approach to translating stage drama to the screen.
As societal norms and values evolve, revisiting the film allows audiences to reflect on how attitudes toward gender, mental health, and relationships have changed, and what progress still needs to be made.
The film has influenced countless other works in theatre and cinema, establishing a legacy that continues to inspire creators today.
By revisiting A Streetcar Named Desire, modern audiences can gain insights into both the historical context of its creation and the ongoing relevance of its themes.Through its powerful performances and innovative storytelling, it remains a touchstone for creators seeking to delve into the depths of human experience and emotion.
Thomas Lanier Williams III, better known as Tennessee Williams, was born on March 26, 1911, in Columbus, Mississippi. He was a renowned American playwright and screenwriter, celebrated for his powerful and emotionally charged dramas.his most notable works include “The Glass Menagerie” (1944), “A Streetcar Named Desire” (1947), “Cat on a Hot Tin Roof” (1955), and “The Night of the Iguana” (1961). His plays often explore themes of human frustration, desire, and the complexities of family relationships. He gained widespread recognition with the success of “The Glass Menagerie”, which was followed by a string of successful plays, including the Pulitzer Prize-winning “A Streetcar Named Desire”. Williams’ work has left a lasting legacy on American theatre and continues to be studied and performed worldwide. Williams struggled with personal issues, including mental health challenges and alcoholism, which often influenced his writing. He passed away on February 25, 1983, in New York City
by Daniel Dercksen·Comments Off on Embrace the New Year with Writing Ambition
Here’s some inspiring advice to help writers embrace the new year with vigor and creativity.
Set Clear Goals: Define what you want to achieve this year. Whether it’s completing a novel, improving your craft, or getting published, having clear, attainable goals will keep you focused and motivated. Clear and attainable goals are like a roadmap that guides you toward your desired destination. They provide direction, help prioritize tasks, and give you a sense of accomplishment as you achieve them. Plus, they keep you motivated by breaking down the journey into manageable steps, making it easier to track progress and stay on course.
Set aside dedicated time each day for writing. Even if it’s just 30 minutes, consistency is key.
Complete at least one major writing project this year.
Create a Writing Routine: Establish a regular writing schedule that fits your lifestyle. Consistency is key, even if it’s just a few minutes each day. This routine will help build your writing habit and keep you progressing steadily.
Find Your Inspiration: Seek out sources of inspiration that resonate with you, whether it’s reading books, watching movies, exploring nature, or engaging with art. Surround yourself with creativity to fuel your own.
Challenge Yourself: Step out of your comfort zone and experiment with different genres, styles, and formats. Embrace new writing challenges to grow as a writer and discover new facets of your creativity.
Join a Writing Community: Connect with fellow writers through writing groups, workshops, or online forums. Sharing your journey, receiving feedback, and offering support can be incredibly motivating and enriching.
Prioritize Self-Care: Writing can be mentally and emotionally demanding, so it’s essential to take care of yourself. Make time for relaxation, exercise, and activities that rejuvenate your mind and body.
Celebrate Small Wins: Acknowledge and celebrate your achievements, no matter how small. Each step forward is progress, and recognizing these milestones will keep your spirits high.
Learn Continuously: Invest in your growth as a writer by taking courses, reading craft books, and seeking feedback. Stay curious and open to learning new techniques and insights.
Write with Passion: Let your love for storytelling drive you. Write about topics that excite and move you, and your passion will shine through in your work, captivating your readers.
Stay Persistent: The writing journey is filled with ups and downs, but perseverance is key. Keep writing, even when faced with challenges or setbacks, and remember that every word you write brings you closer to your goals.
Unlock Your Writing Potential with Our 10 Inspiring Courses!
From sparking your creativity to penning the first captivating pages of your story, each course is designed to fuel your passion and sharpen your craft. Whether you’re a budding writer or an experienced wordsmith, join us on this transformative journey and watch your ideas come to life on the page.
by Daniel Dercksen·Comments Off on The Essentials of Genre: Elevating Your Storytelling
Before you start developing the idea you have for a story, you need to know what genre you want to set your story in.
Understanding the fundamentals of genre is pivotal for any storyteller. Genre isn’t just a label; it’s the blueprint that shapes your narrative’s framework, guiding the tone, style, and expectations. Think of it as the compass that navigates your creative journey, ensuring that your story resonates with its audience.
Before diving into the intricate process of developing your story idea, it’s crucial to first determine the genre in which you want to set your narrative. Choosing the right genre serves as a foundational step that influences the tone, style, and direction of your story. Whether you’re aiming for the suspenseful twists of a thriller, the heartwarming moments of a romance, or the imaginative wonders of science fiction, the genre acts as your guiding framework. So, take a moment to explore the possibilities and decide where your creative journey will begin.
Genre is a word that often creeps into writing and can be easily misunderstood or misread.
Choosing the genre for your story is a pivotal step in the creative process. It defines the category or type of narrative you wish to craft. Your story could fall into the realms of drama, romance, action-adventure, science fiction, comedy, horror, musical, or documentary. Alternatively, you might opt for a well-balanced blend of genres, such as an action-packed romance or a horror-comedy. Each genre brings its unique flavor, setting the tone, style, and overall direction of your tale. So, take a moment to consider which genre best aligns with your vision and let it guide your storytelling journey.
Genres such as drama, romance, action-adventure, science fiction, comedy, horror, musical, and documentary each bring their unique set of conventions and themes. For instance, in horror, the aim is to evoke fear and suspense, whereas in comedy, the goal is to entertain and amuse. Each genre offers a distinct lens through which your audience experiences your story.
Moreover, don’t shy away from experimenting with genres. Mixing genres can lead to innovative storytelling, creating a hybrid that stands out. Imagine the thrill of an action-packed romance or the delightful chills of a horror-comedy. The possibilities are endless, and stepping out of your comfort zone can unlock your story’s full potential.
In essence, genre serves as the foundational element that informs your story’s structure and content. It helps you understand your protagonist and antagonist’s roles, shapes your narrative style, and most importantly, aligns with audience expectations to ensure an engaging and satisfying experience. Embrace the power of genre to elevate your storytelling and captivate your readers or viewers.
You have to be familiar with other film, television shows, and books that relate to or are similar to, the story you want to write. It is one of the major building blocks in laying the foundation of the story you want to write.
Understanding the genre of your story is essential to ensure that you connect with your intended audience. It’s about delivering the key elements and expectations that make your readers or viewers feel satisfied. Regardless of how brilliant your story may be in its own right, if you fail to meet the genre’s conventions, you risk frustrating your audience and diminishing the impact of your narrative. Genre serves as a guiding framework that helps you fulfill the promises you’ve made to your audience, ensuring an engaging and successful story.
Genres are harsh on those who don’t know the history, don’t know the rules. Once you know them, you’ll know where they can be broken. Terry Pratchett (‘A Slip of the Keyboard’)
Genre is a type of story that has a visceral appeal to its audience
Storytelling is genre-driven and each genre has demands that must be understood and met… Since there are certain requirements that studio readers and audience members consciously and subconsciously expect to be met, the greater the chance you have of making a sale. Richard Krevolin
Know who your audience / readers are. Give them what they want.
by Daniel Dercksen·Comments Off on Den of Thieves 2: Pantera – An Epic Buddy Film
Visionary filmmaker Christian Gudegast, the mastermind behind the gritty crime thriller Den of Thieves, returns to the director’s chair with even more intensity. This sequel doesn’t just build on the original—it skyrockets it. With an expanded universe, jaw-dropping stunts, and action sequences that push the envelope, Gudegast raises the stakes while deepening the evolving dynamics between the characters. “The line between cop and criminal is sometimes almost invisible. One exists only with the other.”
REVIEW: It’s a continuation of a successful franchise. The film is inspired by the real-life Antwerp diamond heist that took place in Belgium in 2003 and adds an element of realism and intrigue to the plot. The plot revolves around a high-stakes heist involving a notorious gang called Pantera, with Sheriff O’Brien going undercover to take down the criminals from the inside. It promises to deliver more heart-pounding action, intricate heist planning, and darker twists, making it an exciting addition to the franchise.
Gerard Butler, who plays the role of Detective ‘Big Nick’ O’Brien and Gudegast entertained ideas for Den of Thieves 2: Pantera not long after Den Of Thieves became a global hit. “We thought, how can we raise it to the next level?” the Butler remembers. “In Den of Thieves, we went to the Federal Reserve. How do you go even bigger than that?”
Butler contributed to shaping the story for the sequel. His creative input adds depth and continuity to his character. He embraced how Den of Thieves 2: Pantera is focused on building the dynamic between Nick and Donnie, in a subversive “buddy movie” way. “I knew we had an epic tale full of character and excitement. Donnie and Nick are on this collision course. Nick’s going to get his revenge, but it doesn’t quite turn out the way you think. He’s been completely hoodwinked by Donnie, who got the better of him at the end of the first film.”
“At its core, this film is a love story between a thief/gangster and a cop,” Gudegast adds. “It’s an epic buddy film.”
Christian Gudegast directs from his original screenplay based on characters created by Gudegast & Paul Scheuring. He graduated Magna Cum Laude from UCLA film school and began his career as a screenwriter, selling his first script, Black Ocean, to Oliver Stone. Starting his career as a writer on Jerry Bruckheimer’s first TV show, “Soldier of Fortune,” Gudegast wrote A Man Apart, The Rundown, and London Has Fallen, among others, and worked as one of Hollywood’s most sought-after script doctors for years. In 2009, he produced the award-winning documentary Sequestro about kidnapping in Sao Paolo, and directed, shot, and edited the documentary Shotcaller. His next film is Mafia X for Thunder Road.
The film picks up immediately after the events of the first movie, with Sheriff “Big Nick” O’Brien (Gerard Butler) on a relentless pursuit of Donnie Wilson (O’Shea Jackson Jr.) who has fled to Europe. Now, the stakes have never been higher as enemies become allies, and the innate brotherhood, humour, and tension between Nick and Donnie reach new heights as they join forces to plot a massive heist at the world’s largest diamond exchange.
Gudegast expands the franchise’s world and amps up the action, scope, stunts, and the evolving dynamic between Nick and Donnie.
The film is inspired by the real-life 2003 Antwerp diamond heist, often referred to as the “heist of the century” due to its audacity and scale.
The 2003 Antwerp diamond heist was orchestrated by Leonardo Notarbartolo, an Italian thief who posed as a diamond merchant to gain access to the building. The heist took place on the night of February 15-16, 2003, at the Antwerp Diamond Center in Belgium, one of the most heavily secured places in the world. Thieves stole loose diamonds, gold, silver, and other jewelry valued at over $100 million. The vault was protected by multiple security mechanisms, including infrared heat detectors, a seismic sensor, Doppler radar, and a magnetic field. he thieves bypassed the extensive security systems and spent hours inside the vault, opening 123 of the 160 safe deposit boxes. They left the vault in a pristine state to avoid detection. The heist went undetected until the following Monday morning. Notarbartolo and several members of his gang were eventually arrested, but most of the stolen diamonds remain unrecovered. The case remains one of the largest unsolved heists in history, and the mystery surrounding the whereabouts of the stolen diamonds continues to intrigue people to this day.
Den of Thieves 2: Pantera promises an even more ambitious and thrilling heist plot. The stakes are higher, and the action is more intense, making it a gripping watch for fans of the genre.
The film expands the world established in the first movie, introducing new characters and settings while building on the established lore. This expansion adds richness to the franchise and opens up possibilities for future instalments. The sequel boasts impressive production values, with stunning cinematography, elaborate set pieces, and high-octane action sequences. The attention to detail and commitment to delivering a visually spectacular experience elevate the film.
“I hope that audiences will find the film to be an authentic and thrilling ride,” concludes Gudegast. “I want them to feel the tension and emotional and physical toll this kind of heist takes on the characters. I want them to feel like they’re in the diamond center, with the breathing and the exhaustion and the sweat and having to be quiet – to take them into this insider’s view and live through that experience.”
There are several notable films that revolve around diamond heists
These films offer a mix of action, comedy, and suspense, making them great choices for fans of the heist genre.
To Catch a Thief (1955) – A classic Alfred Hitchcock film. The film stars Cary Grant as a retired cat burglar who has to save his reformed reputation by catching an impostor preying on wealthy tourists (including an oil-rich widow and her daughter played by Grace Kelly) on the French Riviera.
The Pink Panther (1964) – This comedy-mystery follows the antics of the bumbling and inept French Inspector Jacques Clouseau (Peter Sellers) as he tries to catch the elusive jewel thief known as “The Phantom.” The main target is the Pink Panther, a stunning diamond with a unique flaw resembling a leaping panther.
Snatch (2000) – Directed by Guy Ritchie, this British crime-comedy follows two main plots. One involves a stolen diamond that various criminals are after, while the other revolves around a small-time boxing promoter, Turkish (Jason Statham), who finds himself in deep trouble when a fight goes wrong. The stories intersect in unexpected and often humorous ways.
Flawless (2007) – A Crime drama film that delves into the world of diamonds and heists. The story is set in London in the 1960s and follows Laura Quinn (Demi Moore), an executive at the London Diamond Corporation who faces gender discrimination and a glass ceiling in her career. She teams up with Mr. Hobbs (Michael Caine), a janitor with a cunning plan to steal diamonds from the corporation’s vault. The heist involves a clever and meticulous plan that hinges on their insider knowledge of the company’s operations.
The Town (2010) – Directed by and starring Ben Affleck, this film focuses on a group of bank robbers who plan a heist in their hometown, with a stolen diamond playing a key role. The film is set in the Charlestown neighborhood of Boston, known for its high rate of bank robberies. Doug MacRay (Ben Affleck) is a skilled thief who leads a group of bank robbers, including his volatile best friend, Jem Coughlin (Jeremy Renner). During a heist, they take a bank manager, Claire Keesey (Rebecca Hall), hostage. After releasing her, Doug begins a cautious relationship with Claire, who is unaware of his role in the robbery. As Doug contemplates leaving his criminal life behind, he faces increasing pressure from the FBI and tensions within his crew.
Daniel Dercksen is a published film journalist of 40 years who’s been teaching workshops and courses in creative writing, playwriting and screenwriting internationally since he formed The Writing Studio in 1999.
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CONCLAVE centers on a papal election following the sudden death of the pope. It delves into the complexities and secrecy of the conclave process, a traditionally closed and confidential event. Edward Berger’s direction ensures that the film not only tells a compelling story but also invites audiences to ponder the moral and ethical questions raised. His vision brings out the profound themes of faith, duty, and the human condition.The film’s narrative weaves political intrigue, personal secrets, and power struggles, making it a gripping and intellectually engaging experience. The film explores the power dynamics within the Vatican, highlighting the influence of politics and personal agendas in the selection of a new pope. This examination provides insight into the intricate balance of power and faith, and how they shape major decisions in the Church. The film delves into the dualities of faith and doubt, exploring how the cardinals reconcile their spiritual beliefs with their personal ambitions and secrets. It examines the facets of human nature, including virtue, temptation, redemption, and the complexities of making moral choices under pressure. Ralph Fiennes and Isabella Rossellini deliver standout performances, bringing depth and complexity to their characters. Their portrayals reflect the personal and ideological conflicts faced by the cardinals, making the film a compelling character study. Its significant contribution to contemporary cinema offers a rich blend of political drama, symbolism, and thought-provoking themes. READ MORE
THE HOLDOVERS is a heartwarming dramedy that poignantly delves deeply into the lives of its main characters. The unlikely bond and personal transformations between Paul Giamatti as a stern and unpopular professor, Dominic Sessa as a troubled student, and Da’Vine Joy Randolph as the head cook mourning her son, make the story a poignant exploration of human connection. Alexander Payne’s direction balances humour and melancholy, turning what could be a cliched “holiday movie” into a richly textured narrative about life’s unpredictability and the beauty of unexpected friendships. READ MORE
SOCIETY OF THE SNOW is a testament to the indomitable human spirit, deftly balancing harrowing reality with moments of hope and compassion. J.A. Bayona’s direction brings a profound sense of humanity to the film. His approach emphasizes the inner strength and resilience of the survivors, avoiding sensationalism and focusing instead on their emotional journeys. The breathtaking yet deadly Andes mountains are captured by Pedro Luque’s cinematography, emphasizing both their beauty and their menace. The stark contrast between the serene landscape and the dire situation of the survivors enhances the emotional weight. The film is based on the true story of the 1972 Andes plane crash in which a Uruguayan rugby team was stranded in one of the planet’s most hostile environments. Their ordeal, including extreme measures to stay alive, is portrayed with sensitivity and care, exploring the psychological effects on the survivors and their struggle with guilt and trauma. READ MORE
THE BIKERIDERS portrays the complex relationships within the biker community and examines the tension between the idealized American Dream and the reality of individual lives. Characters like Johnny sacrifice traditional family life for a constructed one with their biker family. The movie explores how modern American life shifts through these characters and scrutinizes the consequences of chasing grandiose dreams. Director Jeff Nichols, who is known for his talent in creating character-driven stories with a strong sense of place, builds a gritty and immersive narrative, masterfully capturing the essence of 1960s motorcycle culture and the complex dynamics within the biker community, making it a compelling and emotionally resonant film. READ MORE
POOR THINGS– Yorgos Lanthimos’s masterful direction brings a unique and eccentric style to the film, blending dark humour with deep philosophical questions, making the film both intellectually stimulating and emotionally resonant. The film confronts patriarchal norms and highlights women’s autonomy and freedom in their sexual choices. Bella’s journey of self-discovery and liberation highlights the struggles against societal expectations and oppression. The film subverts traditional cinematic objectification and empowers its female protagonist, making a statement on gender dynamics. Bella’s resurrection and the ensuing quest to understand her new life delve into themes of identity and self-realization. This emotional journey is both heartwarming and heart-wrenching, as Bella navigates a world full of wonders and tragedies. READ MORE
WOMAN OF THE HOUR – Directed by Anna Kendrick, it’s a significant film for its daring exploration of true crime, gender dynamics, and the unsettling intricacies of the human psyche. The film is based on the true story of Rodney Alcala, a notorious serial killer who appeared on the television show “The Dating Game” in 1978 while he was still at large. This chilling real-life event adds a layer of gravity and intrigue to the film. READ MORE
HORIZON: CHAPTER 1 blends a rich historical context with compelling storytelling. Directed by Kevin Costner, the film benefits from his nuanced understanding of Westerns, blending authentic historical details with compelling drama. It paints a vivid picture of the turbulent times, focusing on the settlers and the Indigenous peoples, capturing the complexities and conflicts of the era. Its epic scope sets the stage for a four-part saga, sprawling across the vast American frontier before, during, and after the Civil War. The film doesn’t shy away from the brutal realities of the time, including clashes between settlers and Indigenous tribes, making it a powerful exploration of survival and coexistence. READ MORE
KINGDOM OF THE PLANET OF THE APES serves as the latest installment in the iconic “Planet of the Apes” franchise, which dates back to 1968. Directed by Wes Ball, the film focuses on the journey of Noa (Owen Teague), a young ape from the Eagle Clan, as he evolves from a child to a leader. Similar to its predecessors, the film delves into ethical and philosophical questions, exploring the power dynamics between apes and humans. It reflects on themes of survival, co-existence, and the impact of technology on societies. The film boasts stunning visuals and special effects, creating an immersive experience and bringing the post-apocalyptic world to life. READ MORE
JOKER: FOLIE À DEUX is a masterfully impactful film thanks to its deep themes, exceptional storytelling, and powerful performance. The phrase “Folie à Deux” translates to “madness shared by two,” perfectly capturing the symbiotic and disturbing relationship between Arthur Fleck (Joaquin Phoenix) as Joker and Harley Quinn (Lady Gaga). This shared delusion brings a new depth to their characters, emphasizing the psychological complexities of their bond. The film delves into the nuances of mental health, raising profound questions about sanity, accountability, and societal treatment of those deemed “insane”. Incorporating musical elements into a dark and chaotic narrative adds a layer of surrealism. Todd Phillips’ nuanced direction and vision elevate the film and challenges traditional superhero storytelling, focusing instead on the blurred lines between heroism and villainy, sanity and madness. This subversion leads to an introspective commentary on the nature of villainy and the fantastical elements of superhero films. Joaquin Phoenix and Lady Gaga deliver mesmerizing performances, embodying their characters with depth and intensity. Their portrayal adds emotional and psychological weight to the film, making their descent into madness both compelling and disturbing. READ MORE
ONE LIFE serves as a powerful reminder of the impact that one person’s compassion and courage can have on the lives of many. Director James Hawes brings the incredible true story of Sir Nicholas Winton to life on-screen with a compelling and heartfelt narrative that tells the extraordinary true story of Sir Nicholas Winton, a British humanitarian who rescued 669 predominantly Jewish children from Nazi-occupied Czechoslovakia just before World War II. It delves into themes of humanity, empathy, and the difference one person can make. By focusing on the personal stories of the children rescued and their emotional reunions with Winton decades later, the film underscores the profound impact of selfless humanitarian act. The film sheds light on a lesser-known chapter of history, ensuring that Sir Nicholas Winton’s contributions are recognized and remembered. It also emphasizes the importance of preserving and sharing such stories to inspire future generations. READ MORE
THE ZONE OF INTEREST – Directed by Jonathan Glazer, the film offers a chilling and contemplative look at the Holocaust from the perspective of an Auschwitz commandant and his family living next to the concentration camp. This unique viewpoint challenges viewers to confront the banality of evil and the complicity of ordinary people in horrific events. READ MORE
ORDINARY ANGELS – Directed by Jon Gunn, the film stays true to the essence of the real-life events while adding cinematic elements to enhance the storytelling. As a faith-based film, Ordinary Angels explores themes of faith, hope, and the impact of personal transformation. Sharon Stevens’ journey from struggling with alcoholism to becoming a beacon of hope for the Schmitt family is a central element of the story. The film highlights the power of community support and kindness. It showcases how ordinary people can come together to make a profound difference in someone’s life, emphasizing themes of compassion and solidarity. Despite the challenges faced by the characters, Ordinary Angels delivers an uplifting and optimistic message about the human spirit and the importance of helping others. READ MORE
HERE – Based on the graphic novel by Richard McGuire, Here tells a generational story about families and the special place they inhabit. The narrative spans multiple time periods, from prehistoric times to the present day, offering a unique and nonlinear storytelling experience. The film employs digital de-aging technology to allow the cast to portray their characters across different eras. This innovative approach adds a visually captivating element to the film, enhancing the storytelling. Here explores universal themes such as love, loss, laughter, and life, capturing the human experience in its purest form. The film’s focus on these relatable themes resonates with audiences on a deep emotional level. Directed by Robert Zemeckis, known for his visually stunning films, Here boasts impressive production values, including cinematography by Don Burgess and music by Alan Silvestri. READ MORE
GLADIATOR II – Directed by Ridley Scott, the sequel continues the story of the original Gladiator (2000) and maintains the same high production values and epic storytelling. that fans loved in the first movie. The plot delves deeper into the world of Ancient Rome, focusing on new characters and conflicts while still honoring the legacy of the original film. Overall, it stands out as a significant sequel due to its star-studded cast, epic storyline, visual spectacle, and has reignited interest in the story of Maximus and the world of Ancient Rome. READ MORE
DUNE: PART TWO – : Directed by Denis Villeneuve, the film is known for its stunning visuals, including breathtaking desert landscapes and epic battle scenes. The production quality and attention to detail create an immersive experience for viewers. As part of the larger Dune franchise, the film has reignited interest in the source material and its themes of power, destiny, and human nature. It has also sparked discussions about the dangers of charismatic leaders and the impact of prophecy on society. Dune: Part Two stands out as a significant sequel due to its compelling continuation of the story, character development, visual spectacle, and thought-provoking themes. READ MORE
MUFASA: THE LION KING – The film serves as both a prequel and a sequel to the 2019 photorealistic remake of The Lion King. It explores Mufasa’s backstory and how he became the king of the Pride Lands, adding depth to the original story. Directed by Barry Jenkins, the film boasts impressive visuals that capture the beauty and grandeur of the African savanna. The stunning cinematography and special effects create an immersive experience. The narrative delves into Mufasa’s character, highlighting his struggles and growth as he navigates his path to becoming king. The film also explores the complex relationship between Mufasa and his brother Taka (later known as Scar), adding emotional depth to the story. As part of the beloved The Lion King franchise, the film has generated significant buzz and excitement among fans. Its exploration of timeless themes and its connection to the original story make it a meaningful addition to the series. READ MORE
THE WILD ROBOT – The film is based on the popular novel by Peter Brown, which has garnered a dedicated fanbase. The adaptation brings the story to life with stunning visuals and a compelling narrative. The film explores themes of love, compassion, and selflessness. It tells the story of Roz, a robot who becomes stranded on an island and adopts a gosling named Brightbill1. Through their journey, the film highlights the importance of adoptive parenthood and the idea that love transcends biological connections. Directed by Chris Sanders, the film features stunning animation and breathtaking visuals that capture the beauty of the island and its inhabitants. It’s a thoughtful and heartwarming tale that resonates with audiences of all ages. READ MORE
SPEAK NO EVIL – Directed by James Watkins, the film is a psychological horror thriller that keeps viewers on the edge of their seats with its tense atmosphere and unsettling plot, exploring themes of trust, hospitality, and the dangers of ignoring one’s instincts. It serves as a cautionary tale about the potential consequences of being too polite or trusting. It stands out for its compelling story, strong performances, and its ability to blend psychological horror with social commentary, making it a notable film in the genre. James McAvoy delivers a standout performance as Paddy, the unsettling host. Critics have noted that McAvoy’s performance is one of his best since his role in “Split” (2016). READ MORE
HERETIC is the most shocking film of the year. Hugh Grant delivers a chilling performance as Mr. Reed, a character who turns a theological discussion into a deadly game of cat-and-mouse. It simultaneously quickens the pulse and provokes thought, making it a standout film in the horror genre this year. READ MORE
BROS is one of the first gay romantic comedies produced by a major studio and features an openly LGBTQ principal cast. The film stars Billy Eichner and Luke Macfarlane as two gay men in Manhattan who avoid commitment but are drawn to each other. The film is co-written by Eichner, whose involvement ensures that the story is told from a genuine perspective, reflecting real experiences and emotions within the LGBTQ+ community. It addresses themes of love, relationships, and identity in a way that is both humorous and heartfelt. It challenges stereotypes and offers a more nuanced portrayal of LGBTQ+ individuals, contributing to broader cultural conversations about inclusion and acceptance. READ MORE
LONESOME– Directed by Craig Boreham, the film is a poignant and timely queer love story that explores themes of loneliness, isolation, and the search for genuine connection in a hyper-connected world. The film delves into the complexities of human relationships and the emotional scars that people carry. It portrays the journey of two men, Casey and Tib, who are both struggling with their own traumas and trying to find a sense of belonging. The film has received praise for its heartfelt storytelling, strong performances by Josh Lavery and Daniel Gabriel, and its ability to balance humor with emotional depth. READ MORE
Top Streaming Series
Richard Gadd delivers an autobiographical account of his own terrifying experience with a stalker. This personal connection adds a raw, palpable intensity to the narrative. Gadd’s willingness to share such a vulnerable part of his life makes this story exceptionally impactful. READ MORE
The Gentlemen TV series, created by Guy Ritchie, retains his distinctive blend of action, comedy, and crime drama. His unique style of storytelling, sharp dialogues, and dynamic direction make the series engaging and entertaining. READ MORE
Alfonso Cuarón’s Disclaimer revolves around a journalist whose life is turned upside down when a mysterious novel reveals a dark and hidden part of her past. The series has been praised for its nuanced storytelling and stellar performances, making it a standout production on Apple TV+READ MORE
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by Daniel Dercksen·Comments Off on Disclaimer – A dense and challenging psychological series
It took writer-director Alfonso Cuaron a year to shoot the rousing series Disclaimer like a movie. “Some of the filmmakers I deeply admire have ventured into the series format, the point wasn’t to do something familiar, but to try something new. I was challenged because I have never done anything that is overtly narrative. My films tend to be narratively very sparse. And I said, ‘Well, maybe that’s something I don’t know how to do.’” Why not try? Which, as he knows, is the best way to learn.”
The Academy Award-winning director’s latest project is a star-studded Apple TV+ series that makes you think about everything differently. For more than 30 years into a wide-ranging career that spans pictures like the Frances Hodgson Burnett adaptation A Little Princess, the space reverie Gravity, and the memoir-as-film drama Roma, Cuarón was more interested in subtle emotional textures, now he brings his big-screen, big-story gifts to a limited series, an adaptation of Renée Knight’s 2015 psychological thriller Disclaimer.
“Renée Knight and I have acquaintances in common. She sent me the manuscript, and I really liked it. I just didn’t know how to make it happen as a conventional film. And so time passed, I went to do Roma, and toward the end of that Knight got in touch, saying, Hey, in case you’re interested, the rights are available. And that was a moment when I was very intrigued about exploring episodic TV. I enjoy many series, and they have amazing writing and amazing acting. But only very few have a cinematic approach. So I was intrigued. How can you hijack the conventional, writer-oriented show into something that is closer to cinema?”
Knight’s novel is lots of things at once: a thriller, a riff on the idea of the unreliable narrator, a meditation on how easy it is, with all the digital means at our disposal, to cancel a career or, worse, ruin a life, simply because we think we know all the facts. Yet in some ways, Cuarón—who also adapted the script—has taken the themes of Knight’s book and intensified them. His take is elegant and suspenseful, but it’s also compassionate. Disclaimer is about, he says, the stories that we build out of our own lives, which we then present to others—to the people closest to us but also to society. “As humans, we’re trying to cope with many different things,” he says, “but mainly, probably, with an immense sense of loneliness.”
In Disclaimer Catherine Ravenscroft (Blanchett) is an acclaimed journalist and documentary filmmaker living a seemingly perfect life with her adoring husband, Robert (Sacha Baron Cohen) and their surly son Nicholas (Kodi Smit-McPhee). But when a mysterious novel finds its way into her life, she realizes the story tells a long-harbored secret of hers that no one else has ever known—and now she must deal with the consequences of people potentially learning of something she thought was buried away in her past.
Multiple characters in Disclaimer believe what they want to believe, easier than reckoning with reality. When Cuarón was young, he’d seen Bernard Queysanne’s 1974 The Man Who Sleeps, written, in the second person, by the experimental novelist Georges Perec. In structuring Disclaimer, Cuarón wanted to try telling the story in first-person, second-person, and third-person voices: Kline’s Stephen is the “I.” The people around Catherine—anyone who might be tempted to judge her—are the third-person observers. And Catherine’s story is told in the second person: she narrates her own arc, as if rendering judgment on her own behavior—accusing rather than defending herself, perhaps.
The use of the second person, Cuarón notes, is rare in film, and maybe not the sort of approach you could pull off with just any actor. But Blanchett, he says, was more than just the star of the series. Though he usually doesn’t write a script with an actor in mind, this time was different: “I’m writing, and I’m thinking of Cate.” He knew how fortunate he was when she said yes, and he considers her a creative partner on the project. She’d marked up her script à la Dostoyevsky’s manuscripts. “Have you seen those? How he wrote arrows moving up and down, and scratching parts out, and little things that only he understood? That was Cate’s script.” She asked questions that helped him shape the story. And she was the first person, he says, to see the initial cut. Cuarón says her feedback was invaluable. “That was Cate. Incredible! I’m so blessed and lucky.”
Collaboration between director and Cinematographer
But then, luck comes to those who are open to it. And Cuarón’s MO is to welcome the collaborative gifts of people he trusts, like his longtime friend and creative partner Emmanuel Lubezki, who has shot most of his movies. It was Lubezki’s idea to bring on a second cinematographer, Bruno Delbonnel, whose credits include films as varied in style as Amélie and Inside Llewyn Davis. Lubezki—Cuarón, along with just about everyone else, calls him Chivo—was the one who’d suggested changing the look of the film according to the shifting points of view: there are flashback scenes requiring a softer look, while sequences set in the present might demand higher contrast or slightly crisper images. “It was beautiful,” Cuarón says, “to see the conversations between the two of them collaborating.” Shooting with two cinematographers took a great deal of planning and coordination. But Cuarón is most aware of the demands he made on his actors—and how ably they met them. He had initially planned to write and direct just the pilot for Disclaimer. But once he started writing, he didn’t want to stop, and he agreed to direct the whole series. He decided to treat the project as one long film—which meant shooting more script pages each day, resulting in a much longer schedule.
Themes
Disclaimer is a powerhouse vehicle for both its director—allowing him to both play with different points of view and build an expansive, visually-stunning world filled with fleshed-out characters—and its stars, with indelible performances coming from stars Cate Blanchett, Kevin Kline, and Louis Partridge.
The show explores themes Cuarón has long explored in his previous work: family relationships, untold narratives, and, above all else, the idea of how masculinity can wind up harming both men themselves, and the women around them.
Discussions of masculinity come up frequently in the Mexican filmmaker’s work—first in his 2001 coming-of-age film Y T Mamá También starring Diego Luna and Gael Garcia Bernal. That modern classic finds the pair as class disparate best friends Tenoch and Julio, who take a road trip with Luisa (Maribel Verdu), a woman who agrees to join when she discovers that her husband has cheated on her. The trio bond while talking about relationships and sexual experiences, and the overzealous sexuality of both Tenoch and Julio seems to be hiding an attraction they can’t speak about.
Cuarón’s 2006 dystopian film Children of Men, starring Clive Owen, finds a world where humans have been infertile for two decades and have brought society to the brink of collapse. Owen’s Theo, a former activist turned cynical government worker, is tasked to help stowaway the first pregnant woman in the world Kee (Clare-Hope Ashitey) via a money offer from his ex-wife Julian (Julianne Moore). Theo taps into his caretaking of Kee, and what he could contribute to a new society, in the wake of the loss of his son with Julian.
And 2018’s Roma, which won Cuarón his second Best Director Oscar (he first won for the space thriller Gravity), is a semi-autobiographical film that follows a Mixteco housekeeper, Cleo (Yalitza Aparicio) for an upper middle class Mexican family in the early ’70s. Cleo bonds with Sofia (Marina de Tavira) the mother of the family, about the indiscretions the men in their lives have caused them. Both of the men in question refuse to take responsibility for their actions that have irrevocably damaged the women’s lives.
Cuarón takes another look into the ways toxic masculinity can harm both men and the women around them in Disclaimer—a topic he was more than ready to discuss with Men’s Health over Zoom. The 62-year-old director got into it, bespectacled, talking passionately with his hands, about exploring masculinity in his previous work, the men of Disclaimer, and the harm of toxic masculinity.
“It’s a story where the main character is a woman, and at the end, the audience is confronted not only with a big reveal, but their own judgment. All the other characters around Catherine are silencing her; she’s constantly trying to speak and explain herself. Now, the truth she’s sitting on is difficult to articulate, so she needed time. She needed help; the help of an affectionate relationship that would be supportive. The audience is in a way silencing Catherine with their own judgment [about her secret].”
Novelist Renee Knight
Renee Knight worked for the BBC directing arts documentaries before turning to writing. She has had television and film scripts commissioned by the BBC, Channel Four, and Capital Films In April 2013, she graduated from Faber Academy, a school sponsored by the eponymous British publisher, and known for nurturing breakthrough talent. Its alumni include S.J. Watson. Disclaimer is Renee’s first novel.
Disclaimer has a unique premise. Catherine, a successful documentary film-maker, receives a book entitled The Perfect Stranger. Turning the pages, she’s horrified to read about a day in her own life that occurred 20 years earlier, one she’s tried to forget. Intertwined with Catherine’s narrative is that of Stephen Brigstocke, an older, grieving widower who discovered among his late wife’s possessions, a manuscript that horrifies him. He has it bound into a book, and sends it to Catherine. The book contains details of her most closely guarded, terrible secret, one she’s kept hidden from her husband and son all these years. The only other person who knows what really happened, is dead; but The Perfect Stranger suggests Catherine’s secret is not buried with him.
Disclaimer has a unique concept. Can you articulate how it came to you?
I’d written an unpublished novel before this one. There was an event in my adolescence involving an old friend with whom I’ve maintained a friendship over the years. In that first book, I touched on that event, and when the manuscript was completed, it struck me my friend would recognize herself. So, I sent it to her before sending it off to my agent. While waiting to hear back from my friend, I was anxious about it, not wanting to hurt her. I kept thinking about it and the premise stayed with me: Wouldn’t it be shocking if you came across yourself in a book without any warning? One of my favorite things is going to bed at night with a good book–a time when you feel secure yet are at your most vulnerable. When I was waiting to hear back from my friend, the idea for this novel became embedded in my mind. My friend felt fine about my writing of her minor incident. As it turned out, the book wasn’t published, but the situation gave me the idea for this one.
What made you decide to use the present tense throughout major portions of the novel?
One character’s story takes place two years before the present time and I thought the present tense would provide immediacy for the reader. I kept thinking how I would feel if I were sitting in bed and came across a book about me. I tried writing in the past tense, but using the present tense seemed to fit better.
Disclaimer contains portions of The Perfect Stranger within it. In a sense, the novel-within-the novel becomes a character as well. Was that your intention?
Yes, in a way, it was. The book-within-a-book was the “missing” character. It’s the witness to an event. I found that element–the prose of The Perfect Stranger–the most straightforward to write.
In Disclaimer, you capture so very well the day-to-day life and feelings of people, both in the past and present times. Are there any novelists who’ve influenced you?
I think every book I’ve read has left its mark in some way. You can’t help but be influenced by what you read. There are writers who’ve had a direct impact on me. I particularly love the work of Lionel Shriver. I love reading Philip Roth, but I wouldn’t say he influenced my writing. I appreciate the honesty in other writers; actually, a fearlessness that’s apparent when people write.
What was the transition like going from documentary film-making to penning a novel?
The film-making was some time ago. My children are teenagers and I stopped working in television when they were quite young. When they were older, I didn’t think I could go back to television. I’d been away from it for a long time and lost the appetite for it. That’s when I started writing. So there was a bridge between the television and novel writing. In between, I tried script writing. It felt closer to what I’d been doing, namely documentaries. I then wrote some short stories, and eventually got into that first novel. The novelistic form seems to come more naturally for me than screenwriting.
What are the differences for you between script-writing and novels?
What I love about novel-writing is the interiority of it. I love really being able to get into a character’s head. I think skilled directors can do that in film, but I have much more freedom saying what I want to in prose than I would in film.
by Daniel Dercksen·Comments Off on MARIA – Exploring the life of an Iconic Diva
“Maria is a film about someone who was never a victim. Someone who was in control of her will and her destiny, who knew what she wanted to do and how she wanted to do it,” says Visionary Chilean director Pablo Larraín, who researched her life with screenwriter Steven Knight, a leading British screenwriter.
Larraínoffers a unique and intimate look at the final days of Maria Callas and brings a fresh perspective to the biographical genre. He was inspired to make Maria as part of his exploration of influential women from the 20th century. After directing Jackie (2016) about Jacqueline Kennedy and Spencer (2021) about Princess Diana, Larraín saw Maria Callas as the final piece of what he calls his “accidental trilogy.”
Larraín was drawn to Callas’ story because of her legendary status as an opera singer and the dramatic arc of her life. He wanted to focus on the final days of her life, capturing the emotional depth and complexity of her character1. The opportunity to work with Angelina Jolie, who brought her dedication and talent to the role, was also a significant factor in his decision to take on the project.
By telling Callas’ story, Larraín aimed to highlight the personal struggles and triumphs of a woman who left a lasting impact on the world of music and culture.
Say Angelina Jolie: “I met Pablo Larraín many years ago and told him how much I respected him as a filmmaker and hoped to work with him one day. He reached out to me about Maria, and he took the process of casting very seriously, which I appreciate. He really wants to make sure the artist is up for it and understands the job. I’m also a huge fan of writer Steven Knight’s work; it’s a very unusual script and construction. There’s a lot of bravery in the choices they’ve made in their storytelling, which says a lot about how capable they both are. I was happy that I was with a very serious filmmaker coming to me to do real work and expecting a lot of me and challenging me. That’s not always the case. It wasn’t just an opportunity to tell the story of Maria Callas, a woman I find interesting and care for, but it’s really to have a director who’s going to take you on a journey and is so serious about the work and tough on you. I like that he was tough on me! He’s a dream director, and I would want to work with him again and again. Also, I learned such a lot as a director myself, from watching him work.”
Angelina Jolie and Pablo Larraín during the filming of Maria
Steven Knight was also inspired to write the screenplay for Maria by his admiration for Maria Callas and her legendary status as an opera icon. He was already an opera fan and decided to delve deeper into the more remote and unknown elements of Maria’s life. Knight had the opportunity to build the screenplay around Angelina Jolie, who became attached to the project during the writing process.
He conducted extensive research and even accessed first-hand testimony from Ferrucio Mezzadri, Callas’ longtime butler. Knight and director Pablo Larraín chose to focus on Callas’ final days, finding parallels between the operas she sang and her own life. This decision helped to create a narrative that was both cathartic and reflective, allowing Maria to review her life before her passing.
Knight’s goal was to make the experience of flashing back not a torture for Maria but a cathartic replay, akin to rewinding a cassette and playing the important pieces. This approach adds depth and emotional resonance to the film, making it a compelling portrayal of the opera star’s life.
Maria follows the American-Greek soprano as she retreats to Paris after a glamorous and tumultuous life in the public eye. The film reimagines the legendary soprano in her final days as the diva reckons with her identity and life.
Interview with Pablo Larraín
What made the idea of a film about Maria Callas so appealing to you?
I was very lucky to grow up going to the opera house in Santiago with my family for many years. And I really, really loved it from a young age. Now it’s funny and beautiful to think that we would see some of the operas that had made Callas so famous, even though she was no longer alive at this point. I was just in love and floating after seeing them and then we’d go back home and then my mom would say, ‘Alright son, so you saw that, this is the real thing.’ She would play Maria Callas. I grew up with this presence of this next level of singer, someone who had the voice of an angel. Then later, of course, I got to know more about her life. So after doing Jackie and Spencer, it felt like the right ending for this process of these three movies. It’s also my first movie about an artist, and it creates a different dynamic for me personally on how to connect with the character and the story.
Did you understand the life of Maria Callas as something of an opera itself?
Many of the operas Maria Callas performed in are tragedies, so the main character that she played often is dead on stage in the last scene. The narratives of those operas are very different to her life, but I found there was always a bridge of relationship between Maria Callas and the characters that she played. One of the things that I talked to Steven Knight about at the very beginning was to understand that this is a movie about someone who becomes part of the tragedies that she played on stage. There’s some sort of a hidden map in the film where the piece of music that we use, whether it’s only orchestration or with vocals in it, is related to the moment in the film. They’re not just there because they worked where they are—they’re there because they have a dramatic purpose. Opera is a form of transcendence, and it’s a form of expressing emotions that you cannot say with words.
You mention Steven Knight – you’ve collaborated again after he wrote Spencer.
When I invited him to do this, I realized Steven was also a huge opera fan, so that was a good step. I went to him and said, “I think we should make a movie about the last week of her life.” We did a lot of research on Maria’s life and the end of her life, how the interactions of the operas she sang could create parallels with her own life. So that was a good starting point. And then talking to Angelina and Steven, we all understood that it was a film about someone that was never a victim. We are talking about someone that is in control of her will and her destiny, who knows what she wants to do and how she wants to do it. Steven really understood her character and how strong she was.
What made you choose the end of Maria’s life as the period you wished to chronicle?
Maria Callas was singing all her life for audiences, for others. And her personal life was always connected to her relationships. She was always trying to please someone, a relationship, a family member or a friend. And now in this film, at the end of her life, she decides to do it for herself. She’s going to try to sing for herself. So, this a movie about someone who is looking to find her own voice and understand her identity. It’s a celebration of her life.
Do you see Maria Callas as a survivor, given her tumultuous personal life?
I think she struggled a lot, and she had very sad moments. But there are a few biographies and there’s a certain number of things on which they all agree, and that is that Maria Callas was someone who was only truly happy when she was on stage. That was the way she fulfilled her heart and her soul. Yet she’s someone who at some point realizes that her voice is not going to be strong enough to be able to perform at the highest level, the only level she could ever accept. The film describes the difficulties of someone who has lost that element that not only made her famous, but also that created who she was in all human levels. But we’re not looking at her with pity, and I don’t think the audience should feel sorry for her. I think the audience will understand who she was and why we did it in the way we did with such a wonderful performance like Angelina has given.
What made Angeline Jolie the right actor to play Maria Callas?
There’s something about people like Maria Callas, but also Angelina Jolie—these women have a physical presence on a stage, in front of a camera or even just in a room. You feel the enormous amount of humanity they carry. There was no struggle for Angie to be Maria Callas and carry that weight, as she already has it. And then she also took preparing for the role so seriously – six or seven months of it. I said to her, “The best preparation you can have for this character, it is actually a process of getting to sing.” Then there’s also a level of fragility and sensibility and intelligence that Angelina has that can really make a difference. You feel that she disappears into the role in a way that you can enter the film and quickly forget that you’re looking at Angie. It requires a very powerful and immense talent, obviously, but also someone that has the dedication, the discipline and the vulnerability to do that.
Can you describe the process Angelina Jolie undertook to learn to sing opera?
This was the challenge, to make a movie about Maria Callas with her own voice, because why would you make it without it? It’s an essential element, of course. Angie had different stages in her preparation. At the start, it was with opera singers and coaches who helped her have the right posture, breathing, movement and the accent. She was singing very specific operas or arias, and most of them are in Italian. You have to sing it properly and get to the right pitches, and that means being able to follow the melody and sing it properly. We recorded her voice, her breathing, everything. There are moments in the film when you hear Maria Callas in her prime, when most of what you hear is Callas, but there’s always a fragment of Angelina. And then sometimes, it’s more Angelina than Callas. It’s a multilayered track that has different voices. So, Angelina really had to go for it—not only because it made the movie more possible in terms of the illusion, but to also create the right process for her as an actress.
You never considered just using Maria Callas’s voice?
I think it’s about being honest with the character and the process. To me, it’s the wrong path to take when there’s a form of cynicism in the performance, where the act is just trying to look right, get to the note and move the mouth in sync, etc., but the actor has never really experienced it in the right way. It could feel dangerously fake, not in the technicality of the singing, but also in the way that she inhabits the character. I think there’s an honesty in Angelina’s voice that you can feel very transparently.
Can you describe the process of capturing Angelina Jolie’s voice?
The only way to do it was she had to really sing the music properly, be in sync with Callas, and sing out loud. So then when you bring the Callas voice in the mixing, it would match organically. There isn’t a miracle kind of technology here. It’s really about Angelina’s work and the way that we were able to record that and to capture the sound. Angelina was absolutely exposed to singing, sometimes in front of 200 people, or 500 extras and she had to sing out loud by herself, and all people would hear was Angie’s voice alone. I would have my headphones on, I would listen to the orchestration, a little bit of Callas, and a little bit of Angie, so I was sort of mixing live. But she was metaphorically naked, voice wise, in front of hundreds of people. At the beginning, it was hard for her. She was almost apologizing to the crew, but everyone was saying, “Come on, it’s amazing. Just keep going.” Everyone loved her because she was not only doing well, but she was also so brave.
Aristotle Onassis and JFK are characters that are connecting figures to your previous film, Jackie. Are the films linked?
Well, somehow, they are, because they were people who were beloved when they were alive and remain icons today. Maria and Jackie were very strong women that conducted life the way that they wanted, and I include Diana Spencer in this, and they had natural interactions and connections, not only through Onassis or JFK, but also mostly through the kind of world that they were living in and they related to it. It’s a world that was very masculine, and they needed to struggle to find their own space—and they did it.
Did you have a greater understanding of Maria in that aspect because of the study that you’d done for Jackie as well?
Yes, of course. Maria says to JFK when they meet, she says something like, “We are very lucky angels who belong to this very specific and fortunate group of people” who can do anything they like. They are wealthy. They’re famous. They have an incredible place in this world, but they can’t get away from it. The fact that they all belong to that group doesn’t make them friends, but they do belong to the same group of people. That generation of people that saw the world with privilege, but also with authenticity and will.
Aside from music, was Aristotle Onassis the great love of Maria Callas’s life?
I think so. I think Aristotle Onassis was the love of her life, and I think they had different moments through their relationship. They were very often close in the 70s after he split with Jackie, but it was somehow a toxic relationship, I think, as well. She could just disconnect with the world and let everything be under his control. I do think there were moments of the relationship that weren’t very healthy. But I also think they came to a peaceful understanding of who they were as individuals and as a couple by the end of their lives.
Do you think that some of the harsh public criticism she faced was because she was a woman in the spotlight?
Yes, it’s the fact that she was a woman, and she had a temper, and she wouldn’t tolerate unprofessional things. She was criticized because of that. You would never say that about a man. Onassis had a huge temper, but that’s supposed to be okay because he was a man. Maria was a strong woman in times where that wasn’t really tolerated, where she would just say what she thought. She was outspoken, she had no fear, and she would just say what she wanted to do and perform in the best way in her own capacity, the maximum capacity, and became an icon. People were just not used to that. But the paradox of that is that by her being criticized, she became who she was. She became this inaccessible diva, and it created a hunger for her music and for her private life. So, she was on the covers of gossip magazines and opera magazines for four decades. It was absolutely unusual.
You mentioned you’ve always been an opera fan. Would you like to see Maria create greater curiosity to experience opera?
Opera started in the 16th century; they were folk music pieces that were sung in Italian, sometimes from the oral tradition. Then they became connected to popular stories at the time and were performed on stage. So, it started as a very popular form of art that was for everyone. Over the years, it became a more sophisticated kind of art. But opera singers like Enrico Caruso, Maria Callas and Luciano Pavarotti, and perhaps now Andrea Bocelli, these are figureheads who really worked to put opera back in its rightful place. It should be a very popular art form that should be accessible to the public. I think Callas was criticized by some when she made opera so popular. The aim of Maria is to have that operatic sensibility in a way that is popular. All the pieces in the film are beautiful and broad and have an ability to reach anyone.
Who Was Maria Callas? Inside The Life Of An Icon
“You are born an artist, or you are not. And you stay an artist, dear, even if your voice is less of a firework. The artist is always there.” Maria Callas
Maria Callas was one of the greatest opera singers of the 20th century. The American-born Greek soprano garnered widespread critical acclaim and international fanfare, rising from modest circumstances to grace the stages of the world’s most illustrious opera houses in the 1950s and ’60s. She was an icon hailed as “La Callas” or “La Divina” (“the divine one”), revered for her astonishing vocal power, her technical agility, and the incredible passion she brought to her every role.
Born to Greek immigrants in New York on Dec. 2, 1923, Callas’s early homelife was upended by her father’s infidelity and her parents’ subsequent divorce. At the age of 13, Maria returned to Athens with her mother and sister and enrolled in the Athens Conservatory as a soprano under the tutelage of opera singer Elvira de Hidalgo. At 17, she made her professional debut with a modest role in the Royal Opera of Athens’ production of Franz von Suppé’s Boccaccio.
Only one year later, Callas won the title role in the company’s production of Puccini’s Tosca, playing a 19th-century Roman prima donna driven to a tragic death by the machinations of a powerful man who desires her. It was a part with which Callas would come to be strongly associated throughout her career.
Her confidence bolstered by her early success, Callas auditioned at New York’s prestigious Metropolitan Opera and was offered a contract to sing supporting roles. She declined, believing that the position was beneath her, and instead moved to Italy where she starred in a 1947’s La Gioconda at the Verona Arena. There, Callas met her husband, the wealthy industrialist Giovanni Meneghini. The pair married in 1949, with Meneghini taking over the singer’s business affairs as Callas’s manager. The same year as Callas’ breakout performance at La Fenice in Venice as Elvira in Il Puritani.
As Callas traveled the world, her reputation and stature grew with every performance. In 1952, she made her Covent Garden debut in Norma, starring in Bellini’s tragedy as the titular priestess, a doomed woman at the center of a love triangle during the Roman occupation of Gaul—a role that arguably became her true signature. Two years later, Callas performed Norma at the Lyric Opera of Chicago, marking her American debut.
In 1955, she returned to Europe for a career-defining performance as Verdi’s doomed heroine Violetta in La Traviata at Milan’s La Scala. The following year, she finally took the stage in Norma at the Met in New York, and for her appearance, she demanded a salary equal to the male singers and conductor Von Karajan, shocking the music world.
Callas’s exacting standards courted controversy, and they soon took a toll. Her voice became less reliable while Maria was still in her 30s, a time when sopranos typically are in their prime. While still unclear why she began to lose her voice, many attributed it to her weight loss at the time, causing scrutiny. Cancellations became more frequent for the star as she became too sick to perform, increasing the extreme backlash. Yet when she did take the stage, she continued to deliver magnificent performances until formally retiring in the 1960s. “I will always be as difficult as necessary to achieve the best,” she was quoted as saying.
At 41, Callas made her final operatic appearance on July 5, 1965, starring in Tosca at London’s Covent Garden, but Callas’ time in the limelight wasn’t over. Having parted ways with her husband in 1959, she’d struck up a torrid love affair with shipping magnate Aristotle Onassis, which became the subject of great public fascination, as did her status as a fashion icon. She did continue to do concert tours, starred in Pier Paolo Pasolini’s 1969 film Medea and conducted master classes at the Juilliard School, before moving to Paris in the mid-1970s and fading from view.
She died on Sept. 16, 1977, from a sudden heart attack at the age of 53.
Callas is remembered as an unparalleled artist and a groundbreaking presence in the world of opera, though others have painted her as a tragic figure, a woman whose own life mirrored the art form she loved. Some have even outrageously suggested she died from heartbreak in the wake of Onassis’s 1968 marriage to former U.S. First Lady Jacqueline Kennedy—it was opera that was always her true love.
Director, Producer Pablo Larraín
Pablo Larraín(Director, Producer) is one of the most celebrated Chilean filmmakers and producers working today. He is a founding partner of Fabula Producciones, a company dedicated to film and television production and one of the most prolific production houses in Latin America.
His films include No, starring Gael García Bernal, which was nominated for the Academy Award® for Best International Feature in 2013; El Club, which won the Silver Bear at the Berlin International Film Festival in 2015 and was nominated for the Golden Globe Award for Best International Feature Film; Jackie, starring Natalie Portman; and Spencer, starring Kristen Stewart, both of whom were nominated for Best Actress at the Academy Awards® for their performances in the films. His film El Conde won the Best Screenplay Award at the 2023 Venice Film Festival and was nominated for an Academy Award® for Best Cinematography by Edward Lachman.
Through Fabula, he has produced numerous films and television series such as A Fantastic Woman, winner of the Academy Award® for Best Foreign Language Film in 2018; the documentary, The Eternal Memory, which was nominated for the Academy Award® for Best Documentary Feature and won the Goya Award for Best Ibero American Film. The television series include Midnight Family (Apple TV), El Dentista (ViX) and Baby Bandito (Netflix), as well as the documentary The Doomsday Cult of Antares de la Luz (Netflix).
Screenwriter Steven Knight
Steven Knight is a leading British screenwriter, producer and director. He is the creator, executive producer and writer of BAFTA-winning television series Peaky Blinders, starring Cillian Murphy, as well as the hit series Taboo, SAS Rogue Heroes, This Town, The Veil and the Netflix limited series All the Light We Cannot See, which earned multiple nominations including for Best Limited Series, Anthology Series or Motion Picture Made for Television at the 2024 Golden Globes. Knight also co-created international game show phenomenon Who Wants to Be a Millionaire?
His first penned film, Dirty Pretty Things, was directed by Stephen Frears and opened the London Film Festival. It won four BIFAs, the 2005 Humanitas Prize for Film and earned an Academy Award® nomination for Best Original Screenplay, among other honors. Further screenplays for film include Eastern Promises and Spencer, and three that he also directed: Hummingbird, Locke and Serenity.
Knight is Co-Director of Digbeth Loc. Studios, a new TV and Film studio complex, which officially launched in Birmingham – his home city – in 2023. Beyond the screen, Knight has published four novels: The Movie House, Alphabet City, Out of the Blue and The Last Words of Will Wolfkin. He was also part of the creative team responsible for the opening ceremony of the Birmingham 2022 Commonwealth Games.
Knight received a CBE in the New Year’s Honours List 2020 for services to Drama, Entertainment and the community of Birmingham. He has the highest honor from the Royal Television Society’s Midlands Centre – the Baird Medal – and in 2023 the Royal Television Society awarded Steven a Fellowship for his contribution to the UK television industry. He holds an Honorary Doctorate from the University of Worcester, an Honorary Degree of Doctor from Birmingham City University and an Honorary Fellowship at UCL.
Upcoming projects include Disney+ series A Thousand Blows, starring Stephen Graham, and theNetflix feature film installment of Peaky Blinders.
by Daniel Dercksen·Comments Off on Cellar Door – An emotionally charged thriller
Inspired by classic Gothic fiction and psychological thrillers, combined with the universal human fascination with forbidden secrets, British director Vaughn Stein’s Cellar Door masterfully blends suspense with intense psychological elements, keeping audiences on the edge of their seats as the dark mystery of the titular cellar door unfurls.
Vaughn Stein directed Cellar Door from a screenplay by Sam Scott and Lori Evans Taylor, exploring how deeply buried issues and unspoken desires can manifest into palpable fears and tensions, particularly within intimate relationships. They aimed to create an atmospheric and thought-provoking narrative that keeps audiences guessing while delving into the darker aspects of human nature.
They aimed to create an atmospheric and thought-provoking narrative that keeps audiences guessing while delving into the darker aspects of human nature.
The story revolves around Sera and John, who move into a dream home with an unusual condition—they must never open the cellar door. This enigmatic setup immediately captures interest and sets the tone for the mystery to unfold.
The film tackles the emotional weight of loss and the lengths people go to for a fresh start, making it a powerful narrative that resonates with many, delving into themes of sacrifice, pride, and the unknown’s impact on personal relationships. It explores how secrets and suppressed issues can manifest and strain relationships, offering a thought-provoking viewing experience.
Featuring cinematography by Vittorio Storaro, the film’s visual storytelling enhances its suspenseful atmosphere. The mystery surrounding the cellar door keeps viewers on the edge of their seats as they uncover hidden secrets and unexpected plot developments.
The story concept was developed by Sam Scott and Lori Evans Taylor, who jointly wrote the screenplay. Stein came on board to bring the story to life, infusing it with his unique directorial vision and style. His expertise in creating immersive, atmospheric narratives was essential in translating the screenplay’s suspenseful and psychological elements to the screen. Stein’s attention to detail and collaborative approach helped shape the film’s visual and emotional tone, ensuring each scene resonated with the intended impact. By working closely with the cast and crew, Stein navigated the challenges of production, harnessing their talents to deliver a film that captivates and thrills audiences.
Stein’s approach involved a blend of neo-noir and intense drama, ensuring that the film’s visual and emotional tones aligned perfectly with the story’s themes. He meticulously selected key actors—Jordana Brewster and Scott Speedman, among others—to embody the complex characters, bringing depth and authenticity to their performances.
Stein worked with production designers Mark Kelly and Natasa Paulberg to create sets that not only looked authentic but also contributed to the film’s suspenseful tone. The titular cellar door, in particular, was crafted to be a haunting symbol within the story. Understanding the vital role of sound in building tension, Stein worked closely with the sound design team and composers to create an auditory experience that would keep audiences on edge: Alex Parsons (Lead Sound Designer), Rebecca Townsend was the Sound Engineer who ensured the seamless integration of various sound elements, and Folley Artist Michael Collins: enhanced the film’s realism with expertly crafted sound effects.
Stein was heavily involved in the editing process with editor Michael Merriman, ensuring that the pacing maintained the suspense and that every scene served the story’s psychological depth.
Like many films, Cellar Door faced budgetary constraints, but Stein’s innovative solutions and collaborative team spirit enabled them to maximize resources without compromising quality. With tight shooting schedules, Stein kept the team motivated and efficient, ensuring that every shot was completed on time while still maintaining the high cinematic standards.
Through his direction, Stein ensured that the film didn’t just thrill audiences but also resonated emotionally, leaving a lasting impact. The final product was a testament to Stein’s vision—an engaging thriller that kept audiences guessing and ultimately proved to be a profound exploration of human fears and relationships.
Films with similar suspenseful and psychological elements
The Others is a haunting tale where a mother and her children live in a secluded mansion and encounter mysterious events. This gothic supernatural psychological horror is directed, written, and scored by Alejandro Amenábar. Set in 1945, it tells the story of Grace Stewart, a woman living in a remote country house with her two photosensitive children who begin experiencing supernatural phenomena.
Written and directed by M. Night Shyamalan, the gripping psychological thriller The Sixth Sense explores themes of trauma, guilt, and redemption, following Dr. Malcolm Crowe (Bruce Willis), a child psychologist, who begins treating a young boy named Cole Sear (Haley Joel Osment) who claims he can see and communicate with the dead. Made on a $40 million budget, the film grossed over $672 million worldwide, becoming the second-highest-grossing film of 1999.
A U.S. Marshal investigates a psychiatric facility on a remote island, uncovering dark secrets in Shutter Island. This 2010 neo-noir psychological thriller was directed by Martin Scorsese and based on the 2003 novel by Dennis Lehane. The story is set in 1954 and follows U.S. Marshal (Leonardo DiCaprio) and his partner (Mark Ruffalo) as they investigate the disappearance of a patient from the Ashecliffe Hospital for the Criminally Insane on Shutter Island. As they delve deeper into the investigation, they encounter disturbing secrets, psychological manipulation, and haunting memories from Teddy’s past.
The Orphanage (original title: El Orfanato) is a haunting and emotional thriller about a woman who returns to her childhood home, which was once an orphanage, and strange events begin to unfold. This 2007 Spanish gothic horror film was directed by J.A. Bayona and produced by Guillermo del Toro. It’s celebrated for its eerie atmosphere, emotional depth, and compelling story. The film follows Laura, who returns with her family to the orphanage where she grew up. Laura plans to reopen the orphanage as a facility for disabled children. However, shortly after moving in, her son Simón starts interacting with an invisible friend, and mysterious events begin to unfold. When Simón goes missing, Laura must confront the dark secrets of the orphanage and her own past to find him.
These films resonate deeply with audiences due to a combination of compelling narratives, strong character development, and the ways they invoke emotional and psychological responses.
The protagonists in these films are often relatable, enduring personal struggles and facing fears or moral dilemmas. Strong character arcs show growth and revelation adds depth as characters undergo significant psychological journeys that keep audiences invested.
The films use their settings to enhance the mood and tension. These films masterfully build suspense through atmospheric cinematography, sound design, and careful pacing. The fear of the unknown and unexpected plot twists keep viewers on edge.
They tackle universal themes like loss, identity, guilt, and redemption, which resonate on a deeper emotional level. The tension built up through storytelling often leads to a cathartic release, leaving audiences with a sense of resolution. Even in horror, this emotional journey can be satisfying and memorable.
Vaughn Stein is a talented British director and writer known for his distinctive style and work in various genres. With a background working as an assistant director on films like Snow White and the Huntsman (2012) and World War Z (2013), Stein has honed his skills in visual storytelling. He is known for his meticulous attention to detail and ability to craft immersive cinematic worlds. He worked on notable films like Terminal (2018) and Inheritance (2020), showcasing his ability to create suspenseful narratives with complex characters. His captivating visual style often incorporates elements of neo-noir and surrealism.
Screenwriters Sam Scott and Lori Evans Taylor bring a wealth of experience to their writing.
Sam Scott is an acclaimed author known for his rich and engaging narratives. His unique style and storytelling prowess make him a notable figure in modern literature. Some of his bestselling books on Goodreads include: The Salvation of Eli Ussher, Brand Justice and Justice at Jericho Springs.
Lori Evans Taylor is an American producer and writer celebrated for her work on TV series and films. Notable projects she has been involved in include the TV Series‘s Lucky Dog, Wicked Wicked Games, and 1000 Ways to Die.
by Daniel Dercksen·Comments Off on A Complete Unknown -The Ballad of a True Original
Writer-director James Mangold was taken by the currents of A Complete Unknown – of Dylan the iconoclast, the relationships surrounding him, and his specific rise to stardom in a four-year span. “This is a story about a specific moment in a person’s life, not their whole life. And it is about a world where so much is communicated with song.”
REVIEW: A Complete Unknown offers a comprehensive look at Dylan’s early career and his lasting legacy. It captures a transformative period in music history, particularly the 1960s, when Bob Dylan’s shift from folk to rock had a profound impact on the genre. The film highlights Dylan’s role in shaping the cultural landscape of the time, influencing not just music but also social and political movements. It showcases Dylan’s evolution as an artist, providing insight into his creative process and the courage it took to defy expectations and pursue his artistic vision. Timothée Chalamet’s performance as Bob Dylan has been widely praised. Critics have noted that he “channels Dylan in looks, sound, and attitude” without resorting to mimicry. Chalamet’s portrayal captures Dylan’s “slouched posture, mumbling voice, and stoic attitude”, making it feel like Dylan himself is on screen. James Mangold’s direction has been praised for its authenticity and emotional depth.
Mangold recognized that Bob Dylan’s story required a unique approach. Given Dylan’s enigmatic and transformative persona, a conventional biopic would indeed fall short. With A Complete Unknown, which Mangold co-wrote with Jay Cocks, he brings his extensive experience from 19 diverse films. His ability to traverse various cinematic genres while maintaining a strong humanist touch makes him the right director to capture the essence of Dylan’s journey.
What interested Mangold about this time in Dylan’s life were the personal questions the material raised – notions of inherent genius and talent which certain artists are simply born with – and the blessings and burdens of that talent which can, at the same time, make you wildly popular yet utterrly alone.
The Complete Unknown offers a fascinating exploration of Bob Dylan’s rise to stardom amid the cultural upheavals of the 1960s. The film captures the essence of a young Dylan as he navigates the burgeoning folk music movement, interacts with influential figures, and transitions from an unknown vagabond to a rock-and-roll icon. James Mangold’s vision delved into Dylan’s relationships, his electrifying musical evolution, and the turbulent times that shaped his ascent.
The backdrop of events like the Cold War, the Cuban Missile Crisis, and the Civil Rights Movement provides a powerful context for Dylan’s journey, highlighting the intersection of music, celebrity, and culture. With Mangold’s previous successes in the music biopic genre, partculalry his 2005 film Walk the Line. It’s no surprise that he brings a unique and humanist perspective to Dylan’s story, avoiding the conventional biopic approach.
The early 1960s in the United States was indeed a time of significant transformation. The nation was grappling with various social, political, and cultural changes. Anti-war and civil rights activism were at the forefront of this period. The arts scene, especially in lower Manhattan, was thriving with modern jazz by Miles Davis, the daring comedy of Lenny Bruce, and the pop art movement led by Andy Warhol’s Factory Studio.
Within this vibrant environment, the folk music movement, spearheaded by figures like Woody Guthrie and Pete Seeger, was gaining momentum. Young Bob Dylan arrived in January 1961, guitar in hand, ready to make his mark. He was embraced by a movement that unknowingly needed a leader, setting the stage for his rise to fame.
Mangold’s A Complete Unknown captures this pivotal moment in time, highlighting Dylan’s emergence within this dynamic cultural backdrop.
Dylan’s journey from an unknown musician to a rock-and-roll icon reflects the broader societal shifts and artistic explorations of the era. This portrayal offers a nuanced understanding of Dylan’s ascent and the cultural landscape that shaped his music and legacy. It’s a fascinating exploration of a transformative period in American history and the arts. Dylan’s influence and enigmatic persona, coupled with his refusal to conform to artistic norms, make this film a captivating portrayal of an iconic figure whose timeless songs continue to resonate across generations.
Dylan’s ascent indeed came at a pivotal moment in history, with the Cold War casting a shadow over global affairs. The Cuban Missile Crisis brought the world to the brink of catastrophe, followed by the tragic assassination of JFK in 1963, which deeply impacted the nation. Amidst this turmoil, the Civil Rights Movement gained momentum, exemplified by the 1963 March on Washington, where Dylan performed just before Martin Luther King’s iconic “I Have a Dream” speech.
This period marked a clash between old norms and emerging ideals, and while many took to the streets, Dylan channeled his beliefs into music that resonated with a generation. Over the next six decades, his status as an iconic figure solidified, with his timeless songs and lyrics being reprised by artists across genres.
Despite his influence, Dylan has remained an enigma, refusing to be confined by artistic norms. His ability to defy expectations and continually reinvent himself has kept him relevant and intriguing to the culture at large.
Mangold’s A Complete Unknown captures this multifaceted journey, portraying a time of intense social and political upheaval and the rise of a musical legend who has left an indelible mark on history. While evoking these specific cultural moments in Bob Dylan’s life, A Complete Unknown aims to have universal appeal as well. Like Dylan himself, its power lies in connecting across generations.
Mangold felt fortunate to spend time speaking with Dylan throughout the screenwriting and pre-production process. One thing that became clear to him was the burden of what to do with your dream once you’ve manifested it.
“You can be really good at writing songs and you can be really good at recording them, singing them, and playing them,” he says. “But that doesn’t make you necessarily good or receptive to what stardom or fame brings, or the burdens of putting a shine on and being available to millions of people who love you, hate you, resent you, or have expectations for you.”
For Chalamet, it was an opportunity to study and absorb one of the most consequential figures of all time, and to perhaps even leverage his own connection with today’s audience to expand that imprint all the more.
“Lots of things are inspired by Bob without people really knowing about it,” Chalamet says. “So, this is like a humble entreaty to create a bridge to Bob Dylan, for not only a younger audience but for audiences that don’t know him.”
Producer Heineman adds that while a younger audience might not be as familiar with Dylan as an older audience, they can definitely be galvanized by the tale of a self-made success story. Dylan’s lyrics resonate as much now as when they were written in the 60s and are often covered and performed by artists inspired by his timeless songwriting.
“It’s not just about Bob Dylan,” Heineman says. “It’s about the birth of an artist. It’s about someone, as Bob would say, creating themselves, and I think it’s universally inspirational to people that if you have a dream, you can manifest it.”
To Mangold’s early point, A Complete Unknown represents just a sliver of Bob Dylan’s life and times. But it’s a thematically resonant sliver that gives insight into how a star was born and how a culture shifted. Dylan’s controversial set at the 1965 Newport Folk Festival incinerated barriers between genres and generations. It popularized folk rock in an instant and marked a stark divide between yesterday and tomorrow. His August release that year, Highway 61 Revisited, featuring the anthem of the era “Like a Rolling Stone,” went on to be counted among the greatest albums of all time. In 2023, he released his 40th studio album, showing no signs of fading from the rock-and-roll culture he helped to create.
Producer Jeff Rosen, Bob Dylan’s longtime manager, played a crucial role in bringing A Complete Unknown to life.
The journey began with Rosen optioning Elijah Wald’s 2015 book Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night That Split the Sixties. This book captures the significant moment in 1965 when Dylan shocked the world by performing with an electric band at the Newport Folk Festival.
Collaborating with Oscar-nominated screenwriter Jay Cocks, they adapted Wald’s book, creating a foundation for this cinematic project. In 2018, Searchlight Pictures and a creative team, including James Mangold, Timothée Chalamet, Fred Berger, Alex Heineman, Bob Bookman, Peter Jaysen, Alan Gasmer, and Rosen, came together to bring Dylan’s iconic story to the screen.
This collaborative effort promises to provide a deep, nuanced look into a pivotal moment in music history, showcasing Dylan’s groundbreaking shift to electric music and the cultural shockwaves it created.
Mangold’s collaboration with Timothée Chalamet for A Complete Unknown adds another layer of excitement to the film.
Chalamet, fresh off his critically acclaimed roles in Call Me by Your Name and Dune, brings a dynamic presence to the project. Although he initially knew little about Dylan beyond his iconic status, Chalamet was drawn to the role because of the complexity and depth of Dylan’s character.
Mangold, recognizing Chalamet’s intuitive acting skills and charismatic presence, saw the potential for a powerful creative partnership. This synergy between director and actor promises to deliver a nuanced and engaging portrayal of Bob Dylan, capturing the essence of the musician’s journey and the turbulent times that shaped his rise to fame.
Chalamet’s commitment to understanding and embodying Dylan’s multifaceted persona, combined with Mangold’s vision and experience, sets the stage for a compelling and memorable film. It will be fascinating to see how Chalamet interprets and brings to life the enigmatic and influential figure of Bob Dylan.
“There are two versions of a Bob Dylan movie you could make,” Chalamet says. “You’ve got a version that is a behavioral master class on a guy who didn’t really make eye contact that ofen and the mystery that surrounded him, or you do something that could be disingenuous to his life and work, a greatest-hits compilation that sort of ignores the fact that his career wasn’t a straight trajectory. Jim was quick to walk a fine line between demystifying Bob and not doing a sycophantic thing.”
The COVID-19 pandemic and subsequent industry strikes in 2020 caused delays, but this period allowed Chalamet to delve deeper into his role. The extended preparation time helped him understand Dylan’s character and improve his proficiency as a musician and singer. This immersion in the role, as Chalamet describes, led him to fully embrace the persona of Bob Dylan.
“Once I was in it, there was no coming back,” Chalamet says. “I was fully in the Church of Bob.”
Chalamet’s dedication and Mangold’s vision promise a compelling and nuanced portrayal of Dylan, capturing the essence of the musician’s enigmatic and influential journey. He had his work cut out for him.
For Mangold, there was no version of A Complete Unknown that didn’t feature actors doing their own singing. Mangold built off the rapturous response to the real vocals of Joaquin Phoenix and Reese Witherspoon as Johnny and June Carter Cash in Walk the Line as performers whose on-screen portrayals were steeped in the authenticity of live recordings.
A Complete Unknown is a film about music that is unadorned and authentic.
Mangold’s vision for these kinds of films is to avoid falling victim to facsimile while striving toward something more transcendent. He knew that as a spectator, feeling could best come through live performance in the way that Dylan himself won over his fans for decades on the road.
Says Mangold: “I didn’t want Timmy to disappear. It’s a performance. I wanted Timmy to bring who he is to Bob. If it becomes just a series of mannerisms and vocal impressions, there is no one really there.”
Adds producer Heineman, “As Jim would put it, you have to create your own version of the character. You can’t just do mimicry or try to create exactly who the person is. So, while Timothée studied Bob tremendously and obviously learned the music and everything about the world that Bob lived in, he also created his own version of Bob.”
Chalamet dedicated himself to intense musical study and training for five years, which allowed him to not only hone in on the required skillset, but to explore Dylan’s songs and make them his own. Meanwhile, he and celebrated voice coach Eric Vetro watched hours of Dylan’s performances and interviews, paying close a`enaon to small details like his posture and how that influenced his voice.
“If you really want to capture the essence of Bob, it’s very mula-layered,” Vetro says. “He has a lot of different qualiaes to his voice. It’s sort of like a wine. And Timothée has a really good ear. He can grab onto an idea really fast and he knows how to execute it as an actor.”
The actor’s aptitude also stretched to Dylan’s chosen instrument, according to guitar coach Larry Saltzman. Throughout the years of production delays, Chalamet mastered both the guitar and harmonica. His portrayal includes live performances of Dylan’s iconic songs, adding depth and authenticity to the film.
“When learning guitar, there’s a rhythmic thing that has to happen, and I believe that people are either born with this or they’re not,” Saltzman says. “And it’s so important when you watch Bob play because he’s an orchestra of one. I would show a song to Timmy and I would explain to him, ‘Don’t get nervous if this takes you a minute. This is difficult.’ But somehow, within 90 seconds, the guy was doing it. He had really inhabited the person and musician that Dylan is.”
The production of A Complete Unknown had a significant advantage in managing the chaos of live, improvisational musical performances, thanks to the expertise of production mixer Tod A. Maitland. With five Academy Award® nominations to his name, Maitland has pioneered and refined the on-set recording process for live musical performances. His experience includes working on iconic films like Oliver Stone’s The Doors and Steven Spielberg’s West Side Story.
Maitland’s innovative techniques and deep understanding of capturing live music on set ensured that the film’s musical elements were recorded with precision and authenticity. His expertise allowed the production to navigate the complexities of live performances and deliver a rich, immersive auditory experience for the audience.
With Maitland’s contributions, A Complete Unknown promises not only a compelling narrative and visual experience but also a soundscape that authentically represents the dynamic energy of Bob Dylan’s music and the era it emerged from. This attention to detail in the sound department further enhances the film’s overall impact.
In A Complete Unknown, the music itself is a full partner in telling the story.
Every well-worn classic and every chosen lyric is part of Mangold’s narrative fabric. Fluidity was key, and Chalamet’s prowess in this regard was uncanny, according to music producer Nick Baxter.
“We knew that we needed to capture a lot of this stuff on set and have our actors prepared to do it,” Baxter says. “The fact that Timmy learned these songs and can perform them under all different circumstances, for example scenes where he’s writing, or showing someone a song for the first time, or performing, is incredible. He’s not beholden to anything. He can stop, walk away from the mic, mess up a lyric, add a harmonica solo, and he can go up and down in tempo and pace the song differently. I don’t know if this movie would really work without him being able to do that.”
The Community – A Movement Of Misfits And Dreamers
Mangold’s biggest takeaway when he first approached the material was its fable-like qualities. In his vision, Young Dylan had a sense of his own destiny when he travelled in 1961 to Manhattan with nothing in his pockets and a guitar on his back to meet his hero, Woody Guthrie.
“We didn’t want to draw conjecture that would have demystified the way life was for Bob in Minnesota,” Chalamet says. “That’s why I love the title of the movie, The Complete Unknown, Some stuff is left to the imagination, because Bob’s ethos as an artist is the myth of self-creation.”
In the film, Woody Guthrie is portrayed as a revered figure in the folk music scene, almost like a divine presence. Timothée Chalamet describes Guthrie as the “dying god” encountered at the beginning of Dylan’s journey. Guthrie, suffering from Huntington’s disease, symbolizes the old guard of folk music.
Meanwhile, Pete Seeger, Guthrie’s close friend, is positioned to take over the leadership of the folk movement. However, Bob Dylan, through a combination of talent, intuition, and determination, eventually rises to prominence and takes the reins of the movement. This dynamic shift highlights Dylan’s impact and his ability to shape the direction of folk music during a transformative period.
Mangold’s A Complete Unknown captures this transition beautifully, showcasing the passing of the torch from Guthrie to Dylan, and the profound influence Dylan had on the folk music scene and beyond. It’s an intriguing portrayal of how one individual’s determination and unique voice can redefine an entire movement.
Scoot McNairy, who plays the role of Guthrie, was aware that when we meet Guthrie in the film, he had lost his ability to speak due to the progression of his neurodegeneraave condiaon. “It is one of the hardest roles that I’ve ever played,” he says. “You’re trying to act without all the tools that you’re really used to. Your mannerisms, your tone, your physicality, all of that is taken away from you. The only thing you have to speak with is your eyes.”
For Edward Norton, the opportunity to learn and play Seeger’s banjo-bound music was a huge hook in and of itself. He’s an actor drawn to those kinds of rich and challenging tasks. He was drawn, as was Chalamet, to the chance to engage a new generation with Seeger and Dylan’s contributions to the cultural fabric. Theirs remains one of the most consequential partnerships in music history, all the more so for how they grew apart, a considerable narrative thread in A Complete Unknown.
“There’s something really interesting to me about the evolution of their alliance,” Norton says. “The reasons you might admire Bob Dylan and Pete Seeger can be divergent without diminishing either one. What’s interesting about their relationship has to do with the way that people can cross paths, be on the same path and then diverge without judgment. There’s so much polarization today, and this relationship is ultimately about finding empathy and being able to understand where someone is coming from.”
Bob Dylan’s activist spirit indeed evolved over time, and the film highlights two significant relationships that played a crucial role in this transformation. Sylvie Russo, played by Elle Fanning, a character representing the real-life Suze Rotolo, is portrayed as a forthright artist and freedom fighter. Rotolo’s influence on Dylan was profound, both personally and politically, as she was deeply involved in the civil rights movement.
Additionally, the film features Joan Baez, the renowned singer and activist, who had a significant impact on Dylan’s career and activism, and is played by Monica Barbaro. Baez and Dylan shared a close professional and personal relationship, and she played a key role in introducing him to a wider audience and supporting his burgeoning activism.
Through these relationships, Dylan’s activist spirit was nurtured and awakened, contributing to his evolution as an artist who used his music to voice his beliefs and ignite a generation. Mangold’s A Complete Unknown seems to capture the essence of these pivotal connections, showcasing how they helped shape Dylan’s journey and his legacy as an influential figure in music and social activism.
Rounding out the film’s trio of artistic influences on Dylan’s journey is the Man in Black himself, Johnny Cash. Played by actor Boyd Holbrook, Cash – the subject of Mangold’s 2005 film Walk the Line – comes to represent an endorsement of Dylan’s rebellion – and a partner in his progress. “Make some noise, B-D. Track some mud on the carpet,” as Cash encourages him in the film
Early-1960s New York was a wonderland blossoming with artistic and Boheme energy that Mangold was keen on resurrecting for the screen.
“Jim imagined a textured movie that was grity and grimy with peeling plaster and decaying walls and rust and soot and cigaree butts and trash,” says Mangold’s production designer of the last decade, François Audouy. “Modern day New York has a more antiseptic sort of quality now though. It’s been sandblasted and cleaned up, we actually found that texture and these fixed-in layers became a really big asset for us. It turns out that the other side of the Hudson River looks more like New York than New York does now.”
It’s fascinating to see how meticulous the visual design of A Complete Unknown is. François Audouy’s extensive look-book, filled with 200 pages of inspirational images and photographs, provides a rich visual foundation for the film. Sharing this with Phedon Papamichael, Mangold’s longtime cinematographer, ensures a cohesive vision.
Don Hunstein’s iconic photography, especially the session with Dylan and Suze Rotolo that resulted in the cover of The Freewheelin’ Bob Dylan, serves as a key inspiration. The discussions about the Kodachrome look of the 1960s emphasize the nostalgic and authentic feel they’re aiming for in the film’s visuals.
Papamichael’s use of the Sony Venice 2 digital camera combines the best of past and present. His custom-made lenses, a hybrid of old B-series anamorphic lenses from the ’60s and ’70s, offer a unique texture reminiscent of films like The French Connection or The Last Detail. The anamorphic aspect ratio allows for intimate close-up shots while capturing the surrounding environment, enhancing the film’s immersive quality.
Mangold and Papamichael’s collaboration, stretching back to the 2003 thriller Identity, underscores their strong working relationship and mutual understanding of visual storytelling. This attention to detail and dedication to capturing the essence of the era promises a visually stunning and evocative portrayal of Dylan’s journey in A Complete Unknown.
James Mangold – Director, Writer, Producer
James Mangold’s versatility as a filmmaker is truly remarkable. His body of work spans a wide range of genres, each characterized by its emotional depth and unique storytelling. Rather than being confined to a single genre or motif, Mangold’s films challenge us to feel and reflect deeply.
Starting from his early success with the Sundance Independent film Heavy, Mangold has transitioned seamlessly across genres:
From the intense cop noir of Cop Land,
To the mental institution drama of Girl Interrupted,
The romantic fantasy of Kate & Leopold,
The musical biopic Walk the Line,
The traditional western 3:10 to Yuma,
The gritty pulp horror Identity,
The beloved comic book hero tales in Logan,
And the period car racing film Ford v. Ferrari, which was nominated for Best Picture at the Academy Awards.
Mangold’s ability to navigate these diverse genres while maintaining a strong, emotionally resonant voice is a testament to his talent and vision. Each film offers a distinct experience, showcasing his mastery in crafting compelling narratives that connect deeply with audiences.
It’s clear that Mangold’s A Complete Unknown promises to be another standout addition to his impressive filmography, blending his expertise in music biopics with his knack for evoking powerful cultural moments.
James Mangold’s journey into filmmaking is as fascinating as his diverse filmography. The son of renowned painters Robert Mangold and Sylvia Plimack Mangold, he grew up in New York’s Hudson Valley. His artistic upbringing undoubtedly influenced his creative path.
Mangold graduated in film and acting from The California Institute of the Arts and broke into the film industry at the young age of 21 with a prestigious writer-director deal with Disney Studios. After spending a few years in Hollywood, he decided to further his education at Columbia University’s film school, where he studied under the guidance of Oscar-winning director Milos Forman.
It was during his time at Columbia that Mangold began writing Heavy (1995). The film went on to win the Director’s Prize at the 1995 Sundance Film Festival and was selected to represent the United States at Director’s Fortnight in Cannes. This early success marked the beginning of a prolific and varied career for Mangold.
From his independent film roots to his mainstream successes, Mangold’s career reflects his ability to navigate and excel in a wide range of genres. His background and experiences have clearly shaped his unique approach to filmmaking, allowing him to create powerful, emotionally resonant stories that connect with audiences.
Jay Cocks – Co-writer
Jay Cocks is a highly esteemed screenwriter with a remarkable career. He has received two Oscar nominations for his screenplays of The Age of Innocence and Gangs of New York, both directed by Martin Scorsese. In addition to these acclaimed works, Cocks has also contributed to Silence, another film directed by Scorsese, and Strange Days, directed by Kathryn Bigelow and based on an original script by James Cameron.
Before becoming a celebrated screenwriter, Cocks had an illustrious career as a film and music critic for Time magazine. His deep understanding of film and music has clearly informed his screenwriting, allowing him to create richly textured and compelling narratives.
Cocks’ collaboration on A Complete Unknown brings a wealth of experience and a unique perspective to the project, enhancing its potential to be a standout film.
by Daniel Dercksen·Comments Off on Society Of The Snow – A Spiritual Odyssey Of Survival
Acclaimed Spanish director-writer J.A.Bayona adapted Pablo Vierci’s book Society Of The Snow, written 36 years after the Andes flight disaster, to give a voice to the survivors and to those who didn’t make it out alive. The event, which took place 50 years ago last year, is well known around the world and has affected (and continues to affect) generations of people.
“The main inspiration for making Society of the Snow is Pablo Vierci’s book because we knew the story, but the book revealed to us a world of many other little stories within the ‘official’ story,” says producer Belén Atienza. “Pablo decides to tell what happened on the mountain from 16 points of view, one for each of the survivors, and that gives it an exceptional human richness. It was while reading the book that we realised the deep complexity that this story has on many levels — psychological, emotional and anthropological. In fact, thirty years had to pass before its main characters could reflect on and tell it.”
“Such a powerful story in J’s hands made the project a very exciting journey. J is a filmmaker who masterfully handles all genres, and this story gave him the chance to work with almost all of them — drama, adventure, action and tragedy — as well as explore the most transcendent aspects of the experience those young Uruguayans went through in the mountains,” says Atienza.
“For this project to become a reality, we’ve spent 10 years developing it, designing it, and figuring out how to finance it.” says Atienza. “Ten years during which we’ve explored different ways to make it happen. When we realised the level of production that the film required to carry out J’s vision, we approached Netflix because we saw that they were betting heavily on projects by great directors. The response was immediate and positive, and their commitment throughout the production process has been very strong. Society of the Snow could not have been made without a partner that from the beginning understood the production challenge in terms of timing and logistics as well as creativity. We are very grateful for the support, trust and relationship with Netflix.”
“Part of what’s so exciting about a project like this is that responsibility of making a film based on a true story. You want to do it because you know it’s a story that teaches you things, that puts you in a place you’re not normally in, that forces you to ask yourself questions. And in a way you also want to continue the legacy, because even though for decades it has affected different generations, it’s still a story that new generations have yet to discover,” says producer Sandra Hermida.
Directed by J.A Bayona, the screenplay for Society of the Snow was crafted by Bayona, Bernat Vilaplana, Jaime Marques-Olearraga, and Nicolás Casariego.
In 1972, Uruguayan Air Force Flight 571, which had been chartered to fly a rugby team to Chile, crashed in the heart of the Andes. Only 29 of its 45 passengers survived the accident. Trapped in one of the most hostile and inaccessible environments on the planet, they have to resort to extreme measures to stay alive.
Adapting Pablo Vierci’s book
For writer Pablo Vierci the project started with a short email written by J.A. Bayona in 2011.
“It was a short letter, very emotional, written to all the survivors and to me, as author of the book (although in reality it’s a book told by them). And that letter was so emotional, and dove so deep, that we were all fascinated by the idea that there was a completely new, very exciting, very profound version from that point of view. It was an overwhelming and thrilling email where he explained that he had used the book Society of the Snow to write The Impossible, which hadn’t yet come out, and he told us what he felt was needed to tell the story of what happened in the Andes.
“The survivors and I are childhood friends, we’re classmates, I’ve known them all their lives, but their lives have inspired many works, and not all of them have been well-received. It was difficult, so many years later, for someone to appeal to them. J.A. Bayona managed to appeal to 16 people, and to me, in an email of less than a page.”
Gustavo Zerbino, left, and writer Pablo Vierci pose for a portrait to promote the film “Society of the Snow” in Los Angeles. Zerbino is a survivor of a 1972 plane crash in the Andes. ASSOCIATED PRESS
“In 2016, J.A., Belén and Sandra bought the rights to the book and from there we started to work seriously on the project. Before adapting the book and creating the script, there was an intense research and documentation phase. In Uruguay, we interviewed the survivors endlessly, along with J.A., Belén and Sandra. We worked together and we talked often,” Vierci says. “I think that what J.A. managed to do was combine the intimate and the emotional, diving deep into each person’s personality. I’m not just talking about the survivors, but also those who died, through the memories of both the survivors and the family members that we interviewed.
“J.A. always wanted to have absolutely every single fact about what happened with both the living and the dead. He wanted to find the truth, although the truth isn’t always the reality, so to speak, because the truth is often much deeper.”
The script, written by J.A. Bayona, Nicolás Casariego, Jaime Marques and Bernat Vilaplana, used the book as a starting point and then enriched it with all the information taken from the director’s hours of interviews. Marques adds that “the new material was rich and detailed, it barely left space for imagination. Despite how many years had gone by, the survivors had very specific memories about what happened.”
Casariego says that one of the main goals when writing the script was to be completely faithful to what happened. At the same time, he adds, “the group was the real main character, including those whose role in survival was less well-known, or who died along the way. There are no heroes. There are survivors, and there are those who stayed on the mountain. And those who came back, in reality, also stayed on the mountain. They try to accept the role that was thrust upon them because surviving goes far beyond getting out of there. It’s much more complicated than that.”
In that sense, the entire screenwriting team believes that one of the great achievements of the script is telling the story from Numa’s point of view. “His role isn’t that of a classic hero, but of action and triumph. Its power is at the spiritual level, in telling the story of those who never left and who are often forgotten. Because in their way, they gave the most. And they’re still with us,” Casariego says.
Jaime Marques expands by saying “as we follow the events through Numa’s eyes, we’ve transformed the story from one with a main character to one told by a chorus, where each one of the characters has their moment, big or small, and their own voice. The movie is a fitting tribute to those who survived and those who stayed on the mountain. Without the latter, the former would have never been able to tell their story.”
Vierci views the process of adapting his book in a positive light: “They gave control to some excellent screenwriters. The most important thing, in my mind, was shedding light on what had been hidden before. I always knew that what happened back in ’72 had infinite layers, many of which we’d never managed to uncover. And now I’m convinced that, with this movie, we’ve been able to reach layers, or levels of awareness, that we didn’t know existed, and that I only now know. I think this symbiosis of the intimate, of the heart, with spectacle is explosive. And J.A. does it marvellously, because he happens to have experience in both spheres: in the singular, the psychological, the sense of going within to uncover what’s not immediately visible, and in the spectacular, because this is spectacular. J.A. captured both the majesty and the solitude.”
I read the book Society of the Snow more than 10 years ago while I was preparing to film The Impossible, and it turned out to be very inspiring. The title of The Impossible, for example, came to me when I read a statement by Roberto Canessa, one of the survivors of the Andes. I remember sharing excerpts from the book with Naomi Watts and Tom Holland during breaks between takes. The two films tell the stories of two human tragedies that share an idea of survival that is not only physical but also emotional.
WHAT INTERESTED YOU MOST ABOUT THE BOOK?
Pablo Vierci manages to get you into the mind of each of the characters, and you experience something extreme that puts you face to face with death — and from there, the focus is on living. It’s a fascinating and complex story. His book is full of strong contrasts between light and dark, and it’s very human. I was especially interested in the sense of guilt that permeates throughout the story, which dismantles the classic hero’s tale of films that depict these kinds of stories. In the book, Roberto Canessa addresses the dead 40 years after the accident and asks them to peacefully accept having experienced the life they did not have. One of the film’s themes originates from this idea: the need to establish contact between the living and the dead to write a story that highlights the fundamental role played by everyone, including those who stayed behind.
WHAT ROLE DID PABLO VIERCI PLAY IN THE MOVIE?
He was the custodian of the story and characters, but I never felt that he constrained my vision. On the contrary, I felt supported and safe with him by my side. The survivors were also fundamental — their enthusiasm galvanised the film and my point of view. We went through an exciting and creative process together. If any questions came up on set, Vierci would pick up the phone, and we would talk to the people who had first-hand experience of the situations we were trying to recreate. It was a unique experience.
DID VIERCI ALSO AGREE WITH THE POINT OF VIEW OF THE FILM?
Yes, he supported it from the very beginning, even when that point of view differed from that of the book. In his work, the story is told by the 16 survivors. We include those who died. He thought it was a brilliant idea and always supported it
IT’S YOUR FIRST TIME AS A SCREENWRITER
With Society of the Snow, I didn’t want to strictly follow a script. The story was well known, so I was more interested in capturing powerful expressions and images than the facts themselves. Having direct access to the survivors was an extraordinary source of information, so I decided to recreate what happened with their help. We gathered a group of more than 20 young actors and rehearsed for two months. A lot of new ideas came out of that. During filming, more images and situations emerged that we incorporated into the script. This story could not be told from a distance — we needed to fully immerse ourselves and to feel the cold, the hunger and the isolation of the mountain. The film comes not only from a previous script but also from the experiences and ideas we explored during rehearsals, shooting and editing.
DID YOU ALWAYS FEEL IT WAS CRUCIAL FOR THE ACTORS TO MEET THE SURVIVORS?
Always. I give the actors the space and the confidence to improvise. But for that to happen, information is necessary. That’s why it was essential for them to connect with the survivors and the other families. During the shoot, the guys were committed to their characters, and they put their hearts and souls into it. I am very proud of the result. Working with the actors is the part of this profession that I love the most and that brings me the most joy.
THIS IS YOUR FIRST FILM IN SPANISH IN OVER 15 YEARS. HOW WAS THE EXPERIENCE OF FILMING IN YOUR OWN LANGUAGE AGAIN?
For me, filming in English was difficult at times. Added to the insecurities of any director is the disadvantage of not being able to defend yourself in your own language. I would have liked to have shot Society of the Snow earlier, but it took us 10 years to finance this film. I had to film Jurassic World: Fallen Kingdom and The Rings of Power to earn the right to direct this story as it was meant to be — in its original language, in the places where it happened, and with the ambition with which we approached the project. Shooting this film was liberating not only because of the language, but also because it allowed me to rediscover myself as a director.
HOW DO TWO SURVIVAL STORIES SUCH AS THE IMPOSSIBLE AND SOCIETY OF THE SNOW DIFFER FROM EACH OTHER?
There is an important difference in terms of the time frame: from the 72 hours that the survivors of The Impossible lived through to the 72 days that the characters in this one go through. The experience is very different. In this film, there is room for reflection, for asking questions. The context is also very different. Society of the Snow is about life in a place where life is not possible. The characters have to reinvent it. Relationships, customs and bonds are reinvented.
IT CAN’T BE EASY TO TELL THE STORY WITH SO MANY PEOPLE INVOLVED
Reaching an agreement with all the survivors and families of the deceased was vital to this project and everyone responded unanimously and favourably to the approach to the story. The survivors were instrumental, their enthusiasm fueled the film and my perspective.
THE TRUE STORY INVOLVES A RUGBY TEAM AND THEIR COMPANIONS. IT’S BASICALLY A GROUP OF MEN. IN CONTRAST, YOUR FILMS HAVE ALWAYS BEEN KNOWN FOR HAVING GREAT FEMALE LEADS. HOW DID YOU FEEL ABOUT THIS CHANGE?
It’s true that the film represents a change, and I found it very interesting to be able to use that real basis to reflect. We’re talking about men in a very specific context — Latin America in the seventies. They all end up on the mountain with a set of masculine roles that were strongly defined by society, but the mountain forces them to question and break from those roles. They are men who have to learn to love and care for each other, both physically and emotionally — they sleep in each other’s arms, they constantly massage each other at night, they heal their wounds. I was very interested in portraying a type of masculinity that was not related to the heroic or to the most spectacular action but that was already present in the bodies, gestures and small interactions between them. In that sense, for me, the mountain makes the characters leave behind their preconceived ideas about masculinity in the same way that it also makes them rethink their relationship with spirituality.
ANOTHER THEME IN SOCIETY OF THE SNOW IS FAITH
At a pivotal moment in this story, the characters set off blindly down the mountain, with no clear destination and to certain death. For me, it’s not an act of faith but of dignity. Dignity was also expressed in those who died giving encouragement to their companions. These behaviours are the result of a profound transformation. In a situation of complete abandonment, when everything has been taken from you, you have the ability to choose how to die. And they did it by giving of themselves to their friends. I’m sure that, for many of them, it was a transcendent experience. For me, it’s not a religious film but a spiritual film.
WHAT WERE THE MOST DIFFICULT THINGS ABOUT FILMING SOCIETY OF THE SNOW?
One of our main decisions was to go for authenticity and realism. Achieving that on a set, where the snow isn’t real, is very complicated. That’s why we shot most of it in the high mountains, in places that are difficult to access, facing snow, wind and cold. This involved a great deal of effort in terms of organisation, getting the crew and filming equipment there, and adapting to constant changes in the weather.
DO YOU REMEMBER ANY SPECIFIC DETAILS OF THE SHOOT THAT ARE PARTICULARLY SIGNIFICANT?
The most important thing for me was to get the actors to form a bond similar to the society they represent in the story — a strong and solid group of people that will support each other in difficult times. Creating that space between actors is something we manage to do over time during casting, rehearsals and filming.
WHAT QUALITIES DID ENZO VOGRINCIC HAVE THAT MADE HIM THE PERFECT ACTOR TO PLAY NUMA, THE FILM’S MAIN CHARACTER?
Enzo’s an outstanding actor with an impressive screen presence. But his character is also similar to Numa’s. They are two hard-working people who care a lot about helping their companions, and at the same time, they avoid being the centre of attention. The fact that Enzo shares a similar sensitivity to Numa helped a lot when it came to working with the character.
THE PHYSICAL TRANSFORMATION OF THE ACTORS THROUGHOUT THE FILM IS IMPRESSIVE
The actors were brave and committed wholeheartedly to their performances, experiencing a small measure of the cold and hunger the survivors would have endured. The entire process was supervised by doctors, nutritionists and a personal trainer who accompanied them week by week.
YOU TRAVELLED TO THE VALLEY OF TEARS, WHERE THE PLANE WENT DOWN. HOW DID YOU FEEL?
It was amazing to visit the Valley of Tears — in the same place and at the same time of year as the crash. It’s a fascinating and terrifying place. The first night I spent there was one of the worst of my life. The altitude sickness made me lose track of time, and the constant headache was excruciating. But experiencing the extreme cold, lack of oxygen, and constant exhaustion helped us understand what the main characters went through. We travelled to the Andes up to three times during production, and shooting some scenes there was an unforgettable experience.
HAVE THE SURVIVORS BEEN ABLE TO SEE THE FILM?
Yes, all the survivors saw the film together in a cinema in Montevideo several months before it was finished. They were nervous because they had not read the script, but ultimately, they loved the realistic and authentic way their story was told. For me, as a director, it was a very important moment. Seeing them and hearing their reactions left me feeling reassured and grateful. I will never forget that day.
J.A. BAYONA (DIRECTOR, SCREENWRITER, PRODUCER) His directorial debut, El orfanato (The Orphanage, 2007), was shown at Critics’ Week at the Cannes Film Festival and won myriad prizes, among them seven Goya Awards. Since then, J.A. Bayona (Barcelona, Spain, 1975) has become one of the most prominent Spanish filmmakers on the international scene. In his second film, he made the leap to English-language productions with The Impossible (2012), a story of survival inspired by real events. Much like his first film, it received many awards. For his third film, Bayona created a supernatural story, much like his first: A Monster Calls (2016), a drama about loss, won nine Goya Awards. His fourth film has otherworldly elements as well: Jurassic World: Fallen Kingdom (2018), in which he put his personal stamp on the celebrated franchise created by Steven Spielberg, who executive-produced the film.
JAIME MARQUES / NICOLÁS CASARIEGO/ BERNAT VILAPLANA /J.A. BAYONA (SCREENWRITERS) Nicolás Casariego (Madrid, Spain, 1970) is a screenwriter and novelist who worked on the scripts for ¿Tú qué harías por amor? (Carlos Saura Medrano, 2000) and Y decirte alguna estupidez, por ejemplo, te quiero (Antonio del Real, 2000). He wrote Intruders (Juan Carlos Fresnadillo, 2011) along with Jaime Marques (Madrid, Spain, 1968), with whom he has returned to work on Society of the Snow.
Marques is co-screenwriter of, among other works, Noche de reyes (Miguel Bardem, 2001), Thieves (2007), which Marques himself directed, and Valley of the Dead (Javier Ruiz Caldera and Alberto de Toro, 2020). Bernat Vilaplana, a prestigious editor, has written various shorts and debuts this year as a feature-length screenwriter on Free Fall (Laura Jou; premiere pending) and Society of the Snow.
This is J.A. Bayona’s first feature-length work in which he appears as a screenwriter.
PABLO VIERCI – (AUTHOR OF THE BOOK “SOCIETY OF THE SNOW” AND ASSOCIATE PRODUCER) Pablo Vierci (Montevideo, Uruguay, 1950), the author of the book that inspired Society of the Snow as well as an associate producer of the film, is also a writer, journalist and screenwriter. His published works include Los tramoyistas (1979), Pequeña historia de una mujer (1984), Detrás de los árboles (1987), 99% asesinado (2004), La sociedad de la nieve (Society of the Snow, 2008), De Marx a Obama (2010), Artigas – La Redota (2011), El desertor (2012), Ellas 5 (2014), Tenía que sobrevivir (I Had to Survive, 2016; written with Roberto Canessa), El fin de la inocencia (2018) and La redención de Pascasio Báez (2021). Society of the Snow, a bestseller in Latin America, has been translated into English, Italian, Catalan and Portuguese. Vierci has received numerous awards for his literary work, such as the Uruguayan National Prize for Literature in 1987 and 2004 (for the books Detrás de los árboles and 99% asesinado, respectively), and the Gold Prize from the Uruguayan Chamber of Books in 2009, for Society of the Snow. Vierci also has his own experience with film and television. Among others, he worked on the scripts for Aqueles dois (Sergio Amon, 1985), El viñedo (Esteban Schroeder, 2000), Matar a todos (Esteban Schroeder, 2007) and The Story of Artigas (César Charlone, 2011)
by Daniel Dercksen·Comments Off on Real-Life Stories of Musicians Inspire Fictional Narratives
Blending truth with imagination creates narratives that captivate audiences by blurring the lines between reality and fiction. The fusion of real-life stories of musicians and fictional storytelling generates engaging and compelling tales that resonate deeply and offer both authenticity and escapism.
When the lives of musicians, with all their drama, triumphs, and struggles, are translated into film, the result can be both inspiring and captivating.
It’s a testament to the power of storytelling that these films can make us feel connected to the real people behind the music, while also allowing for creative flourishes that heighten the emotional impact. Whether it’s through a faithful biographical account or a story inspired by true events, the blend of fact and fiction can often resonate deeply with audiences.
Michael is an upcoming biographical musical drama directed by Antoine Fuqua and written by John Logan, based on the life of the legendary singer, songwriter, and dancer Michael Jackson. The film follows Michael Jackson’s life and career from his early days with the Jackson 5 in the 1960s and 1970s to his final weeks before his death in 2009. It explores his rise to fame, his creative genius, and the personal challenges he faced. Jaafar Jackson, Michael Jackson’s nephew, makes his film debut in the title role. The supporting cast includes Colman Domingo as Joe Jackson, Nia Long as Katherine Jackson, Miles Teller as John Branca, Laura Harrier as Suzanne de Passe, and Kat Graham as Diana Ross. The film is scheduled to be released on October 3, 2025.
Better Man(2024) is based on the true story of the meteoric rise, dramatic fall, and remarkable resurgence of British pop superstar Robbie Williams, one of the greatest entertainers of all me. Under the visionary direction of Michael Gracey (The Greatest Showman), the film is uniquely told from Robbie’s perspective, capturing his signature wit and indomitable spirit. It follows Robbie’s journey from childhood, to being the youngest member of chart-topping boyband Take That, through to his unparalleled achievements as a record-breaking solo artist – all the while confronting the challenges that stratospheric fame and success can bring. It releases in cinemas on 24 January, 2025. TRAILER
Maria (2024), directed by Pablo Larraín, holds significant cultural and historical value. The film sheds light on the life of famed opera singer Maria Callas during her final years in Paris in the 1970s. It offers an intimate look into her struggles, both personal and professional, in the twilight of her illustrious career. Angelina Jolie’s portrayal of Maria Callas has been lauded, with many considering it one of her finest performances. Her dedication to the role, capturing the essence of Callas’ complex personality, has garnered critical acclaim. The film has sparked renewed interest in the life and legacy of Maria Callas, highlighting her contributions to opera and her influence on future generations of musicians and performers. It’s a poignant and evocative film that celebrates the life of one of opera’s most iconic figures, offering insight into her personal journey and lasting legacy. TRAILER / In cinemas in South Africa from January 31, 2025
Set in the early 1960s, James Mangold’s A Complete Unknown (2024) provides a glimpse into the influential folk music scene of Greenwich Village and the cultural backdrop of the time. It stars Timothée Chalamet as Bob Dylan and chronicles his early years in the New York City music scene, capturing his rise from an unknown folk singer to a global sensation. The film is praised for its attention to detail, musical authenticity, and compelling storytelling. TRAILER / In South African cinemas from 10 January 2025
Directed by Sam Taylor-Johnson, Back To Black (2024) captures the essence of Winehouse’s life and music, including her tumultuous relationship with her ex-husband Blake Fielder-Civil. The film is significant for its honest portrayal of a beloved artist and its exploration of the darker side of fame and addiction. READ MORE & TRAILER
Judy (2019), directed by Rupert Goold, offers a poignant look at the final years of the legendary entertainer Judy Garland. It provides insight into the personal and professional struggles she faced late in her career, highlighting her strength and resilience. The film is set in 1969, a few months before Judy Garland’s untimely death, during her sold-out run of concerts in London. This period was crucial in her life, as she was battling personal demons while trying to reclaim her career and provide for her family. It delves into the emotional and personal struggles of an iconic performer. It addresses themes such as addiction, exploitation, and the pressures of fame, offering a compassionate and humanizing portrayal of Garland. Renée Zellweger’s portrayal of Judy Garland is extraordinary. Her performance won critical acclaim and numerous awards, including the Academy Award for Best Actress. READ MORE & TRAILER
Dexter Fletcher’s Rocketman (2019) blends fantasy and biography to tell the story of Elton John’s life and stands out for its innovative approach to the biopic genre, celebrating John’s music and life with an honest depiction of his personal struggles and triumphs. It uses imaginative musical sequences that reflect John’s flamboyant and theatrical style, making it a unique biopic. Taron Egerton’s portrayal of Elton John is widely acclaimed. He not only captures the essence of John’s personality but also performs the songs himself, adding a layer of authenticity to the film. The film doesn’t shy away from the darker aspects of John’s life, including his struggles with addiction, depression, and his journey to sobriety. This candid portrayal adds depth to the narrative. Its honest depiction of John’s sexuality and his relationships is one of the few major Hollywood films to portray a gay love story authentically and without compromise. READ MORE & TRAILER
The Dirt (2019) is a biographical comedy-drama film directed by Jeff Tremaine and based on the bestselling autobiography by Mötley Crüe, titled “The Dirt: Confessions of the World’s Most Notorious Rock Band. The film provides an unfiltered look into the chaotic and hedonistic lifestyle of Mötley Crüe, highlighting both the exhilarating highs and the destructive lows of their career. This raw portrayal resonates with fans and offers insight into the reality behind the band’s public image. Released on Netflix, “The Dirt” reached a wide audience and highlighted the potential for streaming platforms to deliver major biographical films. Its success on Netflix demonstrated the viability of digital releases for high-profile projects. It’s significant for its honest and engaging portrayal of Mötley Crüe’s tumultuous journey, its reflection of a defining era in rock music, and its impact on the biographical film genre. If you’re a fan of the band or interested in rock history, it’s a must-watch. TRAILER
Bohemian Rhapsody (2018) chronicles the life of Freddie Mercury, the iconic frontman of Queen, from the band’s formation to their legendary performance at Live Aid in 1985. It provides a glimpse into Mercury’s personal life, his relationships, and his journey as an artist. Queen’s music has had a lasting impact on popular culture, and the film brings their story to a new generation. It highlights the band’s influence on rock music and their enduring legacy. Rami Malek’s portrayal of Freddie Mercury is widely acclaimed. His performance earned him an Academy Award for Best Actor, and he captured Mercury’s charisma, stage presence, and vocal prowess. READ MORE & TRAILER
Jersey Boys (2014) is a musical drama based on the Tony Award-winning jukebox musical of the same name, which tells the story of the musical group The Four Seasons, a band that produced numerous hits in the 1960s, including “Sherry,” “Big Girls Don’t Cry,” and “Walk Like a Man” and highlights their journey from humble beginnings to international fame. Directed by Clint Eastwood, the film benefits from his experienced hand in storytelling and his ability to balance musical numbers with dramatic narrative. The film reintroduces The Four Seasons’ music to a new generation and highlights their influence on popular music. It also sheds light on the challenges and triumphs of the band members, making their story relatable and inspiring. TRAILER
Get On Up (2014) celebrates the life and legacy of James Brown, the Godfather of Soul, offering a compelling and entertaining portrayal of one of music’s most influential figures. Directed by Tate Taylor and produced by Mick Jagger and Brian Grazer, the film showcases James Brown’s extensive catalogue of hits and his impact on genres such as soul, funk, and R&B. Chadwick Boseman delivers a powerful and transformative performance as James Brown. His portrayal captures Brown’s energy, charisma, and complexity. The film doesn’t shy away from addressing Brown’s personal challenges, including his troubled upbringing, financial struggles, and legal issues. This candid portrayal adds depth to the narrative and humanizes the legendary musician. TRAILER
La Vie en Rose (2007), directed by Olivier Dahan, delves into the tumultuous life of French singer Édith Piaf, from her difficult childhood to her rise to international stardom. It offers a comprehensive look at her personal struggles, triumphs, and the fierce determination that defined her career. The film is lauded for its non-linear narrative structure, which adds emotional depth and poignancy to Piaf’s story. It effectively juxtaposes various phases of her life, providing a rich, multifaceted portrayal. It captures the essence of Piaf’s music and its emotional power. The film’s title itself is a nod to one of Piaf’s most famous songs, symbolizing hope and resilience amidst hardship.Marion Cotillard’s portrayal of Édith Piaf is noteworthy. She received critical acclaim and numerous awards, including an Academy Award for Best Actress, making her one of the few actresses to win an Oscar for a non-English speaking role. TRAILER
James Mangold’s Walk the Line (2005) explores themes such as love, redemption, and the power of music and provides a detailed and nuanced look at the life of Johnny Cash, capturing his rise from a humble beginning to becoming one of the most influential musicians in American history. It covers key moments in his life, including his struggles with addiction and his relationship with June Carter. Joaquin Phoenix’s portrayal of Johnny Cash and Reese Witherspoon’s portrayal of June Carter are both highly acclaimed. Witherspoon won the Academy Award for Best Actress for her role. TRAILER
Taylor Hackford’s Ray (2004) chronicles the life of legendary rhythm and blues musician Ray Charles, capturing his journey from a poor, blind boy in the segregated South to an international musical icon. It explores his struggles with blindness, addiction, and personal loss, offering a comprehensive look at his life and career. Important themes such as racism, disability, addiction, and redemption provides insight into the challenges Charles faced and his perseverance in overcoming them. Jamie Foxx’s portrayal of Ray Charles is highly acclaimed, earning him the Academy Award for Best Actor. TRAILER
Selena (1997) is a biographical film about the life and tragic death of Tejano music star Tejano music star Selena Quintanilla-Pérez at the age of 23, played by Jennifer Lopez, and highlights her rise to fame, her impact on Latin music, and the challenges she faced along the way. It also addresses themes of family, identity, and the pursuit of the American Dream. The film has been used as an educational tool to teach about Selena’s life, Tejano music, and Latino heritage. It has played a role in preserving and promoting cultural history and has introduced Selena’s music to new generations. TRAILER
Oliver Stone’s The Doors (1991) focuses on the life of Jim Morrison, the lead singer of The Doors, and is known for its intense and stylized approach. Stone’s direction brings an almost surreal quality to the narrative, reflecting Morrison’s own larger-than-life personality and the chaotic energy of the era. Val Kilmer’s portrayal of Morrison is highly praised, capturing his wild persona, poetic soul, and self-destructive tendencies. The film offers a vivid depiction of the 1960s counterculture and the rock music scene. It explores the social and political upheavals of the time, as well as the impact of drugs and the rock ‘n’ roll lifestyle on artists and society. The film delves into themes of artistic expression, rebellion, fame, and self-destruction. It paints a complex picture of Morrison’s genius and the darker aspects of his life, offering a cautionary tale about the perils of excess. TRAILER
La Bamba (1987) is a biographical film about early rock and roll singer Ritchie Valens, who tragically died in a plane crash at age 17. It marks one of the first major Hollywood productions to focus on a Mexican-American musician and was directed by Luis Valdez, considered a pioneer in Chicano cinema and is known for his work in bringing the stories and struggles of Mexican-American communities to the forefront. The film not only celebrates Valens’ contributions to music but also sheds light on the broader cultural and social issues of his time. Lou Diamond Phillips delivers a standout performance as Ritchie Valens, capturing both his musical talent and his personal struggles. The film delves into themes of family dynamics, identity, and the pursuit of the American Dream. It portrays Valens’ close-knit family and the challenges they faced, adding emotional depth to the narrative. It provides a snapshot of the 1950s music scene and the cultural shifts occurring in America at the time. It highlights the intersection of different musical genres and the emergence of rock and roll as a dominant force. TRAILER
While Tommy (1975) is not a traditional biography, it does explore themes of trauma, healing, and fame, largely drawing inspiration from the personal and cultural contexts of the The Who’s lives and experiences. It was created by the rock band The Who and was released as an album in 1969 before being adapted into various other formats, including the 1975 film. The story centers around a boy named Tommy who becomes “deaf, dumb, and blind” after a traumatic event and eventually becomes a pinball champion and a spiritual leader. Directed by Ken Russell, it was groundbreaking as one of the first rock operas, blending rock music with a narrative structure akin to opera. This opened the door for future musical projects that melded storytelling with rock music. The film is known for its vivid, surreal, and striking visuals that complement the music. The iconic imagery, along with the performances by stars like Roger Daltrey, Ann-Margret, and Elton John, left a lasting mark on both cinema and music. TRAILER
Richard Lester directed A Hard Day’s Night (1964), a fictionalized account of a day in the life of The Beatles, capturing the essence of Beatlemania. It was one of the first films to blend rock music with comedy, creating a new genre that influenced many future musical films and TV shows, including “The Monkees.” It emains a beloved and influential film that continues to be celebrated for its unique blend of music, comedy, and cultural significance. The film was one of the first to successfully combine rock music with cinema, paving the way for future music films and videos. Its innovative approach to storytelling and musical sequences influenced the development of the modern music video. The film appealed to both music fans and general audiences, breaking barriers between different entertainment genres and demographics. Its success demonstrated the broad appeal of The Beatles and their ability to influence various aspects of popular culture. TRAILER
by Daniel Dercksen·Comments Off on Across the Universe is a rich tapestry of love, friendship, and social change
Visionary filmmaker Julie Taymor’s Across the Universe redefines the musical genre by weaving together a compelling narrative with stunning visuals and emotionally charged performances. The film is an immersive experience, blending realism with fantasy, integrating The Beatles’ music seamlessly into the narrative, with each song enhancing the storytelling and emotional depth of the film.
The film poignantly follows the journey of Jude, a young man from Liverpool, who travels to the United States in search of his estranged father. In America, Jude meets Max, a rebellious student, and the two become close friends. Max introduces Jude to his sister, Lucy, and a romance blossoms between Jude and Lucy.
The core of the story revolves around the romantic relationship between Jude and Lucy and how their love for each other is tested by external events.
Across the Universe stands out for its bold storytelling, creative visuals, and heartfelt performances, making it a memorable and significant film.
Overall, Across the Universe offers something for everyone, whether you’re drawn to its music, visuals, historical context, or emotional depth.
10 Reasons to Watch Across The Universe
The film celebrates the transformative power of art and music, using The Beatles’ songs to convey the characters’ emotions and the era’s cultural shifts. The inspiration behind “Across the Universe” is rooted in Julie Taymor’s desire to create a film that captures the spirit of the 1960s through the lens of The Beatles’ music. The Beatles’ Music: The film’s concept revolves around incorporating the iconic and timeless music of The Beatles. The songs serve as the narrative backbone, driving the story forward and expressing the characters’ emotions.
The film is set during a tumultuous period in American history, marked by the Vietnam War, the civil rights movement, and the counterculture revolution. Taymor aimed to capture the essence of the era and its impact on young people. The Vietnam War is a central theme, influencing the characters’ actions and beliefs. The film explores the impact of the war on individuals and society. Lucy’s transformation from a sheltered girl to an impassioned activist highlights the spirit of rebellion and the desire for change that defined the 1960s. Lucy’s involvement in anti-war activism and her relationship with radical groups reflect the political unrest and student protests of the time. The film explores the tension between peaceful protest and more radical forms of activism.
Taymor’s background in theatre and her distinct visual style influenced the film’s aesthetic. Her previous work, including “The Lion King” on Broadway, showcased her ability to blend realistic and fantastical elements, a technique she brought to Across the Universe, creating a visually stunning and imaginative experience. She drew inspiration from her own experiences and memories of the 1960s, as well as her love for The Beatles and their music.
The film addresses issues of racial inequality and the fight for civil rights. This is depicted through characters like Jojo, an African-American musician who faces discrimination and violence. The film includes scenes inspired by real historical events, such as the Detroit riots.
The film captures the spirit of the counterculture movement, emphasizing themes of peace, love, and rebellion. Characters like Sadie, a free-spirited singer, and her band symbolize the era’s artistic and musical revolution. The film also portrays the communal living and experimentation with drugs that were part of the hippie lifestyle.
The film’s use of vibrant colors, surreal imagery, and The Beatles’ music creates a sensory experience that mirrors the psychedelic culture of the 1960s. Songs like “I Am the Walrus” and “Lucy in the Sky with Diamonds” enhance the film’s exploration of the era’s consciousness-expanding experiences.
The characters’ journeys reflect the broader social changes of the 1960s. Their experiences of love, loss, and self-discovery are set against the backdrop of a society in flux, highlighting the personal impact of larger cultural and political shifts. By weaving these elements into the narrative, Across the Universe offers a rich and multifaceted portrayal of the 1960s, making it a significant and evocative film that resonates with audiences.
Innovative Use of Beatles’ Music: The film is a musical that uses 34 songs by The Beatles, but none of the original Beatles appear in the movie. Instead, the actors perform the songs, making the music an integral part of the character’s experiences and emotions.
Across the Universeappeals to a wide audience, but it is especially enjoyable for Beatles Fans and those who enjoy musicals will appreciate the film’s unique blend of storytelling, music, and visual artistry. The performances and choreography are engaging and creatively executed. Art and Film Lovers will appreciate artistic and imaginative cinema. The striking visuals and innovative use of color and effects create a memorable experience. The film’s setting in the 1960s, a transformative period in American history, makes it appealing to anyone interested in the cultural, political, and social movements of the era.
At its core, the film is a love story. The romance between Jude and Lucy is central to the plot, making it a great pick for those who enjoy heartfelt and emotional narratives. The film’s themes of self-discovery, rebellion, and personal growth resonate with younger audiences who are navigating similar experiences.
Julie Taymor
“It is definitely a narrative, linear, cinematic story that takes you all over the map of that time. We’re in subways, battlefields, helicopters, riots, bedrooms, schools, gymnasiums. Each song was conceived to take you to a different place. And instead of having production numbers that are just pure dance, which is what Broadway does, I use other techniques—animation and collage—to create what I would call production numbers in film.“
Julie Taymor is an accomplished American director, playwright, and costume designer, born on December 15, 1952, in Newton, Massachusetts. She is best known for her innovative and visually striking work in theater, opera, and film.
Key Highlights of Her Career: The Lion King: Taymor’s stage adaptation of Disney’s “The Lion King” debuted in 1997 and won her two Tony Awards for Best Direction and Best Costume Design. The show has become one of the longest-running musicals on Broadway.
Her 2002 film “Frida,” about the life of Mexican artist Frida Kahlo, received five Academy Award nominations and won two Oscars for Best Makeup and Best Original Score.
Taymor has directed numerous operas and theater productions, including “The Magic Flute,” “Oedipus Rex,” and “Titus Andronicus.” Her work often incorporates elements of puppetry, masks, and Asian-inspired aesthetics.
Taymor’s unique style and ability to blend different cultural influences have made her a prominent figure in the world of performing arts. She continues to inspire audiences with her creative vision and storytelling.
by Daniel Dercksen·Comments Off on Bring Your Story To Life With The Right Words
It’s understandable that every writer struggles with word choice from time to time. There are more than 171,000 words in the English language. There are words that sound the same, but communicate different ideas, words that mean the exact same thing, but have different spellings in British English and American English, words that are almost identical and communicate similar yet distinct ideas, and words that are technically interchangeable but have different connotations.
Word choice is an important aspect of writing that should never be overlooked. It can significantly impact the effectiveness and clarity of your writing. Through the deliberate selection of precise and evocative language, you have the power to craft enthralling and immersive content that captivates your readers / viewers / listeners and leaves a lasting impression. Strong word choice can unlock images, emotions, and more.
The words we choose can paint vivid pictures, evoke emotions, and convey our thoughts precisely. Crafting the right message is like picking the perfect colours for a canvas. Whether you’re writing an essay, a story, or even an email, word choice shapes the reader’s experience and understanding.
The exact language used by the writer to communicate meaning and educate the reader is referred to as word choice. Word choice is the use of rich, colorful, precise language that communicates in a way that moves and enlightens the reader.
Correct word choice is vital.
Clarity and Precision: The right words help convey your message clearly and precisely. Ambiguous or inappropriate words can confuse your readers/audience and obscure your intended meaning.
Tone and Mood: Words set the tone and mood of your writing. Whether you aim to be formal, informal, serious, or humorous, your word choices play a pivotal role in establishing the right atmosphere.
Engagement: Vivid and expressive words can captivate your audience/ readers, making your writing more engaging and enjoyable.
Persuasion: In persuasive writing, the right words can influence your audience/readers emotions and thoughts, helping you make a stronger, more compelling argument.
Credibility: Precise word choice can enhance your credibility by demonstrating your knowledge and understanding of the subject matter.
If you use the wrong word to communicate your intended point:
You weaken your writing and undermine your credibility
It makes you look like you ignored proofreading your work before submitting
It makes it clear that you don’t know the correct word.
It confuses readers when you use the wrong words in your writing, a wrong word can completely alter its sentence’s meaning.
Words are like ingredients: even a small change in the recipe can affect the finished dish.Words have power. They can make you seem intelligent, important, and enthusiastic about what you are saying.
Consider your word choice to be the fingerprint of your writing
Every writer uses words differently, and as those words come to form poems, stories, books and screenplays, your unique grasp on the English language will be recognisable by all your readers. Style isn’t something you can point to, but rather a way of describing how a writer writes.
by Daniel Dercksen·Comments Off on Werewolves – A New Bite From A Classic Genre
Boasting propulsive action and credible practical effects reminiscent of 1980s horror high-marks The Howling, An American Werewolf in London, and Silver Bullet, Werewolves blends classic horror, action-adventure, and creepy contagion terror to spawn a new take on the fearsome beasts that have long feasted on our imagination.
The movies have had lots of creatures — vampires, zombies, mummies, aliens, monsters made in a lab — but nothing has bitten into our collective imagination like the werewolf. As the ancient lore of “lycanthropy” (aka “werewolf-ism”) was adapted to the big screen and audiences saw human-to-animal transformations, the traditions were set: From the classic 1941 Lon Chaney-starring The Wolf Man (which itself followed 1935’s Werewolf of London), through Frankenstein Meets the Wolf Man, the 1956outsider-as-hunted beast flick The Werewolf, and through the 1961 Hammer horror entry Curse of the Werewolf (starring Oliver Reed), the werewolf genre was beloved even before it leapt to a high point with the 1981 classics The Howling and An AmericanWerewolf in London.
The spirit of those films is injected into the bloodstream of Werewolves
On the second appearance of a global supermoon that triggered a worldwide event, turning millions into vicious werewolves, the world prepares for neighbors and loved ones to become snarling, flesh-ripping monsters.
Directed by Steven C. Miller from a screenplay by Matthew Kennedy the film melds high-tension action, neighborhood-invasion thrills, and character-rich adventure pivoting around scientist and ex-soldier Dr. Wesley Marshall and ups the ante on the genre, boasting stunning set pieces, a winning cast, and creature design and cool throwback-style practical special effects.
Boasting propulsive action and credible practical effects reminiscent of 1980s horror high-marks, Werewolves blends classic horror, action-adventure, and creepy contagion terror to spawn a new take on the fearsome beasts that have long feasted on our imagination.
“I’m a kid of the 1980s, and so since I grew up with those kind of practical effects in horror action films, I definitely wanted that in Werewolves,” says Miller, who notes proudly that he was born in the “Great Werewolf Movie Year” of 1981, when The Howling, An American Werewolf in London, and the Albert Finney-starring flick Wolfen opened to acclaim. “That was 100 percent what we were going for with this movie.”
“This movie respects the audience, it respects genre fans, and it respects horror-film history,” says producer and industry veteran Myles Nestel. “We all know where the genre has gone and where we’d like it to go. This movie isn’t a rehash of things people have seen before. We’re trying to do something unique, and something horror fans will respond to.”
“I love slow-burn werewolf movies, but this movie is definitely not that — this is in-your-face from the start,” says Miller. “The action keeps hitting you. We don’t let off the gas, ever. And there are moments, including in the opening, that have a much bigger feeling, with more scope to the action. It really amps up what we’re trying to get the werewolves to do in the film.”
As Nestel describes it, “Werewolves is almost punk in the energy it brings to the screen.”
“In addition to the practical effects and creatures and all of the action, there’s also this idea in the story that the people who were werewolves during the previous supermoon and survived, they’re almost like addicts — they need to change again,” says Nestel.
“They want to turn but can’t, and so as the new supermoon arrives, there’s a question of, what will happen when they’re werewolves again? They have stretch marks and scars on them from when they became werewolves and then turned back, so there are all these little subtexts throughout the movie.” Says Miller, “I think a lot of times, especially in more recent werewolf films, the werewolf sort of gets left in the background in terms of the thrills or the unique feel of the creature. In making this movie, I thought, ‘Okay, this movie definitely has an ’80s vibe to it, so I’m going to make sure that we’ll see straight-up, practical-effect transformations.’ I wanted to make sure it felt intense — that was my first goal.”
Adds Nestel, “It was never a debate about whether this film would be CGI or practical effects. It was always going to be practical. It’s an indie film, but we wanted to try and put the best practical effects on film and wanted to do it with the best in the world. And since we were creating a ‘werewolf apocalypse’ and wanted the film to feel tactile, that was the right route to go. We want viewers to feel that these werewolves are living, feeling, breathing creatures, and you get a better sense of that with practical effects. You sense you could reach out and touch them. We made about six werewolf suits and we we hired you know the best creature players in the business to to be in those suits. Every step of the design process was the right choice.”
“As a filmmaker, Steven has everything in his head before he shoots — we of course storyboard, but he just knows what he wants,” says Nestel. “He always wants to keep the camera moving to enable a kineticism. Werewolves will take Steven to new levels. We already have a sequel set, and maybe a whole universe we’ll build out.”
In the horror-thriller Werewolves a supermoon event triggers a latent gene in every human on the planet, turning anyone who entered the moonlight into a werewolf for that one night. Chaos ensued and close to a billion people died. Now, a year later, the Supermoon is back. Two scientists try to stop a mutation that turns people into werewolves after being touched by a super-moon the year before. Steven C. Miller directs from a script by Matthew Kennedy. Starring Frank Grillo, Katrina Law, Ilfenesh Hadera, Lou Diamond Phillips
Hair-raising special effects
“I was looking at classics like An American Werewolf in London and The Howling, obviously, and a movie called Silver Bullet that has a sense of a community fighting back against a werewolf, and also a terrific werewolf film set in Scotland called Dog Soldiers — but I was really looking at how the werewolves moved in those films,” explains Miller. “We looked at all kinds of horror movies in general just for context and what those movies felt like.”
“I wasn’t trying to reinvent the wheel in terms of werewolf design,” says Miller. “But I did think that audiences might have forgotten what werewolves actually look like because we’ve seen so many recent werewolf films use some unexciting CGI. So, I really went into the movie thinking that a lot of audiences actually haven’t seen practical-effect werewolves like this, certainly not recently. I wasn’t really trying to reinvent the look as much as I wanted to try and update it a bit, make it feel cool again, and give it to its own aesthetic — to give it things that would make these werewolves even more menacing.”
“It was important to me to make sure that these creatures felt big and felt terrifying and to not show too much of them,” adds Miller. “Sometimes it was just showing them in silhouette or maybe just putting them next to a human being to show how big the werewolves actually are.”
Says Nestel, “Steven and I were right there in terms of approving every single stage of the werewolves, what they looked like, how they would move, everything. One thing Steven said early on that was a huge addition, was that we should have some of the werewolves still have remnants of clothing on them — little things that make each one unique and you know who there were in some cases before they were transformed.
That way, the werewolves sort of retained part of the human beings they were, even though they’re horrific animals now.”
“We were really trying to make the movie gritty, so audiences would feel like they just stepped into an ’80s blockbuster,” says Miller. “When you’re dealing with monster movies, it is so important that they feel alive, because even if they look great when they’re built, if they get on set and they don’t come alive, it won’t work. The effects artists we had were in communication with the production design team and the lighting team constantly — and sometimes it’s the littlest things that make them realistic. Even spritzing the puppets and animatronics with water! We had many different departments working together to create a fun, exciting creature design.”
To makes the rampaging, fanged beasts of Werewolves meet the standard of classic horror flicks but also bring something fresh to the screen, Miller and cinematographer Brandon Cox worked with a top crew including Richard Mayberry (Painter/Creature Effects), Ricky Diadone (Key Makeup Artist), Peter Murphy (Sculptor and Painter for Creature Effects), Marielena Ramirez (Makeup Department Head), Jen Roomes (Painter & Fabricator/Creature Effects) and Sara Villareal (Special Makeup Effects Artist) — all of whom used their artistry to place the action in stark and memorable sets from production designer Tyler Bishop Harron.
by Daniel Dercksen·Comments Off on Werewolves & Wolf Men have rich, fascinating histories in folklore and pop culture
Werewolves and Wolf Men have long captivated audiences and readers with their haunting tales of transformation and inner turmoil. These classic characters are staples of the horror genre, embodying the primal fears of losing control and succumbing to our darker instincts.
The agony of becoming something monstrous against one’s will and turning into a beast is inherently tragic. This struggle between human and beast creates a compelling narrative of identity and horror.
Werewolves and Wolf Men are not just tragic figures but also forces of chaos. Their transformations often lead to violent rampages, making them both feared and pitied. Films like The Wolf Man (1941) and An American Werewolf in London (1981) highlight the carnage and bloodshed accompanying these transformations, leaving a trail of terror in their wake.
These characters have left an indelible mark on popular culture. From the classic Universal monsters to modern reinterpretations, Werewolves and Wolf Men continue to fascinate and frighten. They have been depicted in various ways, from fearsome predators to sympathetic victims, reflecting our changing views on monstrosity and humanity.
They are iconic because they tap into deep-seated fears and emotions, making them enduring figures in the world of horror. Whether they are tragic heroes or terrifying monsters, their stories continue to enthral and terrify audiences worldwide.
A Wolf Man is a human with wolf traits
Wolf Man typically refers to a man who has the characteristics of a wolf. Think of it as a person with wolf-like features and behaviours but not necessarily the ability to transform fully into a wolf.
The Wolf Man (1941) is a cornerstone of werewolf lore in cinema, featuring Dr Larry Talbot who turns into a werewolf, Frankenstein Meets the Wolf Man (1943) is a crossover film bringing together two iconic monsters, The Monster Squad (1987) is a fun horror-comedy where a group of kids takes on classic monsters, including the Wolf Man. Wolf (1994) is a pschological thriller featuring Jack Nicholson as a man who starts transforming into a wolf,and The Wolfman (2010) is a modern reboot of the original 1941 film, offering new special effects and a darker tone to the classic story. From Blumhouse and visionary writer-director Leigh Whannell, comes a terrifying new lupine nightmare Wolf Man(2025).
Wolf Man films tap into universal themes that resonate deeply with audiences.
Transformation and Identity: The concept of transforming into a werewolf explores the duality of human nature. It reflects the struggle between our civilized selves and our primal instincts. This inner conflict is something many people can relate to on a personal level.
Fear of the Unknown: Wolf Men are often shrouded in mystery and lore, feeding into our natural fear of the unknown. The idea of a person turning into a beast during a full moon adds an element of unpredictability and suspense that keeps viewers on the edge of their seats.
Tragic Heroism: Characters like Larry Talbot in “The Wolf Man” (1941) embody the tragic hero archetype. Their plight evokes sympathy, as they grapple with their curse and the havoc it wreaks on their lives. This blend of horror and tragedy creates a compelling emotional narrative.
Visceral Horror: The transformation scenes often involve gruesome special effects and provide a visceral thrill. The physicality of turning into a beast and the subsequent rampages are visually and emotionally impactful.
Myth and Legend: Wolf Man films are rooted in ancient myths and folklore. These stories have been passed down through generations, adding a timeless quality to the films. Audiences are fascinated by the rich history and cultural significance of these creatures.
Moral Ambiguity: Wolf Man films often explore themes of morality and choice. The protagonists are frequently depicted as struggling with their inner demons, raising questions about free will and destiny. This moral ambiguity adds depth to the narrative.
Cultural Reflection: Over the years, Wolf Man films have evolved to reflect contemporary issues and fears. These films adapt to changing societal contexts, keeping the genre fresh and relevant.
A Werewolf is a mythical creature
A Werewolf is a mythical creature that can transform from a human into a full wolf, usually during a full moon. This transformation is often depicted as painful and uncontrollable. The lore around werewolves includes various methods of becoming one, such as being bitten by another werewolf or cursed.
Classic werewolf films include Werewolf of London (1935) features Dr. Glendon, who turns into a werewolf after being bitten by a strange creature, John Landis’ An American Werewolf in London (1981) blends horror and dark comedy, Joe Dante’s The Howling (1981) is known for its intense horror and transformation scenes. The Company of Wolves (1984) is an atmospheric and symbolic adaptation of Angela Carter’s short stories, mixing werewolves with fairy tales. Blackout (2024) follows a small town terrorized by a mysterious werewolf. Hellhounds (2024) offers a unique blend of monster movies and action genres, depicting a secret war between werewolf bikers and those dedicated to hunting them down.
Boasting propulsive action and credible practical effects reminiscent of 1980s horror high-marks The Howling, An American Werewolf in London, and Silver Bullet, Werewolves(2024) blends classic horror, action-adventure, and creepy contagion terror to spawn a new take on the fearsome beasts that have long feasted on our imagination.
Cult Classics include Ginger Snaps (2000), a Canadian horror film that explores werewolf transformation as a metaphor for puberty, the British film Dog Soldiers (2002) features a group of soldiers who encounter werewolves during a training exercise, and the Underworld series (2003-2016) blends action and horror, focusing focuses on the war between vampires and werewolves.
In the animated Hotel Transylvania series (2012-present) a friendly werewolf character provides a more humorous take on the creature, and the stop-motion animated film Wallace & Gromit: The Curse of the Were-Rabbit (2005) Wallace and his dog Gromit face a vegetable-ravaging “were-rabbit.”
Werewolf films have captured audiences’ imaginations for a variety of reasons:
Folklore and Mythology: Werewolves have been a part of human folklore for centuries, with stories spanning various cultures. This historical and mythological background adds depth and intrigue to werewolf tales. These mythical creatures have appeared in stories and legends from various cultures around the world. Stories of shape-shifting humans date back to ancient civilizations. The earliest known references to werewolves can be found in Greek mythology, such as the tale of Lycaon, who was turned into a wolf by Zeus. During the Middle Ages, werewolf legends were widespread in Europe. These stories often depicted werewolves as cursed individuals who transformed during the full moon. The fear of werewolves was sometimes associated with witchcraft, leading to trials and executions.
Symbolism: Werewolves often symbolize primal instincts, inner demons, or the battle between civilization and savagery. This duality allows for rich storytelling and character development. The symbolism in werewolf lore is rich and multi-layered, which is one reason these stories are so compelling. The primal instincts of Werewolves represent the raw, untamed side of human nature. They embody the primal urges and instincts that lie beneath the surface of our civilized selves. This duality creates an intriguing tension in storytelling. The transformation into a werewolf can be seen as a metaphor for internal struggles and battles with one’s darker side. It’s a powerful way to explore themes of guilt, shame, and the fear of losing control. Werewolves often symbolize the conflict between the orderly, rule-bound aspects of society and the chaotic, savage aspects of the natural world. This can be a reflection of societal fears and the tension between progress and primal instincts. The process of changing into a werewolf can represent broader themes of transformation and identity. This can be particularly resonant during periods of personal change, such as adolescence, where individuals struggle with their evolving identities. Werewolves tap into a deep-seated fear of the unknown and the uncontrollable. The unpredictability of when and how a person might transform adds a layer of suspense and horror to the narrative.
Relatability: The concept of transformation and dealing with an inner monster can be seen as a metaphor for personal struggles, such as puberty, addiction, or emotional turmoil. This makes the stories relatable on a deeper level.
Suspense and Horror: Werewolf films often blend elements of suspense, horror, and action. The anticipation of transformation and the terror of the creature’s appearance keep viewers on the edge of their seats.
Literary Influence: Werewolves have also been a popular subject in literature, from early works like “The Werewolf” by Clemence Housman to more modern novels such as “The Wolfen” by Whitley Strieber and “The Last Werewolf” by Glen Duncan.
Modern Popularity: Werewolves continue to be a staple in contemporary horror and fantasy genres, appearing in films, TV shows, and books. They symbolize our primal fears and the struggle between human and beastly natures.
by Daniel Dercksen·Comments Off on We Live In Time – A decade-spanning, deeply moving romance
The power of love to shape time—bring it to a thrilling halt, speed it up wildly, blow it wide open so even our tiniest, most tender moments turn monumental—becomes the storytelling engine of director John Crowley and playwright Nick Payne’s exhilarating new take on a classic romance with We Live In Time.
REVIEW: We Live In Time uniquely portrays the complexities of life, love, and loss through its characters’ deeply personal journeys. Florence Pugh and Andrew Garfield’s performances bring authenticity and raw emotion to their roles, making their struggles and triumphs feel real. The film’s narrative structure is non-linear, which mirrors the way people often remember their lives—out of order, with key moments highlighted. This approach adds depth and layers to the storytelling, allowing viewers to piece together the characters’ histories and relationships much like a puzzle. It handles grief and hope delicately, exploring how the characters cope with grief and find moments of joy1. The film does not shy away from the harsh realities of life but balances these with moments of love and connection, making it both heartwarming and heart-wrenching. Director John Crowley employs a range of cinematic techniques that enhance the film’s profound impact. From visual storytelling to a thoughtful score by Bryce Dessner, each element contributes to the film’s overall sense of intimacy and realism. Nick Payne’s screenplay significantly contributed to the film’s impact, he intricately crafted nuanced and multi-dimensional characters that are not merely characters on a page, but fully fleshed out individuals with complex emotions and relationships. Payne’s writing captures the essence of human emotion, weaving in moments of introspection, vulnerability, and strength. The dialogue is crafted to be authentic and relatable, allowing viewers to see reflections of their own lives and experiences in the characters’ conversations. This relatability helps to ground the story in reality and make its impact more profound. The screenplay adeptly balances moments of light and darkness, joy and sorrow. This balance ensures that the film resonates on multiple emotional levels, offering a holistic and well-rounded narrative experience.
Modern-day Londoners Almut and Tobias literally crash into each other as bewildered strangers. A decade later, having remade one another’s lives, they’d do anything to never let each other go. But no love story is truly straightforward. And this light-handed, deep-hearted portrait of a marriage mirrors how we truly experience love: in fits and starts, outside linear logic, in fleeting but indelible moments that are gorgeous, funny, high anxiety, delirious, sad, and revelatory, sometimes all at once.
Crowley, known for his warm, delicate look at love and migration in the Oscar-nominated Brooklyn, allows We Live in Time to be driven as much by pure performance as playful structure. Mining a chemistry that is not just instant, but intensifying, Andrew Garfield and Florence Pugh create in guarded Tobias and fiery Almut a distinctly contemporary couple—two fiercely independent people with no idea how to combine their already-crammed lives and well-formed doubts, but who are moved to try. Their push-and-pull slides from flirtation to resistance to compromise to parenthood to defiance of the clock ticking against them by making their best moments last.
Says Crowley, “I was drawn to the idea of using time cinematically to express what it truly feels like to be on the inside of a relationship. Three different periods in Almut and Tobias’ relationship run against each other throughout the film: one period which spans several years, one period of about 6 months, and one single spectacular day, the day their child is born. We’ve blurred the edges so audiences can drift between them and feel all the ways they blend into and inform one another.
When time becomes scarce, the couple’s reaction turns life-affirming. “Almut and Tobias are confronted by grief, as we all are ultimately, but this only sharpens their humour, their joy, their desire to live consciously,” says Crowley. “Their beautiful energy stands in opposition to life’s darkness.” Pugh felt drawn in by a fresh approach to the kind of smart, sparkling romances she was raised on, one that renders vivid the way love presses up against the confines of time and pushes us to risk more. “I was spoiled growing up by all the Notting Hills and Four Weddings and A Funerals, these quintessentially British, very human storylines we all wanted to watch, and be part of, and hopefully have one day. And this story taps into that same rich level of romance,” she says.
She continues, “The moment Almut and Tobias lock eyes, you know, no matter how much they wind each other up and how much they’ll evolve, they’re meant to be together. You’re totally ready to follow them through their every single high and every single low because their love feels so pure and real. And no matter what is happening, there is always levity with this life-grabbing couple.”
Adds Garfield, “This is a story that cracks your heart open to the beauty and mystery of life, that honors the people who anchor us to this existence. The big lesson Tobias learns from Almut is that in any life worth living, you’ll inevitably have losses, but you’ve got to let in as much love as possible.”
In the deeply moving romance We Live In Time, Almut (Florence Pugh) and Tobias (Andrew Garfield) are brought together in a surprise encounter that changes their lives. Through snapshots of their life together – falling for each other, building a home, becoming a family – a difficult truth is revealed that rocks its foundation. As they embark on a path challenged by the limits of time, they learn to cherish each moment of the unconventional route their love story has taken.
Love and Payne: The Screenplay
The accidental, crash-bang collision of rising chef Almut and cereal marketeer Tobias began in the mind of acclaimed British screenwriter and Tony-nominated playwright Nick Payne.
Payne had earlier explored love across multiple quantum universes in his much-loved play Constellations. But now he started thinking about the effects of more everyday time—specifically, how we handle the fact that, one way or another, we’re constantly running out of it. This story couldn’t be a play, he knew, because nothing mimics the very keeper of time, memory, like a motion picture camera.
Nick Payne and John Crowley
“On screen you can go anywhere,” Payne says. “So, I felt in a film about how a couple lives when their time is running out, you could play with time in a way that gives the audience a thrilling experience of it.”
When he pitched the ambitious love story to SunnyMarch (Benedict Cumberbatch and Adam Ackland’s production company), they were thrilled by its unconventional approach to romance; producer Leah Clarke says “Nick was given free reign.”
“It felt very fresh and like nothing that we’ve seen before” explains Ackland. And so Payne began to craft a story that would soon inspire a brilliant creative team to breathe life into it, including producer Guy Heeley, Crowley as director, and actors Andrew Garfield and Florence Pugh.
While the DNA of classic cinematic romances clearly courses through the story’s veins, Payne fractured the flow, allowing Almut and Tobias’s years together to run into and out of one another like a tapestry, in a similar manner to how relationships unfold inside our anxious, uncertain, dream-laden minds. He then anchored the film in a part of London not often seen on screen—not glam, edgy, or fairy tale London, but South London’s leafy middle-class suburb of Herne Hill. And he had Almut and Tobias meet not in the flush of youth but in their 30s, when they already have fully formed lives, precious little personal time, and accumulated scar tissue wrapped around their hearts.
“Chances are they’ve both had a few relationships before you meet them,” Payne notes. “And I think you make quite different decisions when you fall in love in your 30s, which interested me.”
While avoiding romcom antics, Payne imbued Almut and Tobias with a keen sense of life’s funnier side. “I wanted the humour in the film to arise as easily as it could from the temperament of these two people,” he explains. “I saw Almut and Tobias as both naturally funny so it’s part of their rapport from the start.”
Payne and Crowley previously collaborated, and forged a lifelong friendship, on an acclaimed production of The Same Deep Water as Me, Payne’s incisively comic play set in the world of personal injury fraud.
When SunnyMarch shared the script with Crowley, he was excited to read it. But there was trepidation, too, he confesses. Though he’s always adored Payne’s vision, he was sure he wasn’t about to return so soon to the territory of heartbreak. As he read, he realized he was wrong. Still, it wasn’t the heartbreak in the script that got to him. It was how light and true Almut and Tobias felt, how much he liked spending his own time with them, and how excited he was by not only the creative risks of the structure but the emotional challenges of flipping a tale of mortality into a sharply honest ode to life.
“You don’t really choose what you do. It chooses you,” Crowley muses. “And when I finished Nick’s script, I thought OK, this is what I’ll be spending the next year-and-a-half of my life doing. I liked that Almut and Tobias’s love story didn’t have smooth edges, that it was sparky and tangled and honest in ways that intrigued me. I liked that Almut and Tobias are not particularly looking for anyone in their lives when they meet, but one day turns into another and you see how they start to build a life in that way. I liked the way the story is set outside linear time because it becomes about the choices Almut and Tobias make inside their relationship, which felt like something fresh. And I especially liked being able to play cinematically with time, which is so elemental to the nature of film, within what is also just a very funny, human, moving story.”
Crowley was keenly aware the pitfalls of melodrama lay in the film’s path. But he was clear-eyed that authentic emotion was the way out of them. The key, he says, was for Almut and Tobias to have “an absolutely truthful, embodied depth to them, which meant needing two great actors.”
“I thought, ‘What an opportunity to work with such deep themes and ideas through such elegant, delicate, subtle storytelling,’” says Garfield. “Love is such a vital human experience, and this story reminds us of the many ways that love runs through our lives. It’s not just a romantic love story. It’s equally a love story about a daughter and what her parents want to give her. It’s about the lasting ripples of love and how they permeate everything. If, while you’re reading a script, you’re crying and laughing within minutes of each other, you know you’re in great shape.”
Garfield continues, “Since Boy A, I’ve changed so much as an actor, and John has changed so much as a filmmaker, yet we always kind of knew one day we’d find a project together that felt just as meaningful to us. I love and trust in John as one of our most emotionally powerful filmmakers.”
Says Pugh of her approach, “I saw Almut as a really driven and really normal single woman, someone I could see myself in, and someone who I think audiences will see themselves in. It felt absolutely wonderful to play someone going through so many of the things someone my age really goes through, and it was nice to act off instinct. It wasn’t hard to reach for inspiration because I personally know so many wonderful, hardworking, opinionated women just like Almut.”
The greatest influence on Pugh’s performance became simply the profound connection she and Garfield felt from the get-go, which only kept growing. “Andrew and I had to go to places that were hugely intimate and hugely bare,” she reflects, “and I was so lucky to have the kind of deep trust in both Andrew and John to really go there. Andrew meticulously works on every single beat until it is true and right, creating a magical experience where I felt completely held in every way. Every single take felt so alive that Almut and Tobias became real to us, as did their caring and tenderness with each other.
The Micro and The Macro
When the gratifying production wrapped, Crowley knew the film’s journey was not even half over. As he headed to the editing room with Justine Wright (Locke), he anticipated the biggest challenge of his career to date. “I’ve been a big admirer of Justine’s work, and I knew this was going to be a long, daunting edit since we were working with non-linear time and we would be trying to carefully balance micro moments with the macro of these two lives,” he says.
Crowley continues, “Ultimately, we had to break the structure of the film, rip everything out, and build it back, to allowing these three different chunks of time to flow together in a way that isn’t jarring, that gives you enough information, that’s true to the characters, and yet simultaneously feels playful and emotionally true. There is no fast way through that process. We were thinking a lot about time, and it took a lot of time, as well as patience. But along the way we made some great discoveries that brought us back to what we loved most about the story.”
For all its shifts through time, the story of Almut and Tobias leaves off with a notion that is starkly timeless: that what means the most to anyone is to live so well it inspires those around us.
At a time when cinematic romances that aren’t strictly frothy romcoms are increasingly scarce, Crowley hopes We Live in Time feeds an audience hungry for such stories.
“It’s one of the most primal stories you can tell, isn’t it?” reflects Crowley. “Two individuals meet and try to make sense of their lives together, only for life or fate or whatever you want to call it to have a different idea of their future, which only makes them love each other more.”
Garfield and Pugh say Almut and Tobias also left their marks on them. “It’s one of those stories that makes you want to do all the things you’ve always been telling yourself you should do but haven’t,” says Pugh. “We’re only here, all of us, for a very short amount of time on balance, so what a magical thing to spend that time loving others.
Garfield concludes, “What happens between Almut and Tobias comes down to questions we all ask ourselves: How do we do this thing called life? How do we love freely? How do we take the bridle off and let ourselves expand? When you take all the restrictions to love away, that’s when you find yourself as fully in the moment as possible.”
Director John Crowley
With a background as an award-winning theatre director, John Crowley received critical acclaim and his first awards in film in 2003 with his first feature Intermission, which starred Colin Farrell. He followed this with an adaptation of Harold Pinter’s Celebration starring Michael Gambon, Boy A starring Andrew Garfield and Peter Mullan and Is Anybody There? starring Michael Caine. He directed two episodes for the second series of True Detective for HBO, starring Colin Farrell, Vince Vaughn and Rachel McAdams. Brooklyn, adapted by Nick Hornby from Colm Toibin’s novel and starring Saoirse Ronan, Domhnall Gleeson and Emory Cohen, won the Best British Film BAFTA 2018 along with three Academy Award nominations. John’s latest film The Goldfinch, adapted from the Donna Tartt novel by Peter Straughan, starred Ansel Elgort, Aneurin Barnard, Jeffrey Wright, Nicole Kidman and Sarah Paulson, and was released by Warner Bros. In 2022, John directed a four-part adaptation of Kate Atkinson’s award-winning novel Life After Life for the BBC/House Productions. John recently directed Black Mirror S6’s ‘Beyond The Sea’ starring Aaron Paul. His latest A24-produced film We Live in Time.
Writer Nick Payne
Nick Payne is a playwright and screenwriter. His theatre work has played in London’s West End and Broadway garnering sell out audiences and multiple awards. His film Midwinter Break, directed by Polly Findlay and starring Ciaran Hinds and Lesley Manville, wrapped this summer and will be releasing soon. He is working on film, television and theatre projects in the UK and the US.
by Daniel Dercksen·Comments Off on Wolf Man – A terrifying new lupine nightmare
“These classic monsters have endured for a reason,” visionary writer-director Leigh Whannell says of Wolf Man . “They are as iconic and as famous as Michael Jordan, Marilyn Monroe, Charlie Chaplin, Winston Churchill, all these faces throughout history. The Mummy, Dracula, The Invisible Man and The Wolf Man are on the Mount Rushmore of pop culture. Something about them is just too fascinating, creepy and mysterious to go away.”
From Blumhouse and visionary writer-director Leigh Whannell, the creators of the chilling modern monster tale The Invisible Man, comes a terrifying new lupine nightmare: Wolf Man, questioning: “What if someone you loved became something else?”
Perhaps no filmmaker has been more daring and visionary in reimagining a Universal classic monster character than writer-director Leigh Whannell, whose 2020 Blumhouse hit The Invisible Man transformed the 19th century H.G. Wells novel and 20th century horror movie into a terrifying 21st century allegory for gaslighting and domestic abuse. And no filmmaker, it’s fair to say, was better equipped to reinvent the hairiest of potential monster-movie adaptations: the Wolf Man.
“When Universal asked us what Blumhouse’s take would be on Wolf Man, I knew that Leigh should be the captain. His unparalleled ability at extracting terror from relatable moments allows him to show horror that is not fantastical, but tactile and immediate,” producer Jason Blum says.
Ancient tales of werewolves, or wolf men, date far back almost as old as humanity itself, rising out of ancient lore, recorded as early as 2100 BC. The tales of lycanthropy— the transformation of a man into a wolf—became so ingrained in European folklore that they inspired werewolf trials in Europe in the 16th and 17th centuries, dying out around the same time that America’s famed Salem witch trials began. Werewolves would later appear in Bram Stoker’s 1897 novel Dracula and his short story, Dracula’s Guest.
The wolf man made his first film appearance in 1935, with Werewolf of London, and then became immortalized in pop culture beginning with the 1941 Universal classic starring Lon Chaney, Jr. The Wolf Man. In the decades since, the character has prowled through almost every decade and film genre, morphing from malevolent terror (1981’s The Howling) to body horror (1981’s An American Werewolf in London) to middlebrow comedy (1985’s Teen Wolf), and from romantic hero (1994’s Wolfstarring Jack Nicholson) to tortured tween sex symbol (2008’s Twilightand subsequent franchise).
Christopher Abbott stars as Blake, a San Francisco husband and father, who inherits his remote childhood home in rural Oregon after his own father vanishes and is presumed dead. With his marriage to his high-powered wife, Charlotte (Julia Garner), fraying, Blake persuades Charlotte to take a break from the city and visit the property with their young daughter, Ginger (Matlida Firth). But as the family approaches the farmhouse in the dead of night, they’re attacked by an unseen animal and, in a desperate escape, barricade themselves inside the home as the creature prowls the perimeter. As the night stretches on, however, Blake begins to behave strangely, transforming into something unrecognizable, and Charlotte will be forced to decide whether the terror within their house is more lethal than the danger without.
When Blumhouse first approached Whannell about reimagining the Wolf Man for a new generation, he was intrigued but unsure he wanted to take this particular journey.
“My first answer was, ‘No. I just did The Invisible Man. I don’t want to follow that up with Wolf Man,’” Whannell says. “But then I thought of an angle that I could take it in. I had to walk around the block and find my way into it. In the past, the character of the werewolf has been wrapped around this big transformation, like the famous scene from An American Werewolf in London. That Wolf Man was superbly designed by Rick Baker and is the watermark for practical effects. It’s impossible to top what he did. So much so, that I thought that we should not try to improve upon that, but to take it in a completely different direction.”
That direction anchored the film and the characters in a grounded, real world. As Whannell and fellow screenwriter Corbett Tuck developed the script, the story evolved into the tale of Blake Lovell, a husband and father struggling with a turbulent past. The broken product of a survivalist father and a beloved mother grappling with ALS, Blake thought he had put a cruel childhood to rest. Now raising a daughter in the San Francisco Bay area with journalist Charlotte, the wife from whom he has grown distant, Blake is tortured by long-buried secrets that threaten his chosen family.
When Blake learns that his father has died and bequeathed him the Lovell farm, he and Charlotte decide to take a break from the city hustle and recalibrate in central Oregon. The night they arrive, however, they stumble upon a diseased creature—neither man nor animal—who threatens to tear apart their tenuous hold on one another.
As the night progresses, Blake begins to transform into something unrecognizable. But unlike in every previous incarnation of the Wolf Man, Whannell decided that we, the audience, would change with him. “I started thinking about seeing the Wolf Man changing from the Wolf Man’s perspective,” Whannell says. “A lot of the wolf man history has been about this curse, and that a full moon can bring it out in you. I wanted to do with this character what David Cronenberg did with The Fly. He drilled down to the essence of a previous film that could be considered quite comical. Same with John Carpenter’s The Thing. These movies take their monsters seriously and have no room for winking or poking fun.”
By allowing the audience to experience Blake’s transformation both from Blake’s perspective and the perspective of his wife and daughter, the film, Whannell realized, could have husband and wife within two separate spaces, with only the audience simultaneously seeing both sides. “One would live in the human world, and one in the animal one,” Whannell says. “Once I saw this couple as no longer having the ability to communicate, this was my tipping point. Blake would be listening to his wife speak and literally not understand what she was saying. I loved the idea of mixing dialogue from one of the characters in a way where you couldn’t understand the other.”
As always, Whannell’s goal is to understand the root emotional truths of the characters he is creating, and then to build the horror on the foundation of those truths. The terror becomes real to the audience because although we have not encountered an actual invisible man or a wolf man in our lives, we recognize the man within the monster. “You make the movie when you write it,” Whannell says. “Shooting is all interpretive art. I listened to a lot of music when I was writing, finding an emotional way into the story. I asked myself, ‘What gives me goosebumps? What makes me cry?’ Through those feelings, you find the movie. My approach is to strip out the window dressing and to find the core of what’s scary about these characters. If you do it right with a horror film, you can dig deep into someone’s subconscious.”
To do it right, though, Whannell needed a cast that could deliver that emotional truth. He found them in Christopher Abbott, Julia Garner and Matilda Firth. “This is a situation that is very heightened,” Whannell says. “You’re using prosthetic makeup. Many elements could be ludicrous if we didn’t handle them with care. Every time I would watch Christopher, Julia and Matilda in the scenes, they brought so much of themselves. That is what you have to do in these moments of humanity. You have to breathe life into these words.”
Abbott was drawn to the role by Whannell’s interpretation of the marital breakdown between Blake and Charlotte. “You watch them start to try to reconnect, and as the events of the film happen, their connection is taken away,” Abbott says. “Blake loses the ability to communicate. That’s the tragedy. Everyone can relate to having issues and not connecting well with a partner. What if that’s taken away from you? For example, with an actual illness.”
Abbott knew that he would be spending hours in the makeup chair as he prepared to play the Wolf Man, but his main concern was that Blake’s humanity continue to shine through. He was relieved that the makeup team ensured that their work wouldn’t inhibit his. “I could still act through the prosthetics,” Abbott says. “They didn’t shackle my performance. My face would move in different ways when I was wearing them. I would look in the mirror and play with it. The prosthetics did a lot of the work. An idea can only go so far, but when you have physical limitations, they force you to make a choice.”
Abbott and Whannell discussed at length how Blake would evolve, or rather, devolve, over the course of the film. “Leigh and I talked a lot about illnesses from Alzheimer’s or Parkinson’s,” Abbott says. “In terms of the transformation, it was letting go of the reality of what it is to be a healthy human and stripping that away.” It helped, too, that Blake’s transformation was done practically, with makeup and prosthetics, rather than with VFX. “The fact that it was happening on the day, and our crew was experiencing it with us—viscerally, in real time—reminded us that we were making something special,” Abbott says.
Garner found herself riveted by the script and drawn to this story of love and loss. “It’s about connection and grief,” Garner says. “When somebody’s in front of you and they’re slowly disappearing, it’s not a sudden death, but a slow process. Early on, Leigh discussed wanting to connect and then having that person not be there anymore. When we started prepping, I told him that I wanted it to feel that the audience was going through the seven stages of grief in one night. When Blake is going through the physical stages, Charlotte is going through the mental ones.”
Wolf Man, Garner says, is, at its emotional core, an exploration of a family that is breaking apart, even though none of them wants it to. “They want to stay connected,” Garner says. “There are certain events that keep them from reconnecting, but they’re fighting for that family unit. It is about connection, but it is also about grief. When somebody’s slowly disappearing in front of you, it’s not a sudden death. It’s this slow process.”
Creating that intense bond between Garner, known as “Julie” to her friends, and Abbott was aided by the fact that they had a little-know shared history. “A long time ago, Julie and I did our first independent feature together,” Abbott says. “To come around and do this again was fantastic. Julie brings pure emotionality to this part. For a good chunk of the film, the audience sees the events through her character’s eyes.”
Creating Wolf Man’s World
To create Wolf Man’s physical environments, director Leigh Whannell hired acclaimed Australian production designer Ruby Mathers. This film marks Mathers’ first foray into the genre of horror. “This was a script that I felt I hadn’t read before,” Mathers says. “There was a classic-horror element to it but, at the same time, there was a realism and subtext in the script that drew me to it. Having seen Leigh’s previous movies, I thought, ‘I want to work with that guy.’”
Wolf Man is the third collaboration between director Leigh Whannell and fellow Australian cinematographer Stefan Duscio, having previously made The Invisible Man and Upgrade together. Duscio was also the director of photography for the 2014 comedy The Mule, which co-written by Whannell. “Stefan is my conjoined twin, creatively,” Whannell says. “He loves movies. He talks the talk, and he walks the walk. He’s dug into this world, and I relate to that level of obsession. We can talk for hours about how movies are made and our heroes in film.”
The duo’s collective goal is to operate at the level of their cinematic idols. “We don’t want to imitate them, but we want to create something that gets close to what they’ve done,” Whannell says. “I’m the one who comes up with the crazy idea and has no idea how to do it. Stefan breaks it down into engineering and discovers how we’re going to achieve this with lights and lenses. Somehow, in the middle, between engineering and creativity, we create a Venn diagram of something visceral, horrifying and sad.” Duscio admires that Whannell writes for both sound and vision. “Leigh’s thoughtful about how he wants to use those elements in the screenplay and in the final movie,” Duscio says. “The Invisible Man became about suggesting someone was there all the time and getting you into the psychological headspace of Elisabeth Moss’ character. These unmotivated camera moves became the film’s hallmark, the opposite of what you want to do as a camera person. You want to stay locked to your lead actor. We deliberately panned into these empty corners of the room to suggest he could be there at any time. Right from the outset, Leigh asked what we could do in Wolf Man to put us in Blake’s psychological headspace.” They would come to call it “Wolf Vision.”
While Whannell was writing Wolf Man, he became fascinated by this idea that, in-camera, you could switch between the human world and the animal one. “I always like to use the camera as an extra character,” Whannell says. “With Invisible Man, I felt like the character knew more than the protagonist did. With Wolf Man, I liked this idea that the camera could switch between the two worlds in a way that humans couldn’t. The characters of Blake and Charlotte couldn’t see through the wall of their respective worlds, but the camera could. The camera could cross over, and therefore the audience gets to see that crossover.”
As Blake’s senses becomes more finely attuned to darkness, he begins to perceive everything around him more sharply. The production team called it “Wolf Vision.” “Blake can now see in the dark,” Duscio says. “His aural senses become incredibly heightened. He can hear everything. We’ve latched onto that with both hands to show what the world is like from Blake’s mind.”
Whannell and Duscio wanted the film to reinvent how we see the night. “Blake is starting to see more into the night,” Duscio says. “This was not an effect for effect’s sake but is embedded within the character of Blake and within Christopher Abbott’s performance.”
Brought to life by hair and makeup designer Jane O’kane (The Meg, The Lord of the Rings: The Rings of Power) and two-time Oscar-nominated prosthetic designer Arjen Tuiten (Pan’s Labyrinth, Maleficent: Mistress of Evil), the Wolf Man’s signature look had to reflect unique stages of Blake’s transformation. From myriad lenses and canine teeth to deteriorating skin and wounds that refuse to heal, the transformation marks Blake’s gradual loss of humanity.
Director Leigh Whannell wanted the film to honor the original makeup artists of the 1941 Universal classic, The Wolf Man, starring Lon Chaney, Jr., whose makeup was designed by the legendary Jack P. Pierce. “If you think about that look that was created for the Boris Karloff’s Frankenstein in 1931 or Lon Chaney’s Wolf Man in 1941, those were things that audiences had never seen,” Whannell says. “Those images have lasted because they’re so striking. Anybody dealing with monsters today lives in the shadow of these artists. Every makeup artist whose name is etched into the Hall of Fame—from Rick Baker and Rob Bottin to Stan Winston and Jack Pierce, all these artists have created something brilliant that sticks in your mind.”
It was critical to Leigh Whannell that Wolf Man might stand out for its use of effects. “I love practical effects and the artists who create them,” Whannell says. “These effects were important because, first and foremost, I wanted them to feel real. CGI is beautiful and can be employed in great ways, but it’s all about how you deploy that artform. Here, I felt that the best way to represent it was more practical. I needed this film to exist as if we were making a monstrous version of A Marriage Story, right in front of you.”
Whannell had never taken a character through such a dramatic physical transformation. “When you’re working in supernatural horror, a lot of the horror is implied,” Whannell says. “It’s what you can’t see that’s scary. I wanted to make my own version of a creature feature. This film is my tribute to the ‘80s movies I loved growing up—ones that were driven by practical effects and told horror stories that were creative in their use of bodily morphing. In The Thing and The Fly, CGI was not yet an option.”
Whannell leaned into the premise that Blake doesn’t realize he’s morphing. As his skin begins to scale and his extremities elongate, our hero grows in confusion. “Blake loses his ability to understand what human beings are saying,” Whannell says. “Blake’s vision changes, then the physical changes begin, and his vision begins to alter. His skin morphs: his fingernails and teeth come out. It’s a tribute to body horror. That’s one of the great sub-genres of horror that I love. Our bodies are the source of all our pain, as well as our joy.”
At Blake transforms into the Wolf Man, his hearing changes. His hearing becomes so acute that he can hear an insect walking. The audience, seeing the world from Blake’s perspective, gets to hear it, too. “Blake is hearing things at this totally different pitch, and that’s a dream from a sound-design perspective,” Whannell says. “This allowed us to throw out the rule book of how human beings hear the world and surround the audience with a different plane.”
To create the film’s critical sound design, Whannell turned to two acclaimed sound design artists who have worked with him on every one of his films: P.K. Hooker (M3GAN, Five Nights at Freddy’s) and Will Files (Alien: Romulus, The Batman). “I wanted Wolf Man to be an aural assault,” Whannell says. “I wanted to enter another world through sound, because a lot of the experience of becoming a Wolf Man is experienced through hearing. I wanted to give audiences something bigger than watching a film at home.”
Because Blake’s transformation changes both how he sees and how he hears, the film’s cinematography and sound design needed to work in tandem in every scene. That matters in every film, of course, but in Wolf Man it is the joint composer of terror. “There’s a sequence where Charlotte and Ginger are hiding in the barn and the Wolf Man enters,” cinematographer Stefan Duscio says. “That was a sequence where we utilized both Wolf Vision and sound to create a thrilling sequence. Charlotte and Ginger can hear only silence and can see only blackness. But when we rotate around to the Wolf Man’s perspective, he can see, and hear, everything about the way they’re moving.”
by Daniel Dercksen·Comments Off on Find Your Voice As A Writer
Your writing voice reflects the tapestry of your life—each thread representing a moment, emotion, or insight that only you have experienced. It’s this unique blend that makes your writing stand out and resonate with readers. So embrace your individuality, and let your voice shine through in your words.
Finding your unique voice as a writer is an exciting and rewarding journey.
As you write, you explore and articulate your thoughts, feelings, and experiences. This process of self-discovery helps you understand yourself better and discover new facets of your identity.
Developing your voice empowers creative freedom and allows you to express yourself authentically and creatively. There are no limitations on how you can convey your ideas, making the process liberating and enjoyable.
Your unique voice helps you build a strong connection with your readers/audiences. When your writing feels genuine and original, readers are more likely to engage with and relate to your work.
The process of honing your voice involves continuous learning and improvement. Each piece of writing contributes to your development as a writer, boosting your confidence and skill.
Finding your voice is a milestone that brings a sense of accomplishment. It signifies that you have developed a distinct style that sets you apart from others. Writing becomes more enjoyable when you embrace your unique voice. You can take pride in your work and find joy in the act of creating something that is truly yours.
Embracing this journey can transform your writing from a task into a fulfilling creative endeavor.
Uncover and cultivate your distinctive style
Read Widely and Critically: Expose yourself to a variety of genres, styles, and authors. Pay attention to what you enjoy and why. Notice how different writers use language, structure their sentences, and develop their characters.
Write Regularly: The more you write, the better you understand your preferences and strengths. Experiment with different styles, perspectives, and tones. Don’t be afraid to write badly at first; it’s all part of the process.
Reflect on Your Experiences: Draw inspiration from your life, emotions, and experiences. Authenticity often leads to a unique voice. Think about your passions, struggles, and memories—how can they inform your writing?
Find Your Message: What are the themes or messages you feel passionate about? Understanding what you want to say helps in shaping how you say it. Your voice often reflects your worldview and values.
Listen to Yourself: Pay attention to how you speak and express yourself in conversations. Your natural speech patterns can provide clues to your writing voice. Record yourself talking about a topic you’re passionate about, then try to translate that into your writing.
Seek Feedback: Share your writing with trusted friends, writing groups, or mentors. Constructive feedback can help you identify your strengths and areas for improvement.
Be Patient: Finding your voice takes time. It’s a gradual process of discovery and refinement. Celebrate your progress and enjoy the journey.
Remember, your voice is a blend of your unique experiences, perspectives, and creativity. Keep writing and stay true to yourself, and your voice will emerge naturally.
by Daniel Dercksen·Comments Off on How to avoid predictabilty in writing
Predictability in writing can make a story feel mundane and unengaging because it removes the element of surprise that keeps readers hooked. When readers / audiences can easily anticipate what will happen next, the narrative loses its suspense and intrigue.
Predictable writing can choke the creativity of both writers and readers, leaving no room for thrilling exploration. Originality is the magic potion that transforms engagement into an unforgettable adventure.
When audiences and readers can foresee the outcome, the suspense evaporates. The thrill of not knowing what lies ahead keeps the heart racing. Predictable plot twists are like empty promises, reducing the emotional highs and lows, turning key moments into missed opportunities. Without these surprises, a story can feel too mechanical, too clinical.
Stories following a conventional path lack flavor. They become a rehash of the same old tales, and nobody likes leftovers. Characters that stick to clichés fail to resonate, offering nothing fresh or truly relatable. When character arcs don’t surprise, their journeys feel uninspired.
Predictable characters often fall into clichés, failing to offer fresh, relatable, or complex portrayals. Without surprising evolution, their journeys lack inspiration.
Introduce unexpected elements, subvert expectations, and craft unique characters to keep stories engaging and emotionally powerful. These techniques ensure readers remain invested, always eager to see what thrilling surprise is next around the corner.
How to conquer predictabilty
Play with Structure: By leaping between different time periods, telling the story from various vantage points, and weaving in unexpected plot twists, writers can inject life and thrill back into their narratives. These elements keep the stories dynamic and emotionally gripping, ensuring readers remain hooked and eager for the next surprise.
Subvert Expectations: Develop characters that defy stereotypes and clichés. Breathe life into them by giving them unique traits, unexpected backgrounds, and surprising depths. These characters will captivate readers and audiences, making the story feel fresh and electrifying.
Experiment with Style: Mix short, punchy sentences with longer, more descriptive ones. This combination keeps the narrative dynamic and captivating, holding the reader’s attention. Give your narrator or main character a distinctive voice or tone, one that stands out and adds a unique flavor to your story.
Incorporate Themes and Symbols: Use recurring symbols or motifs to add depth and layers to your narrative. These elements enrich the story, making it more intriguing and multifaceted. Explore themes that contrast, creating tension and complexity for a richer reading experience.
Evoke Strong Emotionsthrough conflict;: Utilize both internal and external conflicts to propel the story forward, creating a whirlwind of drama that keeps readers hooked. Internal conflicts delve into the characters’ psyche, revealing their fears, desires, and moral dilemmas. External conflicts introduce tangible challenges, riveting readers as characters navigate their environments.
Craft characters and situations that readers can emotionally connect with, ensuring they feel every triumph and setback deeply. These elements weave together a rich, engaging narrative that resonates on multiple levels.
Use of Setting: Bring your setting to life with vivid, sensory descriptions. Paint a picture with your words—describe the sights, sounds, smells, textures, and even tastes. Make readers feel like they’re right there, immersed in the world you’ve created. From the rustling leaves in the forest to the bustling sounds of a city street, every detail adds depth and vibrancy to your narrative.
Our THE WRITE JOURNEY COURSE explores all the issues dealing with predictability
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by Daniel Dercksen·Comments Off on Crafting A Screenplay VS A Novel
Both screenplays and novels are creative outlets for storytelling, but they have distinct differences and offer unique challenges and rewards.
The choice between writing a screenplay and a novel depends on your preferred storytelling style and the type of story you want to tell. Do you want to immerse readers in the inner world of your characters, or do you want to see your story come to life on the screen?
A screenplay, also known as a script, is a written work that serves as the blueprint for a film or television show. It outlines the narrative and includes dialogue, character actions, and scene descriptions. Screenwriting often involves collaboration with directors, producers, and other writers to refine the story and ensure it aligns with the vision of the final film or show. Screenplays are an essential part of the filmmaking process, turning creative ideas into structured narratives ready for production.
A novel is a long-form work of fiction that tells a story through prose. It allows authors to explore complex characters, detailed settings, and intricate plots over an extended narrative. Novels are a versatile and powerful form of storytelling, offering endless possibilities for creativity and expression. Whether you’re reading or writing one, they provide a deep and immersive experience.
They have distinct differences and offer unique challenges and rewards
Screenplays follow a strict format, with dialogue and action written in a specific way. This makes them quick reads but requires adherence to industry standards. Typically structured around three acts (beginning, middle, and end) with clear turning points and climaxes. Dialogue is crucial in screenplays, driving the story forward and revealing character traits. Screenplays rely on visual and sound elements to tell the story. Descriptions of scenes are usually concise, focusing on what can be seen or heard on screen. Screenwriting often involves working with directors, producers, and actors, making it a more collaborative process. Crafting a screenplay allows you to bring your imaginative vision to life, using dialogue, action, and visual elements to tell a compelling story. You get to create entire worlds, filled with unique characters and settings, and see them come alive on screen. Writing a screenplay can be a fulfilling and transformative experience, offering numerous rewards both personally and professionally.
Novels have a more flexible format, allowing for varied styles and structures. They can be long or short, with chapters divided in many ways. Novels provide more room for exploring characters’ thoughts, backgrounds, and inner lives. Authors can delve into subplots and detailed descriptions. Novels allow for creative and descriptive language, with the ability to play with prose, style, and pacing. Novelists have control over the pacing, with the ability to slow down or speed up the narrative as needed. Writing a novel is often a solitary endeavour, requiring self-discipline and extensive revisions. You get to create intricate worlds, characters, and plots, fully immersing yourself in your creative vision. It allows you to express your thoughts, emotions, and imagination in a nuanced and expansive way. Writing a novel can be a transformative experience, offering a blend of emotional satisfaction, creative expression, and professional achievement. Whether it’s a story that’s been bubbling inside you for years or a new idea that’s just taken root, the journey of writing a novel is filled with unique rewards.
Similarities
Both require strong storytelling skills, including plot development, character arcs, and thematic depth, offer opportunities for unique creative expression, allow writers to build compelling worlds and characters, and involve crafting multiple drafts and revisions to polish the final piece.
by Daniel Dercksen·Comments Off on Coup De Chance – The important role chance and luck play in our lives
Although Woody Allen’s filmography is unquestionably associated with New York City, Paris has always had a special place in the filmmaker’s heart. After filming Everybody Says I Love You in Paris and making the French capital into a character in its own right in Midnight In Paris, he returns to the City of Light for Coup De Chance, entirely shot in French. “I don’t speak French and I understand even less, but as I finished the script, I thought it would be a great experience to make it in French,” says Allen. “I’ve always been in love with the European and French cinema very strongly.”
REVIEW: Directed by Woody Allen, the film carries his distinctive style and wit, blending elements of comedy, drama, and thriller. The storyline, revolving around a young woman’s unexpected rekindling of an old high school friendship and subsequent affair, intricately explores themes of love, betrayal, and manipulation. This complex narrative keeps audiences intrigued and invested. Characters like Fanny, played by Lou de Laâge, and Jean, played by Melvil Poupaud, are richly developed, showcasing a range of emotions and morally grey areas. These multidimensional characters add depth to the story. The collaboration with cinematographer Vittorio Storaro ensures that the film is visually stunning, with elegant and meticulously crafted scenes that enhance the storytelling. The film premiered at the Venice International Film Festival and received positive reviews, highlighting its artistic merit and impact.
In Coup De Chance we meet Paris-based Jean (Melvil Poupaud) and Fanny (Lou de Laâge), a glamorous and wealthy couple living in a splendid, typical Haussmannian building in the west end of the city. Jean is a charismatic, highly successful businessman – even though some of his friends hint, jokingly or out of jealousy, that he has benefited from his partner’s sudden passing. Not only is Jean a charming character, but he most importantly likes to feel in control of things, sometimes even making his luck. “Many successful businessmen feel that they make their luck and that they’re not at the mercy of chance,” the director continues. “Luck is not the whole thing by any means, but Jean is the controlling kind so much so that, as we find out early on, he may have extended himself into illegality to get rid of his partner.”
After she had a painful marriage and eventually broke up with her first husband, Fanny, unnerved by her failed marriage, was attracted to Jean who appeared as stable and reliable. “This attractive, wealthy man came along at a good time in her life, just as she felt confused and needed to be comforted,” says Allen. “She let him take over her life in a way that was generous and comforting to her. She liked it but if she had met him under less stressful circumstances, perhaps she would not have necessarily married him.”
Fanny gradually realizes she’s not at home with her husband’s shallow crowd of people and that it’s boring for her to spend weekends at his country estate, hunting and playing golf. “She’s a bright, cultivated young woman who’s always had an artistic leaning and thought of herself as marrying a musician, a painter or a writer,” adds the filmmaker. “Actually, she married one and he turned out to be artistically stimulating – and If her first husband hadn’t been a druggie, she would have remained in the world of art.”
Niels Schneider and Lou de Laâge in Coup De Chance. Courtesy of Videovision Entertainment
When she accidentally bumps into Alain (Niels Schneider), a former classmate turned writer, in the street, Fanny is swept off her feet. Not only does it rekindle his attraction to her, but she realizes even more acutely that she’s not living the life she was intended for and that she has become, to Jean, a kind of trophy wife he’s proud to show off to his friend circle. “Alain has very little money, so he lives in an inexpensive attic apartment of sorts, but his lifestyle resonates with Fanny’s Bohemian spirit,” says Allen.
“Alain appreciates the influence of chance and luck in life – he has observed it and has lived it, unlike Jean who is a much more controlling, rigid personality,” adds the director. “My feeling is that luck and chance play a much greater role than people care to admit – they like to think that if they work hard if they apply themselves and discipline themselves, they will be able to control their lives. But it is only partly true, even if it is a slightly unnerving thought.”
Fanny (Lou de Laâge) and Jean (Melvil Poupaud) look like the ideal married couple – they’re both professionally accomplished, they live in a gorgeous apartment in an exclusive neighborhood of Paris, and they seem to be in love just as much as they were when they first met. But when Fanny accidentally bumps into Alain (Niels Schneider), a former high school classmate, she’s swept off her feet. They soon see each other again and get closer and closer…
Lou de Laâge and Niels Schneider discussing a scene with writer-director Woody Allen during the filming of Coup De Chance. Courtesy of Videovision Entertainment
While the romantic plot and the themes are deeply felt, working with actors in a different language than English was a dramatically new experience for Woody Allen
“I speak only English, so I never thought I’d get a chance to work in another language, but I found that it was fine because you can tell if a person is acting believably or acting not believably,” says Allen. “And I wrote the script, so I know what they’re saying in every scene. So, if I feel somebody made a mistake, I can ask the script supervisor and the cameramen that do speak the language.”
Allen admits that he didn’t know any of the actors playing in Coup De Chance, but that all the cast members he picked from videotapes were first-rate actors and appropriately correct for the parts. He was introduced to them briefly before the shoot and, as with all of his collaborators, he let them have an enormous amount of creative freedom. “I wanted them to be able to put things in their own words and speak as regular French citizens,” adds the director. “They didn’t have to obey my script rigidly – they could relax and improvise and speak as they would speak under similar circumstances. When you give them such freedom, you get fine performances.”
Melvil Poupaud and Lou de Laâge in Coup de Chance. Courtesy of Videovision Entertainment
The Actors
“I grew up watching Woody Allen’s films and he’s a filmmaker that has always been a part of my inner world ever since I was a teenager. When you look at his filmography, you can see his evolution as a director, as an actor and as a human being,” says Lou de Laâge. “I’d never have possibly imagined that I would be offered to play in a Woody Allen film. Being a part of his journey as an artist, at one particular moment in time, felt amazing. When I got the script, it came with a note where Woody told me that he offered me the part but that if I didn’t like it, I could just say so. Such elegance is rare.”
Lou de Laâge in Coup De Chance. Courtesy of Videovision Entertainment
“Most importantly, the writing was superb. I read it in one go, just as you read a novel. Scripts are often burdened by unnecessary scenes and lengthy parts, but in this case you could tell the writer was so experienced. The writing was so accomplished. I didn’t feel like I had to come up with a backstory as you just understood this young woman tended to dive into whatever came her way,” says Lou de Laâge.
“The script was perfectly balanced between tragedy and comedy – and it was all brought to a climax that is typical of Woody Allen’s genius. In this film, every frame, every creative decision – whether it has to do with editing or music – bears a constant balance between pathos and humour, between a sense of threat and of light-heartedness – so you laugh and experience thrills all at once thanks to this amazing ambivalence. The vaudeville-farcical element connected the film to a tradition of French drama, but it was imbued with a darker, more ambiguous dimension through my character, both monstrous and charming,” says Melvil Poupaud who plays Jean.
“I was surprised by the ending which expresses Woody Allen’s vision of existence – life is a roll of the dice and we’re all at the mercy of destiny. The structure of the script, which is unrelenting despite its tale-like quality, reminded me of Éric Rohmer.”
Niels Schneider and Lou de Laâge in Coup De Chance. Courtesy of Videovision Entertainment
“From the outset, Woody said to me, ‘It’s a complex, charming, unnerving, threatening, gentle role’ and he added, ‘I’ll be there to help you.’ Through his words I could feel that he was somewhat close to the character and that he related to him from the inside. I think Jean felt like running away from the world – he suffered as a child and was afraid things would escape him. This childlike, fragile quality makes him relatable – to a certain extent. It was a wonderful part to play as, within the same scene, he can be charming and win everybody over with his charisma, and in the blink of an eye, he can reveal a much darker side.”
“I was told he didn’t speak much and remained behind the monitor. When we first met, he actually was quite taciturn but on our second meeting, he was much more talkative. On set, after three or four takes, he’d ask us if we wanted to try something different. He paid great attention to our acting, to our desire to suggest things. He was very much into directing his cast and you could feel he very much enjoyed himself like someone being energized and exhilarated by the production. As we moved forward, I felt he was getting even happier and in top form as the film meant a great deal to him.”
Says Niels Schneider, who plays Alain. “I grew up with Woody Allen’s films ever since Husbands And Wives and he’s one of the few filmmakers like Martin Scorsese, Ingmar Bergman and Francis Ford Coppola whose movies I can watch over and over again with equal enjoyment. During lockdown, I watched Woody’s entire filmography all over again – and he’s to me one of the greatest writers, directors and auteurs alive. So it was a an obvious choice when I was offered the part – even though it felt unbelievable that I was going to appear in a Woody Allen film! Along with John Cassavetes, Woody Allen is also the most independent filmmaker there ever was. He always found financing to keep full creative control on his fims and not be influenced by Hollywood.”
Woody Allen discusses a scene with Melvil Poupaud during the filming of Coup De Chance. Courtesy of Videovision Entertainment
I played Coltrane at home to get in the mood right off and I realized it was all about the writing – the lightheartedness, pace and musical quality of the dialogue; the soulful characters that each had beliefs and a natural banter; and themes that cut across his filmography. You can find, just as in Match Point, life’s irony, the fact that no matter how much you struggle and believe you have some control over your existence – in the end, you’re quite insignificant and you hardly have any control over your life. I was awestruck by the script as it conveyed beautifully this feeling on existence in a profound and light-hearted way, without any contrived humor and comical effects.”
From Page To Screen
The cinematography and the various colors, from warm and golden hues to colder tones, enhance the city’s beauty and express the characters’ emotional journey. Coup De Chance marks the fifth time that Allen has collaborated with cinematographer Vittorio Storaro, after Café Society, Wonder Wheel, A Rainy Day In New York and Rifkin’s Festival. “Most of the trick to make a good picture is to surround yourself with first-rate collaborators,” continues Allen. “You need to pick them out appropriately and then don’t sit on top of them – let them express themselves artistically. With Vittorio, we always work the same way. He reads the script, we have a conversation about what the feeling of the picture should be, and as with all of my collaborators, I give him an enormous amount of freedom. He’s a great artist and almost everything he does naturally is beautiful.”
Niels Schneider and Lou de Laâge in Coup De Chance. Courtesy of Videovision Entertainment
Just as he usually does, Storaro sought to emphasize visually the opposition between the two protagonists. “I connected warm tonalities with Fanny, using the beautiful midday light or the warm light of the sunset as these are the moments when she meets with Alain,” the director of photography explains. “To enhance Fanny’s sense of freedom, I mostly filmed her with a Steadicam and went with a longer lens connected to her. It was quite the opposite with Jean as he’s associated with the moonlight and so I filmed him with a very wide angle, showing that he practically moved in a very straight line.” Likewise, he wished to give the gorgeous Parisian apartment – Jean’s ultimate territory – a bluish tone that intensifies as the tension builds. “In fact, the walls of the apartment were white,” adds Storaro. “But I realized that if I let the natural light filter through the windows and if I set the camera in ‘artificial mode’, the walls came out bluish. Woody was sold by the idea even if he wanted a very light blue at the beginning and a darker blue at a later juncture. I showed him he needn’t worry as you could increase the bluish tonality by increments.”
Just like Storaro’s cinematography, the places and neighborhoods of Paris visited by the characters offer an idealized vision of the city – that of Woody Allen’s. Once again, the director gave much leeway to production designer Véronique Mélery who had never worked with him before and did not give her specific references.
“We mostly had a conversation about the characters and their psyche, but I quickly realized that he wished to showcase the Paris he loves and film the city in all its glory,” says Mélery. The Luxembourg Garden, the classically beautiful grand avenues of the West End, the Montmartre neighborhood already featured in Midnight in Paris all relate to the director’s memories. The country house turned out to be slightly more challenging. “We’d visited the house on the first day of scouting”, she continues. “The place’s obvious charm and soul, and the surroundings were perfect. But Woody wanted to find a place closer to Paris. So, we went back to scouting but never found the ideal location and after weeks of research, we happily came back to our initial choice.”
Just like the locations and the production design, the costumes, in their own way, help tell the story and emphasize the moments of tension and emotion. As a six-time collaborator with Woody Allen, costume designer Sonia Grande has developed a professional shorthand with the director, so that she knows instinctively what he likes. “There are certain colors he doesn’t like, and the wardrobe must have a light, drawn appearance,” she says. “He doesn’t like excessive layers of clothing over the actors’ bodies, covering or sheltering them too much.”
As for the director, he trusts Grande totally. “I’ve worked on a number of pictures with Sonia and I let her express herself artistically,” he notes. “If an actor or actress comes in wearing something that I feel is wrong, I’ll tell Sonia, but that’s rare. If you let a collaborator such as her do what she wants to do, because she understands the script so well, nine out of ten times what she wants to do instinctively is correct.”
Woody Allen had a wonderful experience shooting a film in Paris in French and he’d be happy doing it again. While he kept the same methods that he uses when he shoots in the US and has worked with many of his long-standing collaborators, he made an exception for the soundtrack.
“Usually in all my pictures I have much older jazz music which is the music that I like,” he concludes. “But since I was making a French picture, I paid homage to the French cinema of the 1950s and 1960s, like Louis Malle’s Elevator To The Gallows I discovered when I first became aware of the French cinema. French filmmakers at the time used Miles Davis and the Modern Jazz Quartet and a kind of modern jazz in general. So, that’s the style I used for Coup de Chance and it worked out very well.”
by Daniel Dercksen·Comments Off on Babygirl – An unconventional love affair
In its deliciously playful provocations, filmmaker Halina Reijn’s Babygirl explores the tender, the wickedly funny, and the unexpectedly romantic places that a certain kind of repression can lead to, and where someone will go to find release.
The journey began when a friend once told Halina Reijn about a woman who, across her entire 25-year marriage, had never experienced an orgasm with her husband. She was both awed by and in some ways unsurprised by that possibility.
In Babygirl, Romy, played by Nicole Kidman, is a product of this internalization. As a polished CEO and a mother and wife living in New York City, she lives in a world of careful control, tight scheduling, and an all-too-keen awareness of how she’s perceived at the heights of a male-dominated field. In her own long-term marriage, she has also never truly found pleasure with her sweet, caring, and artistically driven husband, Jacob (Antonio Banderas).
As Romy attempts to hold together her gilded persona, she is quickly undone after she meets Samuel (Harris Dickinson), an intern who appears to her almost as an angel come to rescue and torment her from within her cage of suppressed desire. Im- mediately he clocks her, seeing in her a desire to finally lose control, and he begins to prod beyond the surfaces she has so carefully constructed.
So begins an unconventional love affair between the high-powered female CEO and her young, audaciously puckish male intern. It’s a cat and mouse set-up, one in which the axis of power is constantly, thrillingly shifting, and which at first glance resembles the heyday of sexual thrillers in the ‘90s.
If Reijn was confronted with the contradiction of sexuality impressed upon women in society — to be constantly sexual- ized and yet to never exercise agency — she found vindication and solace, if a conflicted form of it, in the movies’ depiction of women getting what they want. “Those movies, when I saw them, they were like, ‘Oh, actually, it’s not so crazy, all these things that are going on in my head!’” she says. “These movies are super dear to me, but of course they are almost all directed by men, all written by men.”
The genre is a male-dominated lineage, from Adrian Lyne’s 9½ Weeks to Paul Verhoeven’s Basic Instinct and Michael Haneke’s The Piano Teacher. “I really decided in the beginning, I want to make a sexual film, just as sexual as all these films that I’ve always admired so much, but now I’m going to do it completely through female eyes. What does that mean and what does that look like?”
In Reijn’s hands, the genre’s deliberate goading of sexual mores becomes something deeply human and bitingly fun, an erotic thriller for an age where everything is permitted, but the American puritanical moral impulses still run deep. And ulti- mately, at the core of the forbidden fruit is a seductive, tender act of self-acceptance for its protagonist.
“My question was about self-love. Mainly, how do I love all parts of myself?” Reijn says. This line of thinking was inspired by Ver- hoeven, who directed Reijn, an actress before she became an acclaimed filmmaker, in a major supporting role in Black Book. “Paul Verhoeven always told me I could only make a movie if I had a specific question. For this story I wondered: Are we an- imals or are we civilized? Can we make peace with the animal inside of us? Is it possible for the different parts of ourselves to co-exist and, in turn, for us to love our whole selves without shame?”
These ideas and Reijn’s approach — to take the edgy, titillating mold of sexual thrillers and witness it through a distinctly contemporary female gaze — was an utterly new experience for Kidman, who speaks about her time shooting the film as a fever dream of sorts.
“I’ve made many sexual films, but this is different,” Kidman says. “Doing this subject matter in the hands of the woman that wrote the script, that’s directing it and is a really great actress herself — we became one in a weird way, which I’d never had with a director before. When you’re working with a woman on this subject matter, you can share everything with each other.”
In Kidman’s tour de force turn is a fractured and unusually re- latable portrait of a woman conflicted by her own desires, a performance of a certain kind of powerful, tightly-wound, up- per-crust New Yorker going back to her characters in Eyes Wide Shut and Birth. Romy struggles to balance the unwieldy duali- ties of her desire and her civilized exterior — the accomplished executive and matriarch, and the woman who, underneath it all, wants to give in, let loose, and release herself.
In other words, Reijn’s film not only earnestly contends with — and teasingly complicates — our ideas around sexuality, gender, and desire, but also our contemporary discourse around those very things. As Romy and Samuel haltingly ex- plore sexual fantasies, laying out then relishing in bending the rules and boundaries of their dalliance, the film confronts our culture’s great thorny shadow — power and sex — only to glee- fully flip it all on its back, upside down, and right side up again.
“That whole relationship between the two of them is just going: Who’s the cat? Who’s the mouse? Who’s using who? And you could also ask that about Romy and Jacob — who’s using who?” Reijn says, referencing Romy’s theater director hus- band. “Would he live in a house like that with his salary from the theater? I don’t think so. They’re all using each other because they’re all humans.”
The film becomes what Reijn calls a playground, an entertaining, sexy, and often dangerous-feeling experience in which we can consider the complexity of desire in a safe environ- ment. “It’s not a documentary,” Reijn says. “It’s all fake. We’re all buying a ticket, we’re all going to experience this together.
We can talk afterwards. I was very sure that it was needed, es- pecially moving to America, where sexual morals seem very suppressed. I wanted to explore that, but in a very human, warm way.”
That is perhaps most apparent in the film’s depiction of Romy and Samuel’s whirlwind affair, in which the forbidden fruit might very well be the source of their mutual attraction.
Nicole Kidman, Harris Dickinson / Credit: Niko Tavernise / Courtesy of A24
“This movie is absolutely a love story and absolutely full of passion and romance for me,” Reijn says of Romy and Samuel’s relationship. “I want the whole audience to fall in love with her, and I want the whole audience to fall in love with him and to be seduced by their love. To want them to be together even though you know it’s not the ‘right’ thing to want.”
Even as their affair is forbidden, it also provides a sanctu- ary of sorts in which their connection is true and beautiful, a hurricane of passion and real romance. It makes for, in a film structured and driven by lust and unspoken urges, scenes that can go from uncomfortable and funny (and from uncomfortably funny to actually funny), to passionate and sexy, to heartbreak- ing and cathartically tender, all in the span of a few thrilling, tightly staged minutes.
“Whatever we think about their relationship, within their safe room where they meet each other, they are very honest and they’re incredibly themselves in a raw, moving way,” Reijn says. “There’s a beauty in it despite the fact that they’re doing something that is forbidden. Within that, they are completely themselves and he has the capability to be incredibly warm and empathetic towards her and also towards his own needs and wants.”
A high-powered CEO puts her career and family on the line when she begins a torrid affair with her much younger intern.
After Kidman had connected deeply with Reijn’s debut feature Instinct, the pair had met and began talking about a potential future project together.
When Reijn began writing the script for Babygirl, Kidman “was definitely in my mind,” Reijn notes. “I did think she would be one of the very few people who would bring the courage to a character like this. It’s not necessarily from the start a very likable character. She has a lot of layers. You have to be able to play all those different roles.”
That is, the roles that Romy presents as, and the ones she wants to tamp down. The complexity of her role, and the nakedness underneath when she is stripped of her masks, presented Kidman with what she describes as a bracingly new challenge.
“I’m always trying to find more inside me,” Kidman says of her approach to her career. “I just need someone to come along and say, I’m going to help bring that out of you.” She found it in Reijn from the start. “We talked for about an hour after I read the script, and we were just completely intertwined from that point on. It really has been the most unusual relationship to me.”
Halina Reijn, Nicole Kidman / Credit: Niko Tavernise / Courtesy of A24
“She is so incredibly smart, and the chemistry between her and me was a dream,” Reijn says. “It was almost telepathic communication.” It was a kind of cosmic artistic alignment that was particularly crucial on a film that involved so much vulnerability. Kidman says frankly, “I wouldn’t have made it if it wasn’t with Halina.”
The same, she notes, can be said for her male counterparts in Dickinson and Banderas, “who were like, yes, we will come and be there with you and be your partners in this storytelling, but we’re not the center of the story. I love them for being there with all their openness. They were so generous to us.”
In Dickinson, Reijn, who had been immediately drawn to the actor after seeing him in Beach Rats and Triangle of Sadness, found a fluid embodiment of Samuel’s shifting, often competing dualities of confident masculinity and a tender, boyish sense of empathy.
“It looks almost like it’s improvised, but it’s not,” Reijn says. “It’s so hard to do because he can look in one shot like a 12-year-old little boy, and then in the next, he’s a man, a totally confident 45-year-old guy.”
When Reijn paired Dickinson up with Kidman over an initial Zoom call, she could immediately sense their ability to slot into the see-sawing power games of their characters.
“They were very vulnerable, sweet, but also having fun,” Reijn recalls. “I really just looked at them and listened to them and took a step back. There’s an insane amount of respect, but also playfulness between them. I could immediately see they would be each other’s equal.”
Dickinson, though, admits that he was intimidated by Kidman. “I’d be lying if I said I wasn’t,” he says. “She’s obviously a force of nature as a performer, as a person. Incredibly impressive and professional, but also really dictates the energy on set.”
The two, Reijn notes, “made a point that they didn’t want to get to know each other too well” before production began, perhaps helping to inspire the somewhat antagonistic distance between their characters in the film, particularly early on.
On set, though, Dickinson says, “we very quickly got comfort- able with each other. That was necessary for the dynamic that we have as characters. I think Samuel isn’t afraid of her and isn’t intimidated by her, so I had to really just be comfortable in her presence. But she made that very easy. She’s very calm, very cool.”
Kidman, though, speaks of the space of vulnerability that she entered with Dickinson and Banderas with a kind of rever- ence, a realm of performance that was inhabited rather than discussed. The experience of where they went, it seems, stays mostly between them. “That’s kind of like sacred territory, and I promised Harris, and I promised Antonio, that place of artistic sacredness, we hold it in that bubble — that’s where it exists,” Kidman says. “If that translates into the performances, fantastic. That’s where it stays, and that’s how it stays. But it doesn’t get dissected intel- lectually because it’s all too magical.”
Antonio Banderas, Nicole Kidman, Credit: Courtesy of A24
While Dickinson tapped into the young, playfully goading other man, Banderas played Jacob, a theater director and the du- tiful, cuckolded husband, a role that, on paper, might seem diametrically opposed to the character he typically cuts: the dominant, dangerous men in his acclaimed films with Pedro Almodóvar, Tie Me Up! Tie Me Down! and The Skin I Live In. Reijn wanted somebody who was not “shy or obviously intellectual” but rather someone who was particularly masculine, even as “it was not an obvious role for masculine men to play the husband of this very strong and powerful character.”
“It was very important to me that it is not his problem — it is her journey, it is her problem,” Reijn notes. “It’s not his masculinity. It’s not that he’s not able to be a dominant man in bed. I wanted him to be a very interesting, amazing man. I wanted their mar- riage to be good in essence.”
Banderas, in some ways the archetype for a kind of suave and sensitive masculinity, seemed perfect. “I thought he would never do it,” Rejin says. “I was so nervous to meet him and speak to him, but he immediately said yes.”
The actor gravitated immediately to the script, finding it “very courageous about desires that we all human beings have and not all of us have the courage to express that have to do with sexuality and a way to understand our own traumas.”
Playing the man pushed aside, Banderas, an icon of the screen, was particularly generous and helped set the tone on set in surrendering himself to the production.
“He was the hardest worker, open to any direction, incredibly playful and sweet, and made everybody feel safe,” Reijn says. “He made Nicole feel super seen and safe in the sex scenes that they had. He brought a vulnerability and a strength that I’m totally grateful for.”
Banderas, though, directs the praise onto Reijn and Kidman, the two women he credits for shepherding the film. “These two women are a dream — powerhouses,” he says. In particular, the film allowed him to finally work with Kidman, who he calls “one of the best actresses ever.”
Director/Writer/Producer Halina Reijn
Halina Reijn is a visionary filmmaker, producer, actress, and author known for her ability to craft subversive and provocative narratives that challenge conventions and push boundaries.
Reijn’s latest feature is the erotic thriller Babygirl, which she wrote, directed and pro- duced with with 2AM for A24. Nicole Kidman, Harris Dickinson and Antonio Banderas star in the film which is making its world premiere at the 2024 Venice Film Festival before being released later this year. Previously, she directed A24’s Bodies Bodies Bodies starring Pete Davidson, Maria Bakalova, Amandla Stenberg, and Rachel Sen- nott. The film had its world premiere at SXSW and earned Reijn a Film Independent Spirit Award nomination for Best Director. Reijn’s critically acclaimed directorial debut, Instinct, premiered at the Locarno Film Festival in 2019, followed by bows at TIFF, BFI London, and Les Arcs. Produced under Reijn’s Man Up banner, the film received a European Film Award nomination for Best Debut Film and was The Netherlands’ sub- mission to the Academy Awards for Best International Feature.
As an actress, Reijn most recently starred in, created and produced the television series Red Light, earning her the award for Best Actress at the Dutch Film Festival and the series a Dutch film award for Best TV Show. She also starred in the Oscar-nominat- ed film ZUS & ZO, Paul Verhoeven’s Black Book, which premiered at the 2006 Venice Film Festival, and in Valkyrie, opposite Tom Cruise. On stage, Reijn has been recog- nized for standout performances in leading roles in Hedda Gabler, The Taming of the Shrew, and The Human Voice, winning several awards for her performances.
by Daniel Dercksen·Comments Off on The Significance Of Prequels
Prequels are films that chronologically precede existing films in a series, exploring the events and stories that lead up to the original plot. They’re a fascinating way to delve deeper into a character’s background, explore origins, and expand the universe of a beloved story.
Prequels provide an opportunity to explore the origins and motivations of characters, adding depth to their story arcs. They allow filmmakers to expand the world of the original films, introducing new locations, characters, and lore.
Prequels can evoke nostalgia by revisiting familiar settings and themes while offering fresh perspectives.
Prequels provide an opportunity to explore the origins and motivations of characters, adding depth to their story arcs. They allow filmmakers to expand the world of the original films, introducing new locations, characters, and lore. Prequels can evoke nostalgia by revisiting familiar settings and themes while offering fresh perspectives.
Since the outcome is often already known, prequels must find creative ways to maintain suspense and engagement. Maintaining consistency with the original films can also be challenging, especially when dealing with established lore and character development. Prequels must satisfy long-time fans while attracting new audiences, balancing familiarity with innovation.
Some prequels offer new perspectives on familiar events, shedding light on untold stories and lesser-known characters. Introducing new mysteries and questions that intrigue the audience, even if they know the ultimate outcome. Ensuring that the visual and stylistic elements align with the original films while still allowing for creative exploration.
Prequels can be a thrilling way to dive deeper into beloved stories and characters, adding layers of complexity and richness to the original narratives.
The mystery of prequels lies in their ability to captivate audiences by filling in the gaps, revealing secrets, and uncovering the untold stories that precede well-known narrative
Prequels delve into the backgrounds of beloved characters, providing insights into their origins and motivations. This exploration can transform a character’s arc and add depth to their actions in the original storyline. In “Better Call Saul,” the prequel to “Breaking Bad,” we learn about Saul Goodman’s transformation from Jimmy McGill, a struggling lawyer, into the shady, morally ambiguous attorney we know.
Prequels often reveal connections between characters and events that were previously unknown, creating a richer and more interconnected universe. “Rogue One: A Star Wars Story” reveals the mission to steal the Death Star plans, a crucial event that connects directly to the beginning of “Star Wars: A New Hope.”
Expanding the universe of the original story, prequels often introduce new locations, cultures, and elements that enrich the narrative landscape. “Fantastic Beasts and Where to Find Them” explores the magical world of the 1920s, adding historical context and new magical creatures to the Harry Potter universe.
They can address and resolve plot holes or unanswered questions from the original story, providing a more complete and coherent narrative. Prometheus, a prequel to Alien, explores the origins of the Xenomorphs and the Engineers, shedding light on the mysteries introduced in the original series. Alien: Romulus is is part of the Alien franchise, set between the events of Alien (1979) and Aliens (1986).
The mystery and appeal of prequels lie in their ability to expand on beloved stories, uncover hidden layers, and enhance the overall narrative universe. They invite audiences to re-engage with familiar worlds while discovering new facets and deeper meanings
Mamma Mia! Here We Go Again” is both a sequel and a prequel to the original Mamma Mia! movie. It continues the story of Sophie as an adult while also delving into the past to show how Donna met Sophie’s three possible fathers.
Mufasa: The Lion King a prequel to The Lion King, it’s an expansive journey of an extraordinary group of misfits searching for their destiny.
Serving as a prequel to The Lord of the Rings trilogy, The Hobbit Trilogy (2012-2014) delve into the adventures of Bilbo Baggins and set the stage for the epic journey of the ring.
The prequel of Star Wars: Episode I – The Phantom Menace (1999) explores the origins of key characters and events leading up to the original “Star Wars” trilogy, including the rise of Darth Vader.
X-Men: First Class (2011) explores the early years of the X-Men universe, focusing on the origins of Professor X and Magneto.
by Daniel Dercksen·Comments Off on Mufasa: The Lion King – An expansive journey of an extraordinary group of misfits searching for their destiny
Says director Barry Jenkins, “In ‘The Lion King,’ when Mufasa looks up into the heavens and you see all the great kings, we assume that they were all just born great. I saw this film as an opportunity to really ground Mufasa—to show that this guy was not born perfect. He was not born wealthy. He was not born entitled. He was just someone with a family who lost that family. Then faith and fortune and luck gave him a new family that he learned from and built with. He wasn’t given a damn thing—he earned all of it through learning, through being one with his environment, through caring for others.”
REVIEW:Mufasa: The Lion King is a masterpiece that resonates deeply with audiences. The film explores universal themes such as the cycle of life, the journey to self-discovery, courage, and redemption. These themes have a timeless appeal, touching on fundamental aspects of the human experience. Characters like Mufasa, Simba, Scar, and Rafiki are richly developed and unforgettable. Their unique personalities and journeys allow audiences to connect on an emotional level. The film imparts important life lessons about responsibility, the consequences of one’s actions, and the power of forgiveness and hope. Mufasa’s wisdom and teachings to Simba are particularly impactful. The breathtaking animation captures the grandeur of the African savanna, creating a vivid tapestry that pulls viewers into the world of Pride Rock. The film’s score, featuring music by Elton John and Hans Zimmer, is iconic. The songs and orchestral pieces elevate the emotional intensity and joy of the narrative. The Lion King has had a significant cultural impact, inspiring countless adaptations across various media and resonating with different generations since its release. Simba’s journey from a carefree cub to a responsible king mirrors the struggles many face in finding their identity and place in the world.
“Mufasa: The Lion King broadens the definition of family. “Mufasa and Taka’s relationship is the foundation for the incredible journey of this film, and the starting point for what will become the found family we know and love across the franchise,” says producer Mark Ceryak.
“It is through their brotherhood that we are thrust into the adventure; they would do anything for each other and so they must to survive. Taka, Eshe and Obasi are Mufasa’s original found family, but it’s through Mufasa and Taka’s bond that they expand their circle with Rafiki, Sarabi and Zazu. Familial bonds are at the core of everything we experience in this story.”
Blending live-action filmmaking techniques with photoreal computer-generated imagery, Mufasa: The Lion King captures the richness and diversity of Africa’s landscape. The look is both stunning and surprising, showcasing the locale like never before—including snowy scenes.
Jenkins, who describes the story of Mufasa’s life before he was king as a journey film, says, “At the beginning of our movie, Mufasa gets washed away from the habitat that we’ve come to expect of ‘The Lion King.’ He gets washed all the way down the continent, and he has to work his way back. That gave us this opportunity to really cover all of these different environments and climates.”
Exploring the unlikely rise of the beloved king of the Pride Lands, Mufasa: The Lion King enlists Rafiki to relay the legend of Mufasa to young lion cub Kiara, daughter of Simba and Nala, with Timon and Pumbaa lending their signature schtick. Told in flashbacks, the story introduces Mufasa as an orphaned cub, lost and alone until he meets a sympathetic lion named Taka—the heir to a royal bloodline. The chance meeting sets in motion an expansive journey of an extraordinary group of misfits searching for their destiny—their bonds will be tested as they work together to evade a threatening and deadly foe.
Disney’s all-new coming-of-age tale of the future king of the Pride Lands kicked off production in Spring 2022 in a new and unique facility in downtown Los Angeles—its nondescript exterior concealing the cutting-edge cinematic technology within. Directed by Jenkins from a screenplay by Jeff Nathanson, the big-screen adventure is produced by Adele Romanski, p.g.a., & Mark Ceryak, p.g.a., and executive produced by Peter Tobyansen.
Jenkins worked alongside animators and digital artists at the Moving Picture Company to create the look of the film. MPC’s animators and digital artists bring a cast of Disney’s beloved animal characters to life for a third time following 2016’s “The Jungle Book” and 2019’s “The Lion King.”
When Barry Jenkins kicked off his efforts behind Mufasa: The Lion King in 2020, he had a vision.
“The look of the film was really important to me,” says the director, who was inspired by the films and stage musical that audiences have long embraced. “This film had to stand on its own.”
Filmmakers worked in digital virtual reality to scout locations and plan the shoot for the movie. With influences from real locations throughout Africa, a defining journey was envisioned and executed for Mufasa, future leader of the Pride Lands, capturing Jenkins’ lyrical style, emotion and vast vision for the film.
From the production design and cinematography to the digital design, animation and editing, filmmakers blended approaches from animation and live-action. Teaming up with artists and technicians from MPC, filmmakers worked in digital virtual reality to scout locations, plan and shoot the movie. With their collective talent and dedication, they meticulously captured the essence of Jenkins’ vision, infusing every frame with a captivating blend of emotion and beauty.
Friedberg’s virtual process aligned in many ways with a live-action approach. After researching, scouting, securing and documenting the locations, his team began designing and building the sets, beginning with concept art. “It’s complicated, involving hundreds of drawings that can take weeks,” he says. “The next layer was the virtual set, a three-dimensional space we created based on the concept art.”
Friedberg was eager to create the kind of expressive imagery that Jenkins gravitates toward. “There is emotion in each frame,” he says. “We wanted the story to be sensory and intuitive and emotional.”
As with 2019’s “The Lion King,” “Mufasa” is a blend of animation, photoreal CGI and live-action filmmaking techniques. Visual effects supervisor Adam Valdez and his team have benefited from advances since audiences embraced a new look for Simba and his quest. “As computers get faster and Unreal Engine gets more sophisticated, we are able to better create a photographic feeling during this process. In the past, it’s been more primitive-looking. If you think about mood and suspension of disbelief in a movie, this is critical. We don’t just want this work to look like moving versions of storyboards. We want it to evoke feeling, and we want it to feel like it’s tonally in line with where they think the scene is going. And that all has an impact on how you design shots.”
To get a three-dimensional sense of Friedberg’s sets and to plot out and/or review shots, and angles and scenes in the world of “Mufasa,” the team regularly donned headsets and trekked to Africa via a virtual-reality setup. “Crucially, it allowed the team to develop a physical relationship with the sets and locations,” says Friedberg.
With a career rooted in live-action filmmaking, cinematographer James Laxton, ASC, got an opportunity to explore an entirely new playground. “I really took a deep dive into the virtual production tool set,” he says. “I was very interested in trying to understand some of the virtual capture tool sets in hopes that it would free me up to not limit myself to a live action approach. Clearly, the process is different, but the anchor is the story that Barry wants to tell. There are a lot of differences in terms of lighting the set and how light plays and atmosphere levels—all that stuff is made in the computer with a lighting team, so sky’s the limit. You have such freedom to do anything. Your only limit is your imagination, which is a pretty powerful concept.”
Laxton applied his live-action background to digital filmmaking. “The set was designed in the computer, starting with Mark Friedberg’s creations—concept art and plans—then Adam Valdez’s amazing team animated that set and then my lighting team began their work, starting to virtually light to our visual specifications and that came to the stage with us when we began to shoot the movie,” he says. “Camera moves and angles and lighting, these are all part and parcel of the job of cinematographer. It’s just not in a literally physical space. In some ways, it’s quite a similar process to live action—color palette, movement, lighting—these elements we consider in live action, too.”
Editor Joi McMillon, ACE, worked with Jenkins to create early reels of the film using voice recordings and storyboards. The resulting roadmap informed animators, cinematographers and the rest of the team as the film came together. McMillon continued to refine it as production/post production progressed. The process differed from the live-action titles she’s worked on for Jenkins, including “Moonlight,” “If Beale Street Could Talk” and “The Underground Railroad.” “Usually when Barry and I work together, it’s after production,” says McMillon. “That’s when we start to dig in and try to figure out what each scene and sequence are about based on the script and everything that has been shot.”
McMillon’s history with Jenkins and live-action filmmaking informed every edit. “My editorial team and I have an old-school approach,” she says. “I know how specific Barry is about transitions and the feelingcoming in and out of scenes. So, even though we might only be turning over a little bit of a section, I would build in a transition in and out of the scene, which was crazy to do before we’d seen the film in its entirety. But we soon found a groove and became accustomed to that way of working.”
The powerful blend of epic vistas, details from the natural world and music define the rising king’s adventure. Hundreds of artists across three continents dedicated four years to digital world-building, animation, digital cinematography and complex visual effects that required the unprecedented use of the latest computer graphics techniques, immense data and computing power. Add to that a compelling score and a host of all-new songs—the result is a piece of tremendous scope and drama.
Continuing the tradition that made the animated movie, the stage show and 2019’s celebrated film beloved in the hearts of audiences worldwide, the new story comes to life on the big screen thanks in large part to the music.
“The music of ‘The Lion King’ has always been iconic,” says Jenkins. “It takes Western music, the work of Elton John, and blends it with the sound of the continent, of Africa, which was really important to me. Lin-Manuel Miranda really embraced and understood that. We all got together and tried to excavate the wonderful work they did on the original film, but then take the energy of Lebo M—who, to me, is the voice of ‘The Lion King’—and go somewhere new.”
Says producer Adele Romanski, p.g.a., “OK, let’s be real, those OG ‘Lion King’ songs are bangers. But Lin-Manuel Miranda is a musical genius, and I think as soon as folks hear the new songs he wrote for the film, they will join the Elton John and Tim Rice jams from LK ‘94 in the ‘Lion King’ musical canon.”
Miranda, who wrote original songs for “Mufasa: The Lion King” that are produced by Mark Mancina and Miranda, with additional music and performances by Lebo M, says he found an immediate connection with the story. “When I read the screenplay, I felt like the places where the songs needed to happen really just popped out,” he says. “In fact, [for] at least a few of the songs, the titles of the songs I ended up writing were originally lines of dialogue in the screenplay. ‘I always wanted a brother’—there’s a line of dialogue—and I built the whole song around that title. I’m always looking to the screenplay for clues as to what wants to sing.”
Miranda also looked for opportunities to have a little fun. “It’s a harrowing journey that our characters go on,” says the songwriter. “I think it’s my job to write ‘joy bombs’ in the middle of this movie—moments of pure joy and escape in that same way that when you first saw ‘The Lion King’ and ‘Hakuna Matata’ came out of nowhere and delighted you.”
The film’s original score was composed by Dave Metzger. Nicholas Britell contributed to “I Always Wanted a Brother” and contributed several original score themes as well.
Supervising sound editor/re-recording mixer Onnalee Blank, CAS, MPSE, created the sonic equivalent of a full assembly, a companion to editor Joi McMillon’s visual iteration, all before cameras rolled. If the soundscape feels immersive, it’s because of Blank’s dedication to authenticity.
BARRY JENKINS (Directed by) is a film director, writer, producer, and screenwriter. In 2016, he won the Academy Award for best picture for “Moonlight” as well as the Golden Globe Award. His screen adaptation of James Baldwin’s novel “If Beale Street Could Talk” received critical acclaim and won a best supporting actress award for Regina King at 2019’s Academy Awards. His adaptation of Colson Whitehead’s novel earned multiple awards, including the AFI Award for TV program of the year, the ASC Award for outstanding achievement in cinematography in motion picture, limited series or pilot made for television, BAFTA TV International Award, the DGA Award for outstanding directorial achievement in movies for television and limited series, the Golden Globe for best television limited series, anthology series or motion picture made for television, 2022; the Image Award for outstanding directing in a drama series; the Golden Reel Award for outstanding achievement in sound editing – limited series or anthology and earned seven Emmy nominations.
Born Nov. 19, 1979, in Liberty City, Miami, Fla., Jenkins was 12 when his father died leaving his mother, who struggled with drug addiction, to raise him and his three siblings. He attended Northwestern Senior High in Miami where he played football. In 2003, he graduated from Florida State University in Tallahassee, Florida earning a Bachelor of Fine Arts degree. He worked as a carpenter and co-founded an advertising company called Strike Anywhere.
Jenkins first got into film by being drawn to French and Asian New Wave Cinema. At film school at Florida State he made a seven-minute short film, “My Josephine” (2003), about a couple of Arab immigrants who ran a laundromat and dry cleaners. He identified with characters who were outside the mainstream and “decided to take my experience of feeling like an ‘other’ as a Black man in the South, and use that as a way to empathize with my characters.”
His first experience with Hollywood-style filmmaking occurred when he worked in Los Angeles as a director’s assistant on Oprah Winfrey’s Harpo Production Film production of “Their Eyes Were Watching God, “(2005) based on Zora Neale Hurston’s novel. In 2008 he wrote and directed “Medicine for Melancholy,” which won critical acclaim. A low-budget independent film, it was a story about the relationship between two people in over a twenty-four-hour period in a San Francisco neighborhood undergoing gentrification. In 2011, he wrote and directed “Remigration,” a sci-fi short film also about gentrification.
Jenkins co-wrote the screenplay for his second film, “Moonlight,” with playwright Tarell Alvin McCraney. “Moonlight” was a coming-of-age story of a gay Florida youth who, over the course of 16 years, discovers “the nature and meaning of manhood.” After a troubled childhood, where he is neglected and mistreated by a drug addicted mother, he becomes a brooding teenager, confused about his sexuality. Finally, as a young adult he understands and accepts himself.
Jenkins’ next film, “If Beale Street Could Talk” (2019), like “Moonlight,” garnered considerable praise, winning the 2018 Independent Spirit Award for best film and best director, and a nomination for best adapted screenplay at the 89th Academy Awards. A love story, the film, based on James Baldwin’s novel, was a dream come true for Jenkins, who worked with the Baldwin Estate. Regina King won best supporting actress for her role as Sharon Rivers.
JEFF NATHANSON(Screenplay by) has been a screenwriter for over thirty years. His credits include the “Rush Hour” series, “Catch Me If You Can,” “The Terminal,” “Indiana Jones and the Kingdom of the Crystal Skull,” “Tower Heist,” “Pirates of the Caribbean — Dead Men Tell No Tales” and “The Lion King.” This year, he not only wrote “Mufasa: The Lion King,” but he also wrote and produced “Young Woman and the Sea” starring Daisy Ridley. He lives in Los Angeles with his wife and three children.
by Daniel Dercksen·Comments Off on The Lion King roars to life on the Big Screen in a Whole New Way
Director Jon Favreau, who utilized technology to tell the story of the live-action The Jungle Book in a contemporary and immersive way, has long admired Walt Disney’s pioneering spirit, and pushed the boundaries to take The Lion King to the big screen in a whole new way—employing an evolution of storytelling technology that blends live-action filmmaking techniques with photoreal computer generated imagery.
“It’s such a beloved property,” says Favreau, who directed the film from a screenplay crafted by Jeff Nathanson (Catch Me If You Can, Pirates of the Caribbean: Dead Men Tell No Tales), based on the 1994 screenplay by Irene Mecchi, Jonathan Roberts and Linda Woolverton.
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Jon Favreau
“Disney has had tremendous success with the original animated version and then the Broadway musical. I knew that I had to be very careful with it,” says says Favreau. “I felt a tremendous responsibility not to screw it up. I wanted to demonstrate that we could be respectful of the source material while bringing it to life using mind-blowing techniques and technologies.”
Widely considered an animated masterpiece, beloved by fans worldwide, Disney’s 1994’s classic The Lion King won Academy Awards for the original song Can You Feel the Love Tonight (Elton John, Tim Rice) and original score (Hans Zimmer). In 1997, the stage production inspired by the film made its Broadway debut, subsequently winning six Tony Awards®; 22 years later, it remains one of Broadway’s biggest hits, recently marking its 9,000th show.
Now, with the live-action release audiences can journey to the African savanna where a future king is born. Simba idolizes his father, King Mufasa, and takes to heart his own royal destiny. But not everyone in the kingdom celebrates the new cub’s arrival. Scar, Mufasa’s brother—and former heir to the throne—has plans of his own. The battle for Pride Rock is ravaged with betrayal, tragedy and drama, ultimately resulting in Simba’s exile. With help from a curious pair of newfound friends, Simba will have to figure out how to grow up and take back what is rightfully his.
It was a trip to Africa that pointed Favreau in the direction of “The Lion King.”
“I went on safari to Africa six months prior to first talking to Disney about doing this film,” says Favreau. “I remember when a warthog ran by our safari vehicle, one of the people in our group started singing ‘Hakuna Matata.’ And then when we saw lions up on a rock, they all said, ‘Oh, look, it looks like Lion King.’ This story has become a frame of reference that everybody now knows and accepts. It pops up in music, on TV shows, in comedy routines, as part of sketches. It’s continually referenced. It’s such a deep part of our culture that it felt like there was a tremendous opportunity to build on that and to retell the story in a different medium.”
Environments were designed within a game engine; state-of-the-art virtual reality tools allowed Favreau to walk around in the virtual set, scouting and setting up shots as if he were standing in Africa alongside Simba.
According to producer Karen Gilchrist, the director sought to root the film in reality—and did so in unexpected ways. “He wanted to capture those things you can’t quite explain,” she says. “Having director of photography Caleb Deschanel actually working the wheels or having a dolly grip, you get those magical things that happen with the human touch. Not always having the perfect shot, the perfect sunrise, the perfect sky—that was really important to Jon.”
Once the film was created within VR,
Favreau shifted gears and directed the film during the animation process.
Ultimately, the complex team of artists, technicians, live-action professionals
and cutting-edge animators created what is essentially a new way to make a
movie. But is it live action or animation? “It’s hard to explain,” says
Favreau. “It’s like magic. We’re reinventing the medium.”
But, adds the director, “We’re not reinventing the story.”
For Favreau—much like Walt Disney before him—story comes first. He set out to preserve the soul of the original film, while allowing the performances, artistry, music and humor to unfold organically.
“I understood going into this how important that powerful inherited relationship was with the original film,” says Favreau. “There is such a rich tradition surrounding this material. We are dealing with archetypes and struggles going back to Shakespeare’s ‘Hamlet’ and earlier. Betrayal, coming-of-age, death and rebirth—the cycles of life—are the foundation of all the myths around the world. Then bring in such strong emotional cues like the music from Africa and the songs that Elton John and Hans Zimmer collaborated on.”
Much like the Broadway show presented the classic story in a different medium, Favreau’s contemporary approach added dimension, emotion and realism to the film.
“We definitely are not shy about going back to the old material, but it is amazing how much you can change and update invisibly. And that’s the trick—you don’t want it to feel like you’ve imposed yourself upon the film. We don’t want to cross the line of making something feel too intense, or lose the thread of what we remember about the old film. Comedy works differently. Music works differently. The animals’ natural combat works differently. It’s a family film, an adventure film. But there are areas, even in the original film and in the stage play, which are very intense and emotional. It’s a balancing act because we want to hit those same feelings and the same story points, but we don’t want to overwhelm the audience in a way that the earlier production had not.”
by Daniel Dercksen·Comments Off on Writer-Director George Huang talks about Weekend In Tapei
“I’ve been collaborating with Luc Besson for the last 10 years, we’ve co-written some scripts together,” says writer-director George Huang. “He came to me with the idea for Weekend in Tapei a couple years ago, like, “Hey, I’m thinking of doing a female Transporter set in Asia, what would that look like?” So, he and I just started asking each other questions, riffing off each other. If it’s a female transporter, what is she transporting? Who’s she running from? Why is she running? What’s her deep, dark secret? What does she want to protect?”
George Huang is back in the director’s chair after a little over 20 years with Weekend in Taipei. Huang had first broken out with the 1994 Hollywood satire Swimming with Sharks, which he wrote, directed and was the dialogue editor and sound effects editor.
In the action-packed WEEKEND IN TAIPEI John Lawlor is a pit-bull DEA agent married to his job – there’s not a bad guy he can’t stop, nothing he won’t sacrifice to close out a case. Joey Kang is a top “Transporter” in Taipei – fast-driving and fast-thinking, she’s difficult to pin down, impossible to catch. The two of them weren’t supposed to fall in love, but fate brought them together… before forces of crime and corruption tore them apart. Now, 15 years later, fate puts Joey and John on a collision course during a weekend in Taipei. And the two will discover that the only thing harder than falling in love… is falling back in love.
Directed by George Huang, screenplay by Huang and Luc Besson.
An Interview With Writer/Director George Huang
How did this project come about?
I’d worked on several projects with Virginie Besson-Silla, and then this one came along. Luc and I got together and exchanged a number of ideas. We wanted the plot to be as spontaneous as possible, and then we worked on the action scenes and thought about their feasibility. We also worked on character development. It was a lengthy process, but honestly, it was quicker than on most films. It took two years from our first meeting to the finished film.
As writer and director, what were the main difficulties you had to face?
It’s quite an advantage to play both roles. It’s not really an obstacle, because there are a lot of elements that you can’t write down in the script and that only exist in your head. For example, when the crew asked me “What kind of clothes are the characters supposed to wear?” or “What kind of car do you want us to use?”, I’d already thought about it. But once I’m on set, because I know the story down to the last detail, I’m able to answer all the team’s questions.
The biggest challenge of this project – but also its greatest asset – was the international dimension of the team. Most of the team was from Taipei, and there were a few French post supervisors, notably for the physical stunts and cars, and the cinematographer… and others, like myself, who came from Hollywood. So some spoke Mandarin, some French and some English. Sometimes it’s a bit complicated, but once you know what you’re doing, you just have to take the time to explain it better. So that was the hard part. But it’s also exhilarating to work with people who have different approaches to cinema, and to draw on the best of each culture.
How did you orchestrate the casting?
Let’s start with Luke Evans. He’s a star! He’s played Dracula, Owen Shawn in the Fast & Furious saga, Bard in The Hobbit. He’s the kind of first-rate actor you dream of working with one day, but tell yourself he’s unattainable. We sent him the script and he very quickly responded positively. I think it’s a role that stands out from his previous films. He’s done a lot of physical training and he’s grown in stature, and we’d never seen him in an action film with such muscular scenes. But he’s also a very sensitive actor. For the lead role, we couldn’t have wished for an actor who combines these two facets.
We also met Gwei Lun Mei, who is extraordinary and whose work I knew. She plays dark, brooding characters in films like The Insider and Black Coal Thin Ice, but she also has a bubbly side, and it was great to be able to draw on both sides of her personality. We often joked that she had something of Margot Robbie’s character in Babylon!
As for Sung Kang, he’s another wonderful actor. We knew each other a little because there aren’t many Asian-American actors in Hollywood, although we hadn’t yet had the opportunity to work together. I was impressed by the power of his acting. He wanted to arrive two weeks ahead of schedule in Taipei to train for fight scenes and stunts. Above all, even before taking on the role, he was particularly keen for us to pay close attention to the representation of the Asian community in cinema. There are very few Asian actors in major Hollywood productions, and Sung is one of them.
Can you also tell us about the youngest actor in the film?
We found Wyatt, who plays Raymond, thanks to the hard work of the casting teams in Taipei. We had to find a 13-year-old boy in Taiwan who spoke good English and could act. He didn’t have much experience. He has a natural gift and a sunny personality that attracts people. Everyone wants to be friends with him. He’s the character who sets the plot in motion – the one everyone wants to catch and protect. For such a character to be believable, he has to be extremely endearing. And that’s the kind of character you’d be willing to fight for.
What were the biggest challenges on set?
In all honesty, when you’re shooting a film, every day is a new challenge. Apart from the translation problems, the hardest thing to deal with was the schedule. We shot in Taipei in summer, which many people had advised us against doing. As it happens, we were there during one of the hottest summers in history! It’s particularly difficult to shoot an action film involving chases and fights in the heat and humidity. But, paradoxically, that’s also what helped us in a way. In the third act, a spectacular battle breaks out, which was supposed to take place in the streets of Taipei, and when we were scouting the locations, we were swimming after a ten-minute walk. It was terribly hot!
It was unimaginable to spend several hours in the street. The poor actors would have run off. So we moved the final battle to a cinema where images from Zhang Yimou’s The Secret of the Flying Daggers are projected onto the actors. This makes the final battle more cinematic and aesthetically pleasing than we’d written it. So you always have to know how to adapt. It’s complex, but the end result is all the better for it.
How did you go about directing the film?
Frankly, the greatest source of inspiration was the city of Taipei. It’s a city of extraordinary visual richness. You can be right downtown, in the heart of a bustling, glittering metropolis with all its lights, and then, ten minutes later, find yourself in the middle of the mountains and lost in the forest. This biodiversity, with its spectacular aesthetics, became the visual signature of the film. We had the opportunity to shoot in extraordinary locations, such as the beachfront at Dawulun or the Ellipse 360 Tower. The Marriott hotel also gave us the freedom to shoot complicated action scenes… Taipei was a real goldmine for a shoot. I can’t wait to see how other foreign directors can make use of the Taipei setting. After all, we’ve only filmed a few locations, and there are many more to discover. I’d also like to make a special mention of our Art Director, Wern-Ying Hwarng, who directed all the film’s decor and costumes.
by Daniel Dercksen·Comments Off on Kraven The Hunter – A Superhero Actioner
“Kraven the Hunter is a big action movie, but at its core it’s also a good old-fashioned Russian gangster story, a story about the making of one of the greatest villains there is,” says director J.C. Chandor. “Like many gangster stories, this film is a family tragedy. There are a lot of things here that people will recognize in their own families, which is the complexity of your relationships with your parents, with your siblings, with your half-siblings.”
“Like any good villain story, there’s a price to pay when you try and take a shortcut to doing the right thing, or you try and step outside of who you really are, says Chandor.
Kraven The Hunter is the action-packed, R-rated, standalone story of how one of Marvel’s most iconic villains came to be. Aaron Taylor-Johnson plays Kraven, a man whose complex relationship with his ruthless gangster father, Nikolai Kravinoff (Russell Crowe), starts him down a path of vengeance with brutal consequences, motivating him to become not only the greatest hunter in the world, but also one of its most feared.
As Kraven—born Sergei Kravinoff—embarks on a bloody journey of revenge and vigilantism, he gradually becomes a villain. “Kraven believes that he can make the world a better place through breaking basic tenets of society and fundamental rules of decency,” Chandor continues. “But he believes he’s doing that to serve the greater good. He absolutely does.”
Aaron Taylor-Johnson, who plays Kraven, says that the tragedy of Kraven’s story is that he did not have to be a villain. He has been molded by his father, Nikolai, played by Russell Crowe, to have the inner strength to take over the family business—and to be as unforgiving and violent as his father is. For Taylor-Johnson, the root of Kraven the Hunter is in Sergei’s decision to break free of his family’s legacy of crime and cruelty – but instead of making him a savior, that decision ultimately turns him into an even more terrifying kind of criminal.
At the heart of it, Taylor-Johnson explains, is his relationship with his brother, played by Fred Hechinger. “Sergei’s younger brother, Dmitri, has been shunned from the beginning as the inferior sibling,” explains Taylor-Johnson. “Dmitri has been living under his father’s disapproval and abuse, and Kraven decides he’s had enough. He can’t tolerate his father’s corruption anymore—he’s going to go on his own path and make things right. Kraven promises his brother that he’s going to protect him.”
“Ultimately, that promise is his biggest downfall,” Taylor-Johnson continues. “Because even though he says he’s going to be there, his actions show otherwise. By abandoning and neglecting Dmitri, he loses the trust of his brother, and mirrors everything he hates about his father.”
Directed J.C. Chandor, previously the helmer of such films as A Most Violent Year, All Is Lost, and Margin Call, the screenplay is by Richard Wenk and Art Marcum & Matt Holloway, with a story by Richard Wenk, based on the Marvel comics.
To tell Kraven’s story in a compelling, believable way, Chandor felt it important to make it visceral and raw
“One of the amazing opportunities about the film becoming an R-rated film was actually digging into Kraven’s origin,” he says. That was important, Chandor says, because it was the only way to tell the story of Kraven’s journey honestly. “You see this tragic moment when Sergei, this kid filled with testosterone and rage, kills these two guys as a teenager. He’s given a choice—he could have walked away from that incident, and probably never had anyone know that it had happened. But in that moment, there’s some element of bloodlust that he loves. There’s a justification for it: ‘These were bad guys, and I just took them off the planet, and that feels good.’ It’s that uncontrolled rage that is at the heart of this story, but you really would not have been able to walk anywhere near any of those topics in a PG-13 film.”
For Taylor-Johnson, the volatile mix of tactical skill and violent rage exhibited in the film grounds Kraven and sets him apart. “This is like no other Marvel superhero movie, because Kraven isn’t a superhero,” Taylor-Johnson says. “He’s not an alien. He’s not a monster. He’s a man who has been trained as a skilled hunter and killer.” And as the film continues, Kraven will make big decisions about how to use those skills.
To tell the story of a street-level villain, Chandor and his team relied on practical filming locations instead of more VFX-heavy environments. “We shot a lot of this film in England,” Chandor says. “The sun is out, the hills are rolling. Everything you see in this film is the real deal.”
“It grounds the film,” says producer Avi Arad. “All of the action, all of the violence, hits different because it’s the real world.”
Taylor-Johnson found that the practical locations enabled him to embrace Kraven’s character more deeply. “The best action sequence you’re going to see is Kraven running barefoot through the streets of London,” he says. “He doesn’t care about the broken glass piercing his feet. He’s an animal. He’s a raw beast.”
“In this scene, Kraven is running along the River Thames, desperately chasing a bunch of guys who have kidnapped his brother,” explains producer Matt Tolmach. “He’s literally running after, climbing on, trying to tear apart a van that’s making its way across the city with his brother in it. They’re heading towards a helicopter, and Kraven is doing everything he can to stop them before they take off.”
Filling out that real-world landscape is a cast of morally complicated characters. Russell Crowe plays Nikolai, the man at the root of Kraven’s path to villainy. “Nikolai is a very wealthy man, and his kids have grown up with great privilege,” Crowe says. “He’s also a very harsh judge, and he puts his kids under a lot of pressure because he expects them to succeed and excel. As they get a little older, it’s not necessarily a very comfortable place to be when your father is extremely successful and demanding, and has a penchant for violence.”
Crowe, who played Zeus in Marvel’s Thor: Love and Thunder, enjoyed the chance to explore the darker side of the Marvel universe. “This film has quite a dark tone,” he says. “It probably visits areas of relationships and emotions that some of these other comic book heroes don’t because of that darkness.”
Along with his training, Kraven gets an assist from a character fans of the comics will immediately recognize: Calypso, played by Ariana DeBose. She becomes one of the few people Kraven trusts. “The relationship between Kraven and Calypso is meant to feel like lightning in a bottle,” says DeBose. “It’s sort of this cosmic, astrological, spiritual meeting of two beings who are just destined to be in each other’s lives.”
“Calypso is the rock and the anchor of Kraven’s world,” says Taylor-Johnson. “These two characters have a deep connection to one another. She’s spiritual; she has a sort of intuition and an instinct that guides her. And she is just a badass in her own right.”
As she aids Kraven, Calypso is bolstered by her own family history. “Calypso is exploring who she is, and a part of that is digging into her ancestry,” says DeBose. “I’ve talked a lot in my career about using your lineage and your heritage. It’s a point of pride, it’s a point of strength, it’s what makes you unique.”
Another comic book character making the jump to the big screen is Aleksei Sytsevich, who becomes the Rhino. Alessandro Nivola, who plays Aleksei, sees the character as fundamentally flawed—driven by his insecurities, he’s ruined by his own hubris. “J.C. really liked the idea of this character as somebody who has some kind of deficiency and is trying to supplement that through science,” Nivola says. “And it ends up causing him more suffering than he had before. There’s the feeling of that person being trapped by his own physicality and not being able to escape that I think is very true to the essence of the character.”
Finally, Christopher Abbott plays the mysterious assassin known as the Foreigner. “The Foreigner is one of those guys that has nine passports,” Abbott says. “He has fun playing with other people, and in a way, he’s gotten lost in his own multitude of personalities. He assumes a lot of identities, and he almost doesn’t know who he is anymore. He’s a bit of a charmer, a bit of a jokester, but still dangerous.”
To capture the raw, physical nature of Kraven’s character as he interacts with the characters and world around him, Taylor-Johnson worked closely with the film’s stunt coordinators to make every action sequence feel real. As part of that, Taylor-Johnson also took on much of the stunt work himself. “I trained and put on almost 35 pounds of muscle,” he says. “It was really important for me to do the stunts, because it’s part of the character. It’s the way he moves. That’s why you’re always seeing me on top of a truck or jumping off a building, just like any other stunt man. I want people to believe and know that Kraven is coming from every part of me.”
Richard Wenk is an American film screenwriter and director best known for his work on The Equalizer film series (2014–2023), which has every installment rated by CinemaScore at the A range. Read more
Art Marcum and Matt Holloway are an American screenwriting duo, best known for writing the scripts of movies like Iron Man and Punisher: War Zone. Read more
by Daniel Dercksen·Comments Off on The Art Of Racing In The Rain – A Dog’s View On Humanity
For screenwriter Mark Bomback it was a gift to adapt Garth Stein’s beloved novel The Art Of Racing In The Rain, which features a wise and philosophical dog who longs to be reincarnated as a human.
“Oftentimes when you’re writing a screenplay, you have two tools only: dialogue and action, that’s it. You wish you could get into the interior lives of characters in other ways, like novelists do, but you only have these two things. In this film, we have the opportunity to enter Enzo’s head through voiceover and his narration. It’s probably one of the most critical tools I had in trying to adapt the story, says Bomback, who dealt with another kind of animal when he wrote the screenplays for The War for the Planet of the Apes, and Wolverine.
While primarily a writer of feature films, Mark Bomback recently created the series Defending Jacob. In addition, he has advised at the Sundance Institute’s New Frontier Story Lab, and has taught screenwriting at his Alma mater, Wesleyan University.
Like the novel, the film is narrated by the wise and philosophical dog, Enzo (voiced by Kevin Costner). Through his bond with his owner, aspiring Formula One race car driver Denny Swift (Milo Ventimiglia) , Enzo has gained tremendous insight into the human condition and understands that the techniques needed on the racetrack can also be used to successfully navigate the journey of life. The film follows Denny and the loves of his life: his wife, Eve, their young daughter Zoë, and ultimately, his true best friend, Enzo. Enzo has seen a documentary about Mongolia, where it’s believed that when a dog finishes living his lifetime as a dog, his next incarnation will be as a man. Enzo longs to be reincarnated as a human, with opposable thumbs and a speech-facilitating tongue.
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Bomback, who had not been much of
a dog person before, says, “There is something about these creatures who live
in our homes, who are privy to the most sacred moments in our lives and have
this real unconditional love for the humans in their lives. There’s this
presence in the room that loves you more than you love yourself.”
“To me, his voice – and this is directly from the novel – is such a rich one because he is incredibly emotionally connected to everything, and is constantly trying to soak up experience as much as he can. But he also has quite a wry sense of humor, and then he’s almost like an alien in some ways, trying to interpret human behavior and he does this sort of reverse of what we do when we see animals and anthropomorphize them and give them human attributes. He winds up thinking of humans in terms of canine attributes. He’s a very unique narrator and I’m not sure I’ve ever seen one exactly like him.”
Bomback explains, “We are not privy to anything that Enzo wouldn’t be privy to. It is at once a challenge, but really a blessing when you’re writing a story like this because it forces you to approach scenes in a very unique way. You have to maximize moments and really get a lot of information out in terms of narrative and character development. But it also makes you step back and think about the stuff you’re not seeing.”
Director Simon Curtis (Goodbye Christopher Robin, My Week with Marilyn) says, “Enzo’s brilliant voiceover is very insightful. Sometimes it’s very accurate, sometimes it’s flawed, but that’s part of the enjoyment. Sometimes he gets it right, sometimes he gets it wrong, but he’s a very well-meaning dog who wants to learn in the hope that he can come back as a human in his next life. One of the things I’ve most enjoyed about this shoot is that there are scenes in this film that one has seen hundreds of times – the birth of a child, the leading character being put into handcuffs, the wedding, and so on – but seeing them from a dog’s point of view makes those scenes very fresh and original.”
Producer Tanya Landau adds, “We all have feelings that our dogs are human and have human thoughts, but this put it into perspective. The metaphor that the dog has for being present, and how he relates that to Denny’s racing, as well as Denny’s journey, made the whole thing very special.”
Landau says Enzo is a very spiritual soul. “He’s seen this documentary on reincarnation and he wants to learn everything he can from Denny and imprint it on his soul. He wants to remember so when they meet when he’s human, and they shake hands, they’re going to share that wisdom. That was the most important thing that we kept throughout the story. Enzo is always the voice of spirituality. Humans aren’t always aware of it, but it seems like animals might be.”
“Enzo is every dog,” says author Garth Stein. “We had different dogs for different book covers, for the hardcover and paperback. And in its 38 languages, every language has a different dog on the cover. Every culture has its own representation of Enzo. In the books, it’s a conversation I’m having with the reader and the reader gets to project his or her own dog onto it.” Stein says that human relationships with dogs are: “All about unconditional love. They don’t ask much from us, we don’t ask much from them, except for love. And that’s a really true and wonderful relationship. I think it would be great if we, as people, could treat each other a lot more like dogs. I mean in a good way. All love, no judgment. No expectations, except love.”
Stein visited the set during production and he and his three sons appear as extras in one of the racing scenes. He says he had given up expectation of the film getting made when he got a call, saying it was finally moving full speed ahead with Fox 2000. “I was like, wow, this is kind of cool! In a sense, there were two stages of my joy. There was the stage of the build of the book getting bigger and bigger and bigger – and having an enduring kind of legacy. And now, there’s a new level of excitement – it’s going to be a movie, and Kevin Costner is going to do the voice! I get the tingles just thinking about it. This is crazy!”
Among the things Denny tells Eve
are “That which you manifest is before you,” “When I’m in a race car, I’m the
creator of my own destiny” and “Create your own conditions, and the rain is
just rain.”
“Racing is a metaphor,” says
Curtis. “Denny and Enzo want to find a way to apply the lessons of the
racetrack to help them navigate the complexities of real life.
“Enzo” and Milo Ventimiglia in The Art Of Racing In The Rain
Author Garth Stein says he really enjoyed the idea of writing a philosopher dog.
“A lot of that came from the Mongolian concept of reincarnation. But it’s an outsider’s story. It’s based upon the idea that a dog, being a disinterested character, would make judgments about the world he sees. And how maybe people could improve their lives if they just thought a little more about the implications of their actions.”
When Stein wrote the novel, he notes, “I was racing in a class of spec cars, so all the cars are the same. The trick with that is – we have to improve the driver. In the paddock, we would all talk about how do we get a better mental approach to racing, so we could be faster as a driver — because our cars were pretty much the same. And out of that came all these things in the book. Your car goes where your eyes go. All these sorts of lessons we apply on the track. And my friends and I would sit around and say – if we could apply the rules that make you better as a race car driver to our own personal lives, we’d be really good people. We wouldn’t care about something that’s already happened on a racetrack – it’s already happened, you can’t change that. You can only change what’s in front of you. So you can’t waste any energy thinking about it, feeling bad about it, or judging other people about it. It’s done. It doesn’t matter how I got here. This is where I am on the racetrack. How do I improve my position? And so the idea of Enzo transitioning that to the human condition — that was the trick of it. Where it came from, I don’t know, Enzo taught me that.”
Stein says, “The idea of that
which you manifest is before you is really about if we can approach something
with the proper preparation and the proper mental state, essentially, we can
make almost anything happen. It’s about making sacrifices and having discipline
within ourselves to create something. On the racetrack, it’s very much a mental
game. You’re driving very fast and you’re driving in a very big, sometimes very
expensive, very heavy car, that could theoretically kill you at any moment.
Therefore, you’re playing a mental game. And you need to have some kind of mental
fortitude to understand that you have the capacity to achieve things. It’s all
about preparation, mentally and physically. I think the idea applies to almost
everything. Sports is a terrific metaphor for art. The luckier you are, the
better you are, the luckier you get.”
Bomback says the metaphor behind The Art Of Racing In The Rain that speaks most to him is, “I think there’s a tendency in all of us that when things are outside of our control, to either throw up our hands or lay blame on other factors or in some way say, ‘I guess this just wasn’t meant to be.’ I think the lesson that Enzo learns, that Denny has internalized but is struggling to abide by because he’s thrown so many obstacles, is that ultimately the rain is only what you let it be. And to what extent can you apply your own will and take a situation that is out of your control and bring it around to where you ultimately want to go.”
Curtis says it’s about a “Sense of wonder and being positive. Luck happens to people who create their own luck. Some things you can’t control in life, but it’s not a bad feeling. I think the central dilemma in this film is for Enzo and Denny to apply to complex real-life lessons they’ve learned on the racetrack. Enzo has watched this Mongolian documentary and that’s helpful – because he’s not that sad at the end of his life as a dog because he’s so thrilled with what’s to come.”
Ventimiglia says, “We never know what our life is going to look like. We can dream and imagine, but we don’t really know what it’s going to be until we’re in it, right then it’s happening. You can prepare, but you can’t plan for these things until they happen. The idea of rain – you know it’s coming, but you don’t exactly know when. The idea is that you have to be present and you have to try and almost dream a little bit ahead so you can have a level of reaction. Denny talks about racing in the rain, and how if he creates the circumstances that he’s in, then he can control it because the rain is an unknown factor. If you’re fighting against it, it’s going to win. But if you’re using it to create your own conditions, then you can control the outcome.”
He notes, “There’s a lot of Enzo’s philosophy that we characters don’t get exposed to because we’re not hearing the narration. But when you read the script and the book, you see this hopeful way of looking at humanity through the eyes of an animal that wants so badly to be human, you start to understand the power of impact that we have as people. You can change direction and hopefully, you can be more empathetic and understanding of what someone is going through. And hopefully, you can be more emboldened to be a better person, compassionate, good and loving. You have a choice. I think there’s a lot to learn from Enzo’s view of the world and his desire to want to be a good person in his next life. It’s encouraging. And exciting. I feel like that is Enzo’s sole desire, to experience life with opposable thumbs and not a flat tongue. But it’s also an opportunity for Enzo to do what’s right. He says he will imprint on his soul the experiences that he has so he can carry them on to the next. And I think that’s one of the valuable things we need to understand so we can impact and make a difference. We really can change the course of someone’s day or potentially someone’s life. It’s exciting to know that that sits in the heart and soul of an animal.”
Producer Patrick Dempsey says, “There’s mindfulness in sport. It’s Zen and it’s like whatever you’re thinking, whether you’re conscious of that or not, it will manifest itself physically in front of you. You can kind of control your own destiny that way. I think that’s the brilliance in this novel and what Garth really was exploring as a writer. And I think it’s so true in life. Especially in the world that we’re in right now, it’s really important messaging. The metaphor for ‘racing in the rain’ is that there’s a spirituality, a philosophy, a religion in racing. It’s not really the battle with your competitor, it’s the battle with yourself. And that hits all of us, it’s a universal message.”
“There’s a tone in this film that the world needs right now,” says director Simon Curtis. “It’s about human connection and kindness and doing the right thing and I think in this time we live in it’s all very good to hear that. “It’s a love letter to family, it’s a love letter to animals and it’s a love letter to optimism.”
“It’s a story you may know,” says
Milo Ventimiglia. “It’s an emotion you may feel when you look at your own pet’s
eyes and you see them beaming back at you.
It makes you feel good about being a human, about being a person. And hopefully, it spreads a positive message
in the world when there’s a lot of negativity out there. I’m grateful to be a
part of a project that is inherently good and is promoting good.”
by Daniel Dercksen·Comments Off on Kenneth Lonergan talks about writing and directing Manchester By The Sea
“It took me a while to get into screenwriting and filmmaking. I started out as a playwright, and I’m still a playwright, but I was in my early thirties before I ever tried to write a screenplay for myself,” says writer-director Kenneth Lonergan.
Revolving around the themes of depression, guilt, grief, responsibility, dysfunctional families, and post-traumatic stress disorder, the plot of Manchester At The Sea follows a depressed and grief-stricken man who becomes the legal guardian of his teenage nephew after the death of his brother.
The film received critical acclaim and was widely counted among the best films of 2016; the National Board of Review listed it as the top film of 2016. Critics complimented the performances of Affleck, Hedges, and Williams, as well as Lonergan’s screenplay and direction.
At the 89th Academy Awards, Manchester by the Sea won Academy Awards for Best Actor for Affleck and Best Original Screenplay, and additional nominations for Best Picture, Best Director, Best Supporting Actor (Hedges), and Best Supporting Actress (Williams). Affleck also won the Golden Globe Award for Best Actor – Motion Picture Drama; the film was also nominated in four other categories. The British Academy Film Awards nominated the picture for six awards, of which it won Best Actor in a Leading Role for Affleck and Best Original Screenplay. Since then, it has been considered to be among the best films of the 21st century.
After his brother’s death, Lee Chandler is named guardian to his 16-year-old nephew, Patrick. This forces him to return to his hometown and confront his past.
Kenneth Lonergan talks about writing and directing Manchester By The Sea
You saw “Manchester By the Sea” as a story of a guy going through the steps that lead him nowhere.
I was interested in someone who has endured something that was unbearable, but because of his attachments to the rest of his family, he can’t simply disappear. My fantasy always has been—I have a daughter—my fantasy has always been that if she lost her life I would kill myself. Because I couldn’t bear to be alive. That may or may not be true, I certainly hope I never find out, and you’re not even supposed to say things like that, but that’s the thought you have as a parent. And so, how people survive what they survive is a mystery to me. It’s interesting that what causes that amount of anguish, and can help you through it, is love, and you don’t feel that kind of pain unless you lose someone you love. But love is the only thing that can get you through that kind of distress. There are other situations in which love is of no use whatsoever, like when you’re being murdered and massacred by ISIS, it doesn’t matter how many people love you, they’ll still cut your head off.
It has to be a challenge to make a film that works toward that but also to make a film with a character who is so interior, so inexpressive.
There’s just certain conversations he’s just not interested in having. I see him as being extremely active. I never noticed that he didn’t say much until people started point it out to me. Because, to me, every day [for him] is a struggle to not collapse. A very active struggle. He works very hard to get through every day in a way that he can stand. He’s sometimes not successful. He’s in so much pain. He has got so much emotional burden to carry that he’s got to work very hard to keep it at bay or he just can’t function. He does it by trying to relegate everything into small tasks. When he has a bigger task he tries to do that too, but it is not as successful because once human beings become involved it becomes very difficult to control your environment.
Michelle Williams and Casey Affleck in Manchester By The Sea
Regarding your casting of Casey Affleck in the lead role of Lee: how did you get him to express what you wanted most from the character, especially in terms of the restraint within his performance?
Well, he’s an amazing actor and an amazing person. We’re very good friends now. We were friends before, but we’re very close now, I would say. I don’t know if he would agree because he’s frequently wrong about everything, so he might have the wrong idea about that too. But he has an amazing worker bee attitude towards the part he plays. We had the most interesting in-depth, interminable discussions about the character: where he was at, why he was acting this way in this scene, why he wasn’t acting one way in another scene, where he was later, why did he react to the kid. [Casey’s] first comment was that he felt he was being very mean to the kid, his nephew; he wasn’t being comforting about when his father died. In the beginning of the discussion months later, we knew how the character was getting through his days after this terrible thing that had happened to him, and we both worked out together where he was at. It’s easy for him to be mechanical and cut off from the doctors and nurses who are trying to express sympathy, but his nephew gets to him. So it’s about who gets to him and when, and what shakes him out of the routine that he’s established in order to survive what’s happened to him, was a source of really interesting and really productive discussions. We talked about it months before the movie started, we talked about it every day on the set, we talked about it even after he saw the movie. It was really interesting and I learned a lot doing that.
How exact do you plan films, not just with characters, but in directing? How exact do you imagine these projects?
It’s always … you have one idea. Well, ideally, you have one idea that works in your head. And then you start with that, and then other people come along and either don’t get it and you try to get them to it, or they have some other idea that is germinated from your idea or related to it, and it enhances it and makes it better. And then you build on it together. That’s the really fun part of that. That goes for every element of the film, of acting, cinematography, the sound mixing, the locations, everything. When that’s all going well, it’s really fun. But I like the actors to stick to the dialogue as best they can, some pieces of dialogue I don’t really care that much, some I really do care, I couldn’t say why, it depends on the line. But I usually feel like [actors] should work within the dialogue and not outside of it. But apart from that, the behavior and how you shoot it, and where the emphases go and in the editing of course too, it’s all, “I know this works, and where can I go from there?”
There are many moments [in your films and plays] of people being stupid or putting their foot in it or just not expressing themselves clearly.
I know I write about that a lot, people misunderstanding each other, but I don’t do it on purpose. I don’t know what that is. But I do remember high school really vividly, and college, too, in some ways. After that, it all becomes a murky, semi-grown-up blur until this moment. Which will then be absorbed into the blur later. But I remember the grown-ups from then, too. I remember people’s parents. I remember watching other people’s parents and my parents trying to cope with us and feeling bad for them, while also going off privately and making fun of them in a snotty teenage way. It’s clearly a bad situation for everybody. [both laugh] I also remember being a little kid really vividly. But I couldn’t write scenes about that because I wouldn’t know how to write what a little kid says. But when you’re a teenager, you’re so self-conscious and so self-aware for some reason. And I remember what people talked like very well. And then you get older, and you see teenagers, you hear them in the streets, half showing off and half nervous. And you just watch them, their physicality, like, three boys in the street, and you can tell which one’s the leader, which one’s nervous, if they all are really comfortable with each other … Their body language is so clear. Or, if it’s girls, you’re like, “Okay, which one’s the cute one? Which one’s the popular one? Which one’s the kooky friend who’s hanging around?” And these hideous things they have to be. They seem very much like everybody else, but times ten.
This is not a film that you set out to direct. Was there a point at which it was either you had to direct it or it would go away?
I don’t think that ever came up. I think it was just a question that Matt was going to direct it all the time it was being written. Then, when he read the script, by that time his schedule had constricted. Also, I think he was enthusiastic about the idea of me directing it. It was never put to me like, “If you don’t direct it, we’re not going to be able to do it.” He said, “I think it would be a really good idea for you to direct it. I think you’ll do a great job.” Whether that’s true or not, I thought about and decided I did want to direct it because I’d gotten very attached to the material in the interim.
Was it hard to make the decision to come back to directing after the break and after your last experience?
No, not at all. I knew I would at some point. I wasn’t sure it was going to be with this because I was writing it for Matt.
When you know you’re going to do a piece and set it in a place like this, how does the accent influence approach to dialogue?
I approach dialect by trying to write down what I hear in my imagination. In this case I heard them speaking with this regionalism and that just works its way into the script. I wanted to avoid certain clichéd expressions. Nobody says, “wicked,” or anything like that. It’s not a favorite expression anyway. Even nowadays most of the people say in a sort of self-referential way because they have seen it in the movies so much. I avoid that one. Other than that, you know where your characters are from, you know how they talk and you write that down.
What steps do you take to get the region correct? If you don’t get it right, I’m sure you’ll get called on the details. How did you make sure you got it right?
You just try to follow the details, really. Details give you the bigger picture. I did a fair amount of research on the town and of the area when I was writing the script. A lot more when I got there in pre-production. Then we integrated as much of the environment as we possibly could on the fly when we were there. I really like dialogue. I’m really interested in it. I’m really interested in verisimilitude because that’s how I personally build up my work. There are a lot of approaches that don’t necessarily have to do with verisimilitude, but that’s my way in.
I’ve noticed movies that take place in certain specific locations. I’ve noticed movies where everyone sounds the same and you can tell they all have the same accent coach. I didn’t want to do that. My wife [actress J. Smith Cameron] shoots a TV show called Rectify in a small town in Georgia. You go down there and a lot of people have a strong local accent and a lot of people don’t. I don’t see that in a lot of movies. Usually if it takes place in Maine everyone has the same accent. When you really go to Maine everyone has a different accent. I wanted to make sure their were characters who did not have a regional accent and there are several. When you go to Manchester, Gloucester, and Cape Ann, a lot of people have the local accent, a lot of people don’t. I wanted to reflect that. I knew which characters I wanted to have a specific local accent and which ones I didn’t. There are a lot of transplants.
We were scouting the movie and ran into two guys who came out of a boat repair shop, they both had thick Southern accents. One of them was from Alabama and one of them was from Tennessee. They lived there for 20 years. It was really hilarious because they had these strong Southern accents. They were like, [adopts Southern accent] “Oh, yeah. I’ve lived up here for my whole life practically. I love it.” And you’re standing in the middle of Gloucester Harbor. They’re covered with grease from the boats and they’re just chattering away in their Southern accents. You just try to stick to the particulars and it often gives you the bigger picture.
You’re used to creating plays and movies that are complete pieces and the idea that open-ended story would be something new.
It is a very different form. It took me a while to get into screenwriting and filmmaking. I started out as a playwright, and I’m still a playwright, but I was in my early thirties before I ever tried to write a screenplay for myself. I was doing it to make a living but it took awhile for me even do that. I think it might just be a trick of my imagination, just a switch to jump the track and go over to the television world. I don’t know.
Something about the long form appeals to me. One of the main worries about a play or a movie is that they are only supposed to be so long. The fact that if you can do the show over four episodes or four hours, or eight episodes, eight hours, or eight two-hour episodes if you happen to have that much to say or write about, that’s very liberating.
When do you know when a movie is done?
When your adjustments start to make it worse instead of better, you have to stop.
What’s a sign of that?
Just that when you watch it you’re like, “Why did I do that? That’s not better. That’s worse.” You’re in there, you have this great idea. You’re like, “Oh, wow! That scene’s really good, but this other take we didn’t use is so great. Maybe I could just get a couple of lines from that take in there. Switch those out.” Then you do all this fussing, you do a screening and you step back and you’re like, “Oh. This is not as good.” When you see more breaking down than improving, it’s time to stop.
As a playwright and screenwriter, what is your attitude when going into the editing room?
It’s been different every time. I have only done three movies. The first movie I was so nervous on the set because I never directed before, that when I got to the editing room it was a complete and utter relief because it was just like writing. All the materials were there, it was like writing a script and then trying to make it the best version of it. I had all the materials, the editor Anne McCabe and I worked on the individual scenes and put them together, we stepped back and looked at them, the same as you write a bunch of scenes and then read the whole act of a play. You notice things, go back. So, it was a breeze. It was really fun and easy and familiar to me. “Margaret” was so challenging because there are so many balls to keep in the air, but it was really fun too, in a different way. Again, you just have to keep the whole thing in your head, but I had a very clear idea of how to edit that too. But the trouble came from outside. But I knew what we were doing, and finally, [we] more or less got to do what we wanted to do in the extended version, years after years of torture and misery and rescue from critics and friends and Twitter. That was very unpleasant, and then a miracle at the end. That multiple story form I am very interested in pursuing again.
This movie, I wasn’t sure how to edit. We went in and we just started playing the scenes. I had an idea for the beginning should be a bit of his routine, and I knew I wanted to establish the routine. The idea of starting the film the way it starts now was a later idea which I think works. It was more feeling your way through it, I think. It’s tricky because you have all of these takes and all of these performances that are great, and you have to decide what shapes a scene. Casey also makes you do hundreds of takes because he won’t stop until you tell him to go home, if there’s a somewhat better way to do it he wants to do it. And I’m a little bit that way too, sometimes. So, it’s hard to decide which one of his dozen great deliveries of this line to use. But eventually, a cohesion appears.
“
This is a dream come true I am so grateful for all the amazing people in my life that came along on this journey with me.”
