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Solo Mio (2026) is a quietly resonant romantic comedy‑drama whose significance lies in its blend of emotional sincerity, mature characterisation, and the luminous charm of its Italian setting.

Directed by Chuck Kinnane and Dan Kinnane, and written by Patrick Kinnane, John Kinnane, and Kevin James, the film marks a notable shift for James, who steps into a gentler, more vulnerable register than his usual broad comedic roles.

Shot on location in Rome and Tuscany, the film uses its landscapes not as postcard backdrops but as emotional terrain, mirroring the protagonist’s journey from heartbreak to renewal.

The inspiration behind Solo Mio is rooted in the Kinnane Brothers’ interest in stories of second chances and unexpected human connection. The film also carries a unique cultural resonance through the presence of Andrea Bocelli, appearing for the first time in a fictional feature film, a casting choice that deepens the film’s themes of healing, music, and emotional generosity.

Matt Taylor (Kevin James) travels to Italy for his wedding only to be abandoned at the altar by his fiancée, Heather (Julie Ann Emery). Humiliated but determined, he continues the prepaid honeymoon alone, and what begins in heartbreak slowly becomes a journey of renewal. Along the way, he meets two married couples — Jules (Kim Coates) and Meghan (Alyson Hannigan), and Neil (Jonathan Roumie) with Donna (Julee Cerda) — whose humour and honesty help him regain his footing. Matt’s turning point comes when he meets Gia (Nicole Grimaudo), a warm café owner who shows him a more intimate Italy and invites him to her family’s countryside villa, where he discovers her connection to Andrea Bocelli. As their bond deepens, Matt’s unresolved heartbreak threatens to undo everything, leading to a confession that forces both of them to confront vulnerability and the possibility of starting again.

Director Chuck Kinnane is known for his work with the eight-brother filmmaking collective, The Kinnane Brothers. The brothers started making home movies as kids and got their first big break creating viral short films (“Sound Guy,” “Nature Planet”) for Kevin James’s YouTube channel. Their first feature film, “Home Team,” produced by Adam Sandler and starring Kevin James, was the #1 movie on Netflix for two weeks and reached the Top 10 in 90 countries. Their next film, “Water Brother: The Sid Abbruzzi Story,” a documentary about the legendary surfer and skateboarder, was released in theaters in 2024.

Dan Kinnane is a director and one of the eight brothers behind the independent film company, the Kinnane Brothers. What began as making home movies as kids led them to creating viral short films like “Sound Guy” and “Nature Planet” for Kevin James’ YouTube channel. Their first feature film, Home Team, produced by Adam Sandler, hit #1 on Netflix and landed in the Top 10 in 90 countries. Their latest documentary, Water Brother: The Sid Abbruzzi Story, premiered to a sold-out crowd of over 5,000 fans.

Patrick Kinnane is one of the key creative forces behind Solo Mio, serving as one of the film’s writers alongside his brothers John Kinnane and director Kevin James. As part of the Kinnane Brothers filmmaking collective, Patrick has built a reputation for crafting warm, character‑driven stories that blend humour, emotional sincerity, and a strong sense of human connection. His work on Solo Mio reflects the group’s signature approach: intimate storytelling rooted in vulnerability, second chances, and the quiet transformations that occur when ordinary people are pushed into extraordinary emotional circumstances.

John Kinnane is one of the central creative voices within the Kinnane Brothers filmmaking collective, known for their warm, human‑centred storytelling and their collaborative approach to writing and directing. As a co‑writer of Solo Mio, John brings a blend of emotional clarity, gentle humour, and character‑driven insight that has become a hallmark of the brothers’ work. His background in editing and visual storytelling shapes his writing style: scenes are built with rhythm, emotional pacing, and a strong sense of cinematic flow. John’s contribution to Solo Mio reflects his instinct for stories about vulnerability, second chances, and the quiet, transformative moments that define real human connection.

Kevin James brings a surprising emotional depth to the project, marking a meaningful evolution in his creative career. Known primarily for broad, physical comedy and mainstream studio vehicles, James steps into a more intimate, character‑driven mode as both co‑writer and star. His contribution to the screenplay — developed with Patrick and John Kinnane — reflects a shift toward gentler humour, grounded emotion, and stories centred on vulnerability rather than spectacle. James’s writing on Solo Mio is shaped by themes that have long interested him: ordinary people facing unexpected upheaval, the healing power of connection, and the quiet comedy found in human imperfection. What distinguishes his work here is the sincerity of tone. The script leans into heartbreak, humility, and rediscovery, allowing James to craft a protagonist who is wounded, open, and deeply human. His comedic instincts remain present, but they serve character rather than punchlines, giving the film its warm, lived‑in charm.

The year 2026 marks the 40th anniversary of Top Gun (1986), a film that redefined the modern action blockbuster, and embedded naval aviation into pop‑culture mythology.

Paramount is commemorating the milestone with a major theatrical re‑release on 13 May 2026, returning the original film to cinemas worldwide almost exactly forty years after its debut. This marks the film’s fourth major theatrical release, following its original 1986 run, the 2013 3D re‑release, and the 2021 pre‑Maverick re‑release, underscoring its enduring cultural power and its status as a generational touchstone.

The anniversary arrives in a moment of renewed interest in the franchise, following the record‑breaking success of Top Gun: Maverick (2022), which reignited global enthusiasm for the world of naval aviators and placed the original film back into the cultural spotlight.

The anniversary underscores the film’s lasting influence: its soundtrack, its aerial photography, its fashion, its quotable dialogue, and its mythic framing of American aviation have all become cultural shorthand. Forty years later, Top Gun remains not just a movie but a generational rite of passage, a film that continues to pull audiences back into the danger zone.

The screenplay for Top Gun (1986) was written by Jim Cash and Jack Epps Jr., working from and expanding upon Ehud Yonay’s 1983 California magazine article “Top Guns.”

Jim Cash and Jack Epps Jr. crafted the screenplay for Top Gun through a long‑distance, two‑man process built on research, immersion, and a deep fascination with the psychology of fighter pilots.

Their partnership began years earlier at Michigan State University, where Cash was Epps’s screenwriting professor; by the time Top Gun came along, they had already written seven unproduced scripts together and had developed a rhythm in which Epps handled field research while Cash shaped the material into narrative form.

According to Epps, Paramount had eight potential concepts in development when the studio presented them with Ehud Yonay’s 1983 California magazine article “Top Guns,” which profiled the elite fighter‑pilot program at NAS Miramar. Epps, who held an amateur pilot’s license, immediately seized on the idea, partly because he hoped it would get him into a jet, and soon found himself embedded with Navy pilots at Miramar, taking multiple back‑seat flights in F‑5 and F‑14 aircraft, observing dogfights, and even attending a real Top Gun graduation exercise.

While Epps was gathering the visceral details, the speed, the competition, the rituals, the swagger, the physical strain, Cash remained in East Lansing, receiving Epps’s notes, scene maps, and technical insights, and transforming them into a dramatic structure that could support character arcs, rivalries, romance, and the film’s now‑iconic aerial set pieces.

Their process was built on division of labour: Epps fed Cash the raw material, and Cash shaped it into a story.

Together, they invented the film’s characters, their emotional conflicts, the training exercises, and the competitive spirit that defines the narrative. Epps has said that the key breakthrough came during his flights, when he realised that fighter pilots are essentially athletes, competitive, ego‑driven, constantly pushing themselves and each other, a revelation that shaped everything from the Top Gun trophy to the volleyball sequence to the film’s emphasis on rivalry and self‑mastery.

The duo also understood early that the film’s success would depend on capturing extraordinary aerial footage, and they wrote the script with that requirement in mind, building scenes that would justify the Navy’s cooperation and allow director Tony Scott to shoot the F‑14s in full cinematic glory.

Despite rumours that the script changed dramatically during production, Epps has clarified that the first draft was not radically different from the final film, meaning the core structure, characters, and emotional beats were already in place from the earliest version.

What makes their screenplay distinctive is the way it blends authentic military detail with mythic emotional architecture: Maverick’s need for speed, his rivalry with Iceman, his guilt over his father, his romance with Charlie, and his struggle to balance instinct with discipline. Cash and Epps wrote the film as a story about identity, competition, and the cost of ambition, wrapped in the spectacle of aerial combat.

Their writing process, one man in the sky, one man at the typewriter, produced a screenplay that feels both grounded and larger‑than‑life, a fusion of research and imagination that became the foundation for one of the most iconic action films ever made.

Jim Cash (left) and Jack Epps Jr. (right)

Jim Cash (1941–2000) was an American screenwriter and longtime Michigan State University professor whose partnership with former student Jack Epps Jr. became one of the most successful writing duos of the 1980s. Cash remained in East Lansing throughout their career, collaborating remotely with Epps in California as they co‑wrote a string of major studio films, including Top Gun (1986), Legal Eagles (1986), The Secret of My Success (1987), Turner & Hooch (1989), and Dick Tracy (1990). Known for his structural clarity, character‑driven humour, and ability to shape high‑concept ideas into emotionally accessible stories, Cash left a lasting legacy as both a teacher and a Hollywood craftsman, establishing scholarships and mentoring writers until his death in 2000.

Jack Epps Jr. (born 1949) is an American screenwriter, producer, and educator best known as the co‑writer of Top Gun (1986), a film that became a defining cultural landmark of the 1980s. Raised in the Detroit area, Epps studied at Michigan State University, where he met professor Jim Cash and began a writing partnership that would span more than two decades. After moving to Hollywood, Epps became the duo’s on‑the‑ground researcher, embedding himself in environments ranging from naval air bases to police departments to gather the technical and behavioural detail that shaped their scripts. Together, Cash and Epps wrote a series of studio hits, including Legal Eagles, The Secret of My Success, Turner & Hooch, and Dick Tracy. Epps later transitioned into teaching, becoming a prominent screenwriting professor at the USC School of Cinematic Arts, where he continues to mentor emerging writers and preserve the craft principles that defined his career.

The Plot Pilot: MSU’s Pivotal Role in Blockbuster Career

Beast refuses the glossy triumphalism that often defines the genre and instead embraces a raw, bruised realism that interrogates the emotional, physical, and existential cost of fighting as both a profession and an identity.

During the production of Land of Bad on the Gold Coast in September 2022, Russell Crowe and writer-producer David Frigerio were locked in the grind—long days of filming followed by longer nights
rewriting Crowe’s Reaper character. The energy on set was fierce, the collaboration alive with momentum.
Amid the chaos, Frigerio saw an opening. With Dan Macpherson already on board, he pitched Crowe his
next project, Beast, and sent him an early draft.

After the Land of Bad shoot, Crowe’s reply came back unfiltered and unmistakably his, “Mate, there’s a
good story there, but we can make it great. When can you get to Sydney?”

Frigerio didn’t blink. “When the best actor in the world asks when you can come to see him, you don’t wait.” That night, he booked a one-way flight from Los Angeles. Fifteen hours later, he was in Sydney, ready to work. For two relentless weeks, Crowe and Frigerio lived in the script.

They worked eighteen-hour days fueled by coffee and creative obsession. Scenes were built, torn apart, and rebuilt stronger. Each pass pushed the story closer to something real. Between writing sessions, they traded stories from the trenches, Cinderella Man, Gladiator, LA Confidential, etc…lessons from legendary boxing trainer, CusD’Amato, and long talks about legacy, redemption, and the price of greatness.

By the end, the exhaustion was total, but so was the reward. The two had forged a deep creative bond
born from mutual respect and shared fire. What emerged wasn’t just a new draft—it was a story that
pulsed with life, raw emotion, and purpose. Beast became more than a script. It became a mission. A
story worth fighting for.

From there, Frigerio, along with fellow producers John Schwarz, Michael Schwarz and Tim O’Hair, set out
to develop a film that wasn’t just another fight drama but one rooted in authenticity. Inspired by classics
like ROCKY, WARRIOR and THE FIGHTER, they wanted BEAST to capture the grit, spirit and sacrifice behind combat sports.

“We’re telling a story through combat sports, and we’re using the drama of the conflict to tell that story,”
explains John Schwarz.

Statement from Director Tyler Atkins

On behalf of our team, I present BEAST. In directing this film, I drew from my own lived experiences of struggle, redemption, and the search for belonging.

BEAST tells the story through the eyes of Patton, a former MMA fighter who walked away from the spotlight after being incarcerated for many years, in search of a more honest life. The film reflects what it means to live with the weight of your past while still finding the strength to chase your own dreams, and I hope the audience feels that intense journey of isolation, pressure, release, and hope alongside him.

I explore this world not only through Patton but also through the eyes of his wife, Luciana, who watches her husband lose his spark in life. Their relationship becomes a powerful lens into love, sacrifice, marriage, and the pressures of survival. Patton’s complex relationship with his coach, Sammy (Russell Crowe), further deepens this exploration, embodying themes of tough love, forgiveness, and the hope of reconciliation.

We shot the film across Australia and Thailand, two regions that provide not only stunning cinematic backdrops but also a visceral sense of atmosphere that heightens the intensity of the story. The hard, raw coastal landscapes of Australia, combined with the vibrant yet unforgiving environments of Thailand, mirror Patton’s internal struggles. I used super-speed lenses, handheld and steadicam work, laced with drone footage to balance human intimacy with the scale of the large world around him.

These creative choices allow the audience to feel Patton’s isolation, his distortions of self, and his primal fight to reconnect with who he truly is.

For me, BEAST is not just about MMA—it is primal. It is about fighting for survival as our ancestors once did. It is about redemption, love, forgiveness, and family. These are themes I have searched for throughout my own life, and bringing them to the screen is both deeply personal and healing. MMA fighters embody the spirit of the modern-day gladiator, giving everything they have for their craft through discipline and repetition. With this film, I wanted to explore both the raw brutality and the unexpected beauty of a life where the real battles are fought not only in the cage, but in the quiet struggles of everyday existence.

I believe this story resonates as more than a sports drama; it is a meditation on the human condition.
BEAST reminds us that even in the shadows of complete darkness, there is always a path back to love,
light, forgiveness, and family—and that we can find the courage to keep chasing the dreams that
refuse to die within us.

BEAST follows ex-con Patton James (Daniel MacPherson), who abandoned his mixed martial arts dream
to support his wife, Luciana (Kelly Gale), and daughter. When Patton’s brother Malon suffers a serious
injury in a fight to make good on his debts, Patton has to risk everything to get back in the ring to avenge
him. But to reclaim his old glory and succeed in the ONE Championship, Patton must regain the trust of
his ace trainer (Russell Crowe) and keep his own family together

How Russell Crowe and David Frigerio Crafted the Screenplay for Beast

Russell Crowe and David Frigerio approached the screenplay for Beast with a shared commitment to grounding the story in the lived reality of combat sports, shaping a script that blends bruised masculinity, emotional interiority, and the unforgiving physics of mixed martial arts.

Their collaboration begins with Crowe’s instinct for character, his long‑standing fascination with men who carry their histories in their bodies, whose emotional landscapes are shaped by regret, loyalty, and the slow erosion of physical power. Crowe writes from the inside out: he starts with the psychological wound, the unspoken shame, the unresolved fracture that defines a man’s choices. For Beast, that meant building a protagonist whose life has been shaped by violence, whose identity is inseparable from the cage, and whose journey is less about victory than about confronting the ghosts that have followed him out of it.

Crowe’s writing tends to privilege emotional truth over plot mechanics, so his early drafts focused on the internal architecture of the characters—their relationships, their betrayals, their private rituals, their unspoken debts.

Frigerio, by contrast, brings a structural and genre‑driven discipline to the collaboration. Known for high‑stakes thrillers and muscular genre pieces, he approaches story like an engineer: mapping beats, calibrating tension, and ensuring that every emotional turn is supported by narrative propulsion. Where Crowe leans into the wounded soul of the fighter, Frigerio ensures the story moves with the rhythm of a sports drama—training sequences that escalate pressure, confrontations that reveal character, and a narrative spine that builds toward an inevitable reckoning. His contribution is the scaffolding: the pacing, the escalation, the architecture of conflict. Together, they form a complementary pair, Crowe shaping the emotional musculature, Frigerio shaping the bones.

Their process was also deeply informed by ONE Championship, whose world provided not only the film’s setting but its thematic inspiration. Crowe and Frigerio spent time studying fighters, coaches, and the backstage rituals of MMA, observing how athletes prepare, how they break, how they rebuild, and how the sport’s culture shapes their identities. This research fed directly into the screenplay’s texture: the language of the gym, the hierarchy of respect, the psychological warfare, the economic precarity, and the way fighters carry both pride and trauma in equal measure. They were particularly drawn to the idea that MMA is not merely a sport but a crucible, one that exposes a person’s deepest fears and desires. This became the thematic engine of the script.

Crowe’s influence is most visible in the screenplay’s emotional density. He writes dialogue that is spare, weighted, and often elliptical, lines that reveal more in what is withheld than what is spoken. His characters rarely explain themselves; instead, their histories leak through in gestures, silences, and the physicality of their interactions. He also brings a performer’s instinct to the writing, shaping scenes with an eye toward how actors will inhabit them, how breath and stillness can carry as much power as action.
Frigerio’s influence appears in the screenplay’s momentum. He ensures that the emotional beats are embedded within a clear narrative trajectory: the fall, the call to return, the training, the confrontation, the cost. He shapes the film’s stakes not only through physical danger but through the consequences of failure, financial, familial, and psychological. His structural discipline keeps the story from collapsing into introspection; instead, it moves with the urgency of a man running out of time.

Their collaboration also reflects a shared respect for authenticity. They avoided stylised, superheroic fight choreography and instead wrote sequences that reflect real MMA technique—clinches, ground‑and‑pound, exhaustion, strategy, and the brutal calculus of survival. They wrote the fights not as spectacle but as character expression: every strike reveals something, every round is a psychological chapter.

The screenplay’s emotional core—its exploration of aging, regret, and the fragile masculinity of fighters whose bodies are no longer obedient—comes from Crowe. The screenplay’s shape, its pacing, its escalation, and its narrative clarity come from Frigerio. The world‑building, the gyms, the arenas, the rituals, the culture, comes from their shared immersion in ONE Championship.

Together, they crafted a screenplay that is not merely a sports drama but a study of identity under pressure. Their writing process fused Crowe’s instinct for wounded humanity with Frigerio’s command of genre mechanics, resulting in a film that feels both intimate and explosive, both character‑driven and physically visceral.

In the end, Beast is shaped by the tension between two creative forces: one writing from the heart, the other from the spine, both committed to telling a story where violence is never empty, and every punch carries the weight of a life lived in the shadow of the cage.

David Frigerio is an American-Italian screenwriter, film producer, and the founder of Broken Open Pictures, a Manhattan Beach, California-based production company. With a keen eye for high-octane storytelling and character-driven narratives, Frigerio has built a reputation for delivering compelling and commercially successful films.
Frigerio wrote the script and is producing, with Tyler Atkins directing. In a groundbreaking collaboration, BEAST has partnered with ONE Championship, the world’s largest MMA fight organisation, to bring an authentic and electrifying depiction of the sport to the big screen.

One of his most recent ventures, the action-thriller LAND OF BAD, which he co-wrote and produced
alongside director William Eubank, showcased his ability to craft gripping narratives. Frigerio’s work also includes BAD HOMBRES, which won the Grand Jury Prize at the Mammoth Film Festival. One of Frigerio’s early career breakthroughs came with THE SIGNAL, a critically acclaimed sci-fi thriller he co-wrote. With a career defined by bold storytelling and genre-defining films, David Frigerio continues to make waves in Hollywood, pushing the boundaries of independent filmmaking

Tyler Atkins is an Australian filmmaker known for crafting emotionally resonant narratives that explore
themes of identity, resilience, and human connection. Atkins’ debut feature, BOSCH & ROCKIT marked a significant milestone in his career. He wrote, directed, and produced the semi-autobiographical drama, which was among the first Australian productions to successfully film during the COVID-19 pandemic. Following this success, Atkins has recently directed BEAST. In 2019, Tyler worked on the upcoming TV series, SHANTARAM, for Apple TV+. He began in the Writers’ Room under Eric Warren Singer (American Hustle), then moved to the Director’s Team, assisting JustinK urzel (Snowtown).

The techno‑thriller Wardriver was written by Daniel Casey and spotlights the art and culture of wardriving: a microcosm of the hacking industry that involves searching for networks from a moving vehicle.

His modern-day Robin Hood-esque character exploits this highly specialised skill to commit high-tech robberies from his laptop, fusing intimate character drama with the escalating anxieties of a world increasingly shaped—and threatened—by digital vulnerability.

“When I first read the script, I felt an immediate pulse—dark, obsessive, and intimate,” says director Rebecca Thomas (Stranger Things). “It had that raw Taxi Driver energy I’ve always loved, and as someone who’s often pegged for female-driven narratives, “I was excited to dive into a story centred on a morally gray male lead. I saw an opportunity to explore something unexpected: a character study built on restraint, guilt, and quiet delusion.”

Crafting the Screenplay

Daniel Casey approached Wardriver as a character‑driven techno‑thriller, building the script around the real subculture of wardriving, the practice of searching for vulnerable Wi‑Fi networks from a moving vehicle. This concept, highlighted in production notes, gave the film its thematic spine: digital vulnerability as both opportunity and danger. Casey’s script centres on Cole, a morally ambiguous hacker whose “modern‑day Robin Hood” logic drives him into high‑tech robberies and deeper ethical compromise.

Casey constructed the narrative as a slow-burning character study disguised as a crime thriller. Rather than leaning solely on hacking spectacle, he wrote Cole as a lonely, guilt‑ridden figure whose skills become both his weapon and his prison.

The screenplay escalates when criminal Oscar discovers Cole’s abilities and forces him to hack the bank account of Sarah, pulling Cole into a web of mob‑connected corruption. Casey uses this twist not just for plot propulsion but to expose Cole’s delusions about helping others, a theme Thomas emphasised as central to the script’s emotional architecture.

Casey’s writing blends technical precision (the mechanics of hacking, the tension of digital heists) with psychological realism, shaping a thriller where every keystroke carries moral weight. The result is a screenplay that fuses cybercrime, noir tension, and intimate character drama, a story about a man who believes he’s doing good, even as every choice pulls him further into danger.

Daniel Casey is a screenwriter and director originally from Detroit. A graduate of the American Film Institute and an alumni of the Sundance Institute’s Directing and Screenwriting labs, Daniel’s upcoming projects include an adaptation of the wildly popular videogame series MASS EFFECT for Amazon, an UNTITLED CRIME THRILLER for Sony Pictures and director Craig Gillespie, a supernatural western called THE PINKERTON for Bad Robot and director Jason Bateman, and more. Presently, Daniel is prepping an indie crime thriller titled THERE IS NO SUCH THING AS SOUTH DETROIT with producers Trevor White and Tim White with Star Thrower Entertainment.

Daniel’s previously produced work includes 10 CLOVERFIELD LANE for producer JJ Abrams and director Dan Trachtenberg, F9 (FAST AND FURIOUS 9) for Universal and director Justin Lin, and KIN for Lionsgate, 21 Laps and directors Josh and Jonathan Baker. 

How to Make a Killing arrives as a wickedly stylish black‑comedy thriller, written and directed by John Patton Ford, the filmmaker behind Emily the Criminal. Adapted from Roy Horniman’s 1907 novel Israel Rank: The Autobiography of a Criminal, and loosely inspired by the classic 1949 Ealing comedy Kind Hearts and Coronets, the film reimagines a century‑old satire for a contemporary audience hungry for stories about power, privilege, and the seductive logic of self‑made success.

With Glen Powell leading a formidable ensemble cast—including Margaret Qualley, Jessica Henwick, Bill Camp, Zach Woods, Topher Grace, and Ed Harris—the film blends dark humour with psychological tension, crafting a narrative that is as entertaining as it is unsettling.

At the centre of the story is Becket Redfellow, a blue‑collar outsider disowned at birth by his obscenely wealthy family. When he discovers that he is, in fact, the rightful heir to the Redfellow fortune, he embarks on a ruthless quest to reclaim what he believes is his due—no matter how many relatives stand in his way. Ford’s screenplay transforms this premise into a sharp, satirical character study, exploring how entitlement, resentment, and ambition can twist into something monstrous when given just enough oxygen. Powell’s performance grounds the film in a charismatic menace: Becket is charming, wounded, and terrifyingly determined, a man who believes that the world owes him a debt he intends to collect.

Back in 2023, Glen Powell says he found himself at a crossroads.

The now 37-year-old star was enjoying a trajectory that had, appropriately enough, taken a stratospheric upwards turn thanks to his standout performance in Top Gun: Maverick. He also had another two movies in the can – Hit Man, that he co-wrote and produced alongside director Richard Linklater, and Anyone But You, his high concept, much-paparazzied rom-com with Sydney Sweeney – that he was confident would cement his status.

But Powell craved something deeper. Something provocative and punchy that would push people’s
buttons while thrilling them with the kind of amoral maze of a movie he’d grown up loving watching
himself. A genre-stretching picture that would satisfy a personal creative itch and have audiences
debating its rights and wrongs long after the credits rolled.

He found precisely what he’d been looking for in How To Make A Killing, the wickedly entertaining
thriller from acclaimed writer-director John Patton Ford, that is about to unleash its gripping revenge
plot and razor-sharp wit on mainstream crowds and avid movie-goers alike, across the world.

Ford had taken that script to STUDIOCANAL, who have produced the film it has now become alongside Blueprint Pictures.

The French-born company had felt it fit perfectly with their ethos to make what its EVP of global production, Ron Halpern, calls “visionary movies driven by directors who have a voice for audiences of today, who are looking for distinctive filmmaking. That’s why we wanted to make this film, with John.”

Significantly, STUDIOCANAL wasn’t only the right studio for the project because of the kind of movies it makes right now but for the many that exist in its vast library of classics too. One very important one, in particular.

“How To Make A Killing is a loose, loose reimagining of the classic Ealing Studios dry comedy Kind Hearts and Coronets, from the ‘40s,” Ford reveals. “This is a more bombastic, American version of it.”

That original movie, directed in 1949 by Robert Hamer, starred the legendary Alec Guinness, who played an unprecedented eight characters in it. “I love the original. There is such a unique tone and wit to it. And over the years, STUDIOCANAL have had various big cheese movie stars come in and say, ‘Wouldn’t it be fun to remake Kind Hearts and Coronets? And how about I play all the parts?’” says How To Make A Killing’s producer, Pete Czernin.

Until now, though, none of the suggested approaches had seemed quite the right fit. “It’s always hard to explain what makes it worth pursuing a new version of something,” Halpern says. “But what John did was make this feel incredibly contemporary. It just worked, the moment you read it. He made the original feel ripe for reappraisal. He took the bones of it, flipped it to America and shook it up.”

Powell had been considering Ford’s new script with his sights set firmly on the lead role

Becket Redfellow, a young man robbed of his birthright to a vast family fortune and determined to get what he feels he’s owed by murdering his way through the family members who stand in his way.

“I loved the script because its concept was just so compelling and had such a great ensemble of characters,” Powell says. “When I read it, I realised that this was the kind of role I’d been looking to
take on – the kind of part I’d never played.”

Powell had been a fan of Ford’s debut movie, the multiple award-winning, critically adored and Aubrey Plaza-starring Emily the Criminal, and when he met with the director, his fandom only amplified.

“I was a huge fan of Emily the Criminal, but then sitting down with John, I became a fan of him as a person too. And then I became a fan of what he was planning on doing with this movie, and how it was going to feel. The movie that John was talking about, on a tonal level and on a taste level, was the kind of movie I hadn’t ever seen in the marketplace,” Powell says.

“We’ve all seen American Psycho. We’ve seen derivatives of it. We’ve seen Taxi Driver. We’ve seen derivatives of that too. But the way John was conceptualising this movie, his vision behind it, I was
like, ‘I’ve never seen that movie – it’s like Ocean’s 11 with murder. It’s rock ‘n’ roll. It’s got swagger.’
John reminded me of a young [Steven] Soderbergh.”

Soderbergh wasn’t the only auteur that Ford was being compared to behind the scenes. Ask How To Make A Killing’s producer, Pete Czernin, what makes him such a special talent, and he’ll namecheck some other filmmaking greats that he believes Ford sits comfortably alongside.

“I’ve been lucky enough to work with Martin McDonagh [on the double-Oscar-winning Three Billboards Outside Ebbing, Missouri], who is just extraordinary. But the Americans seem to bang out this calibre of writer-directors: Quentin Tarantino, Paul Thomas Anderson, John Patton Ford… That writer-director space is very interesting, and John is right in that zone.”

What most interested Powell about the project, and the character of Becket Redfellow himself, was a question of perspective. Specifically, that of the audience. Because here was that rare thing: a movie that, like the American Psycho and Taxi Driver examples he had for so long been seeking, asked its viewers to be complicit in the action themselves. To root for a man doing terrible things. To want him to literally get away with murder.

“That’s exactly what I’d loved about those movies, us following somebody we shouldn’t. That POV where the audience ends up rooting for the antagonist, essentially. Or at least someone who has antagonistic morals,” Powell smiles, delighted to now be playing in the ethical murk.

“The fun of jumping into this world was, ‘How far can I take the audience down this path and still make them root for me?’ That’s what I was always craving, that shift of perspective. This movie isn’t attempting to exist in the same lane as those other exceptional movies. But like them, we’re guiding the audience on a journey they may not at first think they want to go on, but will discover is a blast to go on.”

Powell isn’t the only one for whom making How To Make A Killing represents a personal milestone.

“On a thematic level, this movie is about growing up in the United States, where you’re taught to acquire more than you showed up with. That’s certainly built into my DNA, to get more and more and go further and never quite be satisfied with where you are,” says Ford.

“This is a movie about someone with that disease, who simply can’t accept where he currently is. For reasons beyond his control, he feels he deserves this fortune that he just can’t get. Really this story is all about how far we will go in life to get something we are convinced will make us content, when actually the definition of contentment is being happy with what you have. It’s a movie about that dilemma that we all share.”

The director smiles, overjoyed to be working with his leading man to bring to delicious life a character for the ages played by an actor at the peak of his powers, who is finally getting to unleash his wild side.

“What makes this movie extreme is that it centres around a character who feels emboldened to do things that we just would not do. And Glen is so perfect for that because on one hand he’s so identifiable as a performer and, on the other, he is so charming that you’d almost forgive him for anything,” Ford says.

“Because Becket is like us, up to a point. He’s like us in the sense that he has similar desires, fears and insecurities. But then, for whatever reason, he doesn’t quite have the same ethical hang-ups that we do and is able to do things that we would never, ever consider doing. It’s a story that is designed to give the audience an illicit thrill because we get to follow someone who’s ever so slightly more over the line than we are. It’s a wild ride for sure.”

“One of the most fascinating aspects about making this movie has been exploring the different versions of wealth, and what it does to different people,” Ford says. “It’s not the same for everyone. Each of these characters uses that money and that leverage in their own unique ways.”

JOHN PATTON FORD – Director – writer

John grew up in rural South Carolina. When he was thirteen, a movie filmed in his hometown, and he was cast in a small role (because he “looked local”) and ended up spending a month on set, following around the director and cinematographer. He quickly became interested in filmmaking. After graduating from The American Film Institute, his thesis film, PATROL, premiered at the 2010 Sundance Film Festival. He found work as a screenwriter soon after, penning scripts for Sony, Universal, and Disney. His directing debut was EMILY THE CRIMINAL, starring Aubrey Plaza. The movie premiered at the 2022 Sundance Film Festival and was nominated for four Independent Spirit Awards, winning Best First Screenplay. He lives in Los Angeles.

From Academy Award winning writer/director Chloé Zhao, Hamnet tells the powerful story of love and loss that inspired the creation of Shakespeare’s timeless masterpiece, Hamlet.

With such nuanced, sensitive and insightful films as 2017’s The Rider and 2020’s Oscar®-winning drama Nomadland, writer-director Chloé Zhao has earned a reputation as one of the most singularly gifted filmmakers of her generation. Now, as writer-producer-director-editor, she brings her visionary approach to Hamnet. The film centers on the marriage between Agnes and William Shakespeare and explores the tumultuous events involving the couple’s son Hamnet, which would ultimately inspire the creation of the Bard’s timeless masterpiece, Hamlet.

The film springs from the pages of Maggie O’Farrell’s acclaimed eighth novel, Hamnet, which won the National Book Critics Circle Award, the Women’s Prize for Fiction and was cited as one of 2020’s five best works of fiction by the New York Times Book Review. For O’Farrell, the story was one she’d hoped to tell for nearly three decades, after having discovered little-discussed details of Shakespeare’s family life, specifically the death of his only son Hamnet, who succumbed to the plague at just 11 years old.

“I always felt it was very unjust to this boy that nobody ever made the connection between this child called Hamnet and the play that was written four or five years later called Hamlet,” O’Farrell says. “This child had become so sidelined, a footnote in his very famous father’s story. So, the whole impetus to me writing the book was to put him on stage and to say that this child was important. He was loved. Without him, we wouldn’t have Hamlet. We owe this child so much, yet he was not part of the conversation at all.”

Although he receives title billing in O’Farrell’s novel, the child is not the central protagonist in her story. That role instead falls to Agnes(O’Farrell calls her character by the name she was given at birth, pronounced Ann-yis, rather than the more familiar Anne). The experienced falconer, forager and healer is as untamed as the lush and verdant landscape that surrounds her home. Her strong connection to the natural world borders on the mystical, and her wild, unconventional demeanor is instantly attractive to Will, who also harbors rebellious feelings toward his domineering father and the strictures of late 16^th century society.

Together, they make a formidable duo whose passions are in sync for much of the early years of their marriage. But their bond begins to fray as Will, encouraged by Agnes, pursues his dreams of creative expression. His sojourns from their Stratford-Upon-Avon home to London to work in theater are his lifeblood, something his wife understands all too well, but his absence is felt keenly by his family, particularly little Hamnet. Agnes uses her skills to make a lovely home for the boy and his two sisters, Susanna and Judith, though some forces prove too strong for even the most fiercely protective mother to keep at bay.

After Hamnet’s sudden illness and demise, the family is sent reeling from the loss, yet Agnes must remain steadfast in her commitment to her daughters and her husband. Still, the couple struggles to move beyond tragedy and find a path toward forgiveness, acceptance and fulfillment. Agnes immerses herself in nature, while Will pours his grief into a play that would live on throughout the centuries, Hamlet (which, in the 16^th century, was a common variant of his son’s name)—about a teenage prince who outlives his murdered father. Each finds a kind of catharsis in the act of creativity and imagination, giving meaning to the suffering they’ve experienced.

REVIEW

A Statement From Chloé Zhao

Hamnet is about love and death and how these two foundational human experiences can alchemize and transform each other through art and storytelling.

It’s a story of metamorphosis.

I don’t often have words to describe why I choose a project. I’m often guided by instinct, a tight pull on my heart center. Stories appear in my life as if they have chosen me and I have no choice but to surrender to them. Hamnet came into my life like a whisper that grew into a hurricane. By the end of the journey, I was tenderized. I had truly experienced what it feels like to live with an open heart in the eye of a storm – the beauty, the pain, the thrill at the edge of annihilation and the silence.

From the black hole in the spring ground of the old forest to the dark door on the stage of the rain-soaked Globe Theatre, I descended with a village of brave souls and together we held onto each other and let the underground currents of our unconscious take us. In the chaos we asked Agnes and William to guide us. We asked all the women past and present who suffered great pain and loss and the men who suppressed their feelings and ran away from themselves to guide us. We asked the forest, the river, the earth to guide us, and we asked our own wild hearts that desperately yearn for freedom and peace to guide us. In the end, as we danced on and off the stage of the Globe, the veils between reality and fiction, past and present, the seen and the unseen, love and death dissolved. There was no separation. We were one in those precious moments. I felt in my body, in my bones, that love doesn’t die, it transforms.

I have been afraid of death all my life and as a result, I have been afraid of love as well. I didn’t know how to keep my heart open staring at the impermanence of life. I’ve made four films about characters experiencing great loss and finding themselves through acceptance. HAMNET is the accumulation of that journey. With the sacred container of Shakespeare’s Hamlet, I went down deeper into the underworld to retrieve what was lost, that made me so afraid to experience both love and death. Maggie had opened a portal with her book, a bridge for us to connect with Will in ways we haven’t before.

“All things in life must die, passing through nature to eternity.”

“To be or not to be, that is the question.”

“The rest is silence.”

Will had written a story about love and death and I feel honored and fortunate to be able to interpret his messages for today’s audience. We knew, felt, that he was with us.

In our story, Agnes and William fell in love and had a beautiful family until they both found themselves at a threshold after the death of their son. They couldn’t go back to the past and they couldn’t move on. They are frozen in a liminal place, pulled towards opposing directions but cannot move an inch.

It is with such tension ALCHEMY occurred. In physics, when forces pull or push in opposing directions, they create tension. When that tension is too strong, it leads to movement and a new state of equilibrium: in the exact moment when Will finds himself between land and sea, life and death – one of the greatest pieces of literature was born.

Our world is at a threshold. We all feel the immense tension and pressure. We can sense a new state of equilibrium approaching. Many of us are frozen in a liminal place, afraid to move. I see the fears that plague me in others’ eyes. The fear of what will come. The fear that we don’t have control over our own lives. The fear that we are no longer safe in this world. The fear that we will never know unconditional love. And ultimately, the fear of death, a death without meaning.

The deepest reason for making this film is to bring disillusionment to that fear by showing the power of metamorphosis we have within us as human beings and our ability to alchemize our experiences no matter how painful they are.

We are all born into this world feeling the tension of the void. We must make a choice to keep our hearts open and walk through the flames.

Love doesn’t die, it transforms. It is the greatest metamorphosis in this universe, and I hope our film serves as a humble reminder of that.

The journey from page to screen

Hamnet’s journey to the screen began when Hera Pictures founder and producer Liza Marshall received an early copy in November 2019, several months prior to the book’s publication in March of 2020. “Because I’d read all Maggie O’Farrell’s previous novels and I’m such a super fan, I sat down and read the whole book in one night and completely fell in love with it,” Marshall recalls. “It was such an extraordinary, moving piece of writing.”

Securing the rights to adapt the novel, Marshall eventually came to partner with both Neal Street Productions’ Pippa Harris (1917) and Book of Shadows’ Nicolas Gonda (Knight of Cups) on the project. Harris, too, had read O’Farrell’s novel and found it to be meticulously researched and incredibly moving. Harris’ producing partner, Oscar®-winning filmmaker Sam Mendes, signed on to produce. Joining them was Steven Spielberg’s shingle Amblin Entertainment, with whom Neal Street had made the lauded World War I drama 1917. The film industry legend chose to sign on as a producer on the film as well. 

For the producers, recruiting the right filmmaker to take the reins of the project was critical; they were seeking someone who would respond to the elliptical nature of O’Farrell’s writing and the unconventional nature of her heroine. All agreed that Chinese-born, British-educated writer-director Chloé Zhao, given her impeccable artistic résumé, was an ideal candidate. “Liza, Pippa, Steven and I all felt that Chloé was the perfect director for this material. Not only does she have an entirely unique approach to film making, she is also one of the most empathetic souls I’ve ever met. Her close collaboration with Jessie, Paul and the rest of the cast allowed them to flourish as actors in extraordinary ways, and to make a movie that combines rawness and delicacy in ways I’ve never seen,” notes Mendes. 

“The beautiful and memorable storytelling in Maggie O’Farrell’s best-selling novel deserved to be brought to the screen by a filmmaker who would protect the material’s integrity and demonstrate an intuitive understanding of the emotional and complex journey that the characters—and the audience—take over the course of the story.  There was only one director I knew who would bring Hamnet to the screen with such compassionate care, and that is Chloé Zhao,” says Spielberg. “In adapting the novel with Maggie, Chloé’s inherent humanity, unerring sense of narrative, and gift for getting remarkable performances infuse every frame of Hamnet”.    

The first female of color and first Asian woman to win the best director prize at the Academy Awards® for Nomadland, which also nabbed the best picture Oscar®, Zhaohad earned acclaim as someone whose films, which often featured non-professional actors, were visually arresting tales interrogating the condition of people on society’s margins with great sensitivity and insight.

“Chloé has a rare gift for distilling stories to their purest essence, uncovering the soul within the structure,” says producer Gonda. “She doesn’t just look at the surface of a story — she wants to understand what pulses underneath it. With a figure as iconic and unknowable as Shakespeare, it takes someone with Chloé’s particular sensitivity and curiosity to uncover not just the facts, but the emotional truths hiding between them.”

O’Farrell was excited by the choice. “Chloé, with a lot of her work, she’s in a very interesting dialogue with art and authenticity and the relationship between the two and how they pull together and pull apart,” she says. “The film is about why we need art, why we make it, where it comes from, where it’s pulled from in your soul.”

Once Zhao was presented with the novel, she immediately connected to it on a spiritual level. “I felt her book was very immersive,” Zhao says. “It was a very visceral experience. It was a very poetic experience. It read almost like poetry to me, which is the type of cinematic language I love. As a filmmaker, when I was reading it, I was seeing images added together in a rhythm. I felt that there is a heartbeat in this book that matches the rhythm of the heartbeat of me as a filmmaker, and I also loved the story. I’m always looking for stories that are both very, very specific and universal at the same time, and this book really is that.”

“I was also very excited because the story touches on death and impermanence and grief and how the act of creativity and imagination could give meaning to the inevitable suffering that we go through in life,” Zhao continues. “When you have source material like that, it’s gold.”

Not only did she want to direct, but she also wanted to write the HAMNET screenplay together with O’Farrell. She sought to shed the typically stuffy trappings of a costume drama to instead create a film about love, loss and the healing power of great art as something visceral, raw and relatable.“Maggie has immersed herself so much [in this world] that she is the embodiment of all these characters, so collaborating with her was vital for me to be able to be inspired by the authentic world and these characters I have,” Zhao says. “There was just no question for me, I had to do that. And also, she’s an incredible writer. We were true partners.”

Zhao’s intention to faithfully translate the spirit of O’Farrell’s acclaimed work of historical fiction to the screen was present from the duo’s earliest conversations—the film was always intended to be one that devotees of the novel could very much embrace. Although the author was thrilled that HAMNET might hew so closely to her novel, O’Farrell concedes she personally felt some trepidation about reconstructing the story for film yet was delighted to discover her inner screenwriter.

“I know how to put down a narrative for the page and know how to put together the plot of a novel—that’s my job and that’s my heart,” she says. “But I had never written for the screen, and I wasn’t sure if I could do it. The mechanics of the narrative is different, the language is different, and the visual language is, of course, different. Something that appears on the page as an interior thought, you need as a scriptwriter to express that either through the visual language or the actual dialogue. That was a really interesting exercise.”

Despite working in different time zones, Zhao’s clear vision for the chronology of the narrative and for its characters helped propel the writing process. The director would often leave What’s App messages for her screenwriting partner that would help inspire revisions and rewrites; as they sent pages back and forth to one another, HAMNET eventually began to take on its final contours.

“You want the audience to see themselves in these characters,” Zhao says. “I want to try to open the hearts of the audience, soften them so they can feel the emotions these characters are feeling. Once they catch the wave with us, with our characters, then they have a chance to also experience catharsis. That’s always the creative goal of my films. Once they go through that catharsis, then they, like these characters, find some meaning from these difficult life situations, and hopefully become more whole through the experience of viewing the film.”  

Readers familiar with Maggie O’Farrell’s Hamnet understand the hypnotic nature of her prose and the vivid detail with which she evokes every aspect of the Shakespeare family’s daily lives. A testament to the extensive research she completed before sitting down to write the novel, O’Farrell describes the tools of John’s workshop, the earthy aroma of Agnes’s garden, the scratching of Will’s quills against parchment.

Filmmaker Chloé Zhao was committed to capturing that same level of authentic detail on screen, and she partnered with expert craftspeople to ensure that the screen adaptation thrummed with the same kind of vibrant life as its source material. That group included two-time Oscar®-nominated cinematographer Łukasz Żal (The Zone of Interest, Ida), Oscar®-nominated production designer Fiona Crombie (The Favourite), costume designer Malgosia Turzanska (The Green Knight) and hair and makeup designer Nicole Stafford (Speak No Evil).

Building Character: Casting The Film

Even before the screenplay was completed, Zhao had strong ideas about the actors who might take on Hamnet’s immensely challenging leading roles. In fact, she’d informally met with two of them at the 2022 Telluride Film Festival. That year, Irish actors Jessie Buckley and Paul Mescal had traveled to the Colorado mountains, each to promote a different film. For Buckley, it was the drama Women Talking, about a Mennonite community torn apart by sexual assault. For Mescal, it was the moving father-daughter drama Aftersun.

“Right from the beginning, Jessie was the actress that Chloé had in mind, and now, when you look at Jessie on screen, you can’t imagine anybody else playing that part,” producer Pippa Harris says of the character, who is so deeply rooted in nature and mysticism. “She embodies Agnes. She has a lot of her character within her. She loves the wilderness. She is quite a wild child in the sense that she’s very much at one with nature. She’s slightly mystical. She believes in the soul and the spirits, and she’s a really caring person—I think that that pulses out of her on screen.”

For her part, Buckley had an overwhelmingly positive response to both the story of Hamnet and to the character of Agnes. Reading the novel for the first time, she devoured the novel in one sitting, totally absorbed in the world O’Farrell had created and the magnetic figure at its center. Later, when she received the screenplay for the film, she was moved to tears. “I was like this is the woman I’ve been looking for,” Buckley says. “She is untethered, free, deeply curious, like a kind of rye whiskey, mischievous, hungry, beautiful soul of a woman. I just love her. She’s like one of those people I wanted to be my new best friend.”

In Will’s absence, Agnes gives John a wide berth and instead turns to her younger brother Bartholomew in moments of crisis. Played by Joe Alwyn (Harriet, The Brutalist), the farmer offers his sister his unconditional love and support. “They’re incredibly close, but they’re not together all the time,” says Alwyn of the siblings. “They’ve been almost forged together off the grid somehow in the forest. Bartholomew is both incredibly protective of her but also understands the strength of her well enough to not get in the way of what she is going to do. So, it’s this nice balance of protectiveness but also giving someone the space and freedom to grow.”

As Will, Mescal had the unenviable challenge of humanizing a literary icon. “For hundreds of years, Shakespeare has become this person we hold up on a pedestal, but he must have had all these complicated urges within him to write from the place that he wrote,” Mescal says. “The thing that I had to do was make this character my own. I had to stick to the history, of course, but the main thing that I focused on was his work. The only thing that we really know is that these are the words he put on paper. That is his lived experience. If you dig into the meaning of certain soliloquies, you find the roots of who he is. That was where I put my attention.”

Studying Shakespeare’s words, then bringing his own unique energy to the role, helped Mescal craft a character who felt both real and relatable.

CHLOÉ ZHAO (Director, Co-Screenwriter, Executive Producer, Co-Editor) is a writer, director, editor and producer from Beijing. Her third feature Nomadland earned acclaims including Golden Lion at the 2020 Venice Film Festival, Golden Globe®️ , BAFTA, DGA, PGA Awards and 3 Oscars®️ , including Best Director, Best Actress and Best Picture. Chloé co-wrote and directed Marvel Studios’ Eternals. In 2023, she launched Book of Shadows, a production company, with producing partner Nic Gonda. Most recently, Chloé co-wrote and directed HAMNET starring Paul Mescal and Jessie Buckley, to be released in 2025.

MAGGIE O’FARRELL (Co-Screenwriter) is one of the most loved writers in the English language. Her debut, After You’d Gone, marked the start of a career which has established Maggie as one of the great storytellers of our times. From that point onwards, Maggie has enjoyed critical acclaim and received numerous literary awards. The Hand that First Held Mine won the 2010 Costa Novel Award. HAMNET, which imagined the untold story of Shakespeare’s son, won the 2020 Women’s Prize for Fiction and was Waterstones’ Book of the Year, and was also a no. 1 bestseller.  Her most recent novel, The Marriage Portrait, was shortlisted for the Women’s Prize. Maggie has recently co-written, with Chloé Zhao, the screenplay for HAMNET. The forthcoming film will star Paul Mescal and Jessie Buckley and will be directed by academy-award-winner Chloé Zhao (Nomadland). Hamnet has previously been adapted for the stage by the Royal Shakespeare Company.Maggie is also the author of three books for children, Where Snow Angels Go, The Boy Who Lost His Spark and When the Stutter Came to Stay. She was born in Coleraine in Northern Ireland and grew up in Wales and Scotland. Currently, she lives in Edinburgh.

Guillermo del Toro’s Frankenstein is inspired by Mary Shelley’s seminal 1818 novel of the same name. “I’ve lived with Mary Shelley’s creation all my life,” says del Toro. “For me, it’s the Bible. But I wanted to make it my own, to sing it back in a different key with a different emotion.”

Mary Shelley’s Frankenstein; or, The Modern Prometheus 

Frankenstein: A Conversation with Guillermo del Toro

Published anonymously on January 1, 1818, the first edition of Mary Shelley’s novel Frankenstein chronicled the saga of Victor Frankenstein, a man driven by hubris to play God only to suffer unimaginable consequences. The gifted scientist bestows life on a nameless Creature made from
scavenged body parts, then turns away from his creation in horror, leaving the being to wander
alone in the world. Rejected by all, the lonely, wounded Creature turns violent, determined
that his maker should never again know comfort or peace.

Now, more than two centuries after Frankenstein was published, Academy Award®-winning filmmaker Guillermo del Toro brings to the screen a definitive new version of the timeless classic. A true passion project that was a lifetime in the making, del Toro’s epic revisits the story to explore what it means to be human, and what it means to be profoundly misunderstood as both a creator and a creature — a father and a son.

“Mary Shelley’s masterpiece is rife with questions that burn brightly in my soul: existential, tender, savage, doomed questions that only burn in a young mind and only adults and institutions believe they can answer,” del Toro explains. “For me, only monsters hold the secrets I long for.” 

The sprawling epic follows Victor, a brilliant, ego-driven scientist (Oscar Isaac), as he embarks on a quest to bring new life into this world. The Creature (Jacob Elordi) is the result; his very existence provokes questions about what it means to be a human,  a creator, a creature — a father and a son — to crave love and seek understanding. Both Victor and the Creature aim to answer those mysteries and search for meaning in a world that can seem quite mad. 

“The book has a lot of anxiety — the anxiety that you get when you’re an adolescent, and you don’t understand why everybody lies about the world,” del Toro says. He aimed to capture that anxiety by translating “the rhythms of Mary Shelley” for the screen. “When English is your second language, you are trained very acutely to the melody and the rhythms of a language,” he continues. “It has a particular rhythm, the dialogue in the book. I tried to make the dialogue be like that without sounding archaic.” 

In fact, del Toro was passionate about maintaining the modernism of Frankenstein in all aspects of the movie, which is set in 19th-century Europe. “When [Shelley] wrote Frankenstein, it was not a period piece. It was a modern book, so I didn’t want you to see a pastel-colored period piece,” he explains. Instead, the director favored swaggering fashions for Victor and styles that are “luscious and full of color.”

Del Toro hopes his Frankenstein stays with viewers as long as the Creature has resided in his own heart. “May monsters inhabit your dreams and give you as much solace as they have given me, for we are all creatures lost and found,” he says. 

Del Toro has been working on a Frankenstein film for more than a decade. “My favourite novel in the world is Frankenstein. I’m going to misquote it horribly, but the monster says, ‘I have such love in me, more than you can imagine. But, if I cannot provoke it, I will provoke fear.’ ” It’s an idea that inspired del Toro’s career-spanning love for the monsters inside and outside all of us. Now he’s finally returning to the source.

Guillermo del Toro’s Frankenstein is inspired by personal trauma, spiritual inquiry, and a lifelong reverence for Mary Shelley’s novel.

Its significance lies in its intimate reimagining of creation, regret, and forgiveness through a father-son lens.

Guillermo del Toro’s adaptation of Frankenstein is not merely a retelling of Mary Shelley’s 1818 gothic classic—it’s a deeply personal and spiritual excavation. Del Toro has long called Frankenstein his “favorite novel in the world,” a story that has haunted and inspired him since childhood. For decades, he envisioned adapting it, but only recently felt emotionally ready. The catalyst? A profound conversation with his father, Federico del Toro, who was kidnapped in 1998. That traumatic event—and the silence that followed—shaped del Toro’s understanding of pain, regret, and ultimately, forgiveness.

This emotional reckoning became the third pillar of his film’s thematic structure. Del Toro describes Frankenstein as a story about “pain, regret, and forgiveness,” with the latter only emerging after reconciling with his father’s experience. “A grudge takes two prisoners,” he said. “Forgiveness liberates two people”. This insight transformed the film into a meditation not just on monstrous creation, but on the human need to forgive and be forgiven.

Del Toro’s Frankenstein also reclaims the dual narrative of creator and creature. He originally considered making two films—one from Victor Frankenstein’s perspective, the other from the creature’s—but ultimately merged them into a single, operatic tale. This duality allows the film to explore the emotional and moral consequences of creation from both sides. Oscar Isaac plays Victor Frankenstein, while Jacob Elordi embodies the creature, each reflecting the other’s longing, rage, and isolation.

Stylistically, del Toro’s version is both epic and intimate. He envisioned it as a “Catholic retelling” of Shelley’s novel, steeped in spiritual symbolism and familial tension. The father-son dynamic—between Victor and his creation, and mirrored in del Toro’s own life—becomes the emotional core. The film doesn’t just ask what it means to create life; it asks what it means to be responsible for it, to abandon it, and to seek redemption.

The significance of this adaptation lies in its refusal to treat Frankenstein as mere horror. Instead, del Toro elevates it to a mythic parable about broken relationships, inherited pain, and the possibility of healing. In a cinematic landscape saturated with spectacle, his Frankenstein offers something rare: a monster story that is also a spiritual reckoning. It speaks to anyone who has felt abandoned, misunderstood, or trapped in grief—and to those who seek release through compassion.

By weaving personal history into Shelley’s timeless narrative, del Toro transforms Frankenstein into a vessel for emotional truth. It’s not just a film—it’s a ritual of reconciliation, a gothic hymn to the wounded and the forgiven.

Mary Shelley was a pioneering English novelist who wrote Frankenstein at just 18 years old

Inspired by personal loss, intellectual upbringing, and a legendary storytelling challenge during a stormy summer in Switzerland.

Mary Wollstonecraft Shelley was born on 30 August 1797 in London to two radical thinkers: William Godwin, a political philosopher, and Mary Wollstonecraft, a trailblazing advocate for women’s rights. Tragically, her mother died shortly after childbirth, leaving Mary to be raised by her father in a household frequented by poets, philosophers, and reformers. Though she received little formal education, Mary absorbed the intellectual atmosphere around her, reading widely and writing from a young age.

Her life took a dramatic turn in 1814 when she began a relationship with Percy Bysshe Shelley, one of her father’s admirers and a married Romantic poet. They eloped to Europe with Mary’s stepsister Claire Clairmont, enduring scandal, poverty, and the loss of their first child. In 1816, the trio joined Lord Byron and physician John Polidori at Lake Geneva. That summer, marked by relentless storms and philosophical debate, became the crucible for Frankenstein.

One evening, Byron proposed a ghost story contest. Mary, then 18, struggled to find inspiration until a conversation about galvanism and the reanimation of corpses sparked a vivid waking dream. She later described it: “I saw the pale student of unhallowed arts kneeling beside the thing he had put together.” This vision became the seed of Frankenstein; or, The Modern Prometheus, published anonymously in 1818.

The novel fused Gothic horror with Enlightenment anxieties, exploring themes of creation, isolation, and moral responsibility. It was groundbreaking—not only as a work of fiction but as one of the earliest examples of science fiction. Mary’s own experiences of grief, exile, and intellectual struggle deeply informed the emotional landscape of the book.

After Percy Shelley’s death in 1822, Mary returned to England and supported herself through writing and editing. She championed her late husband’s work while continuing her own literary career. Despite personal tragedies—including the deaths of three of her four children—she remained a resilient and prolific figure until her death in 1851 at age 53.

Mary Shelley’s Frankenstein endures as a foundational text in literature and culture, not just for its chilling narrative but for its philosophical depth. It asks timeless questions: What does it mean to create life? What are the consequences of unchecked ambition? And how do we reckon with the monsters we make?

Guillermo del Toro is a visionary Mexican filmmaker, author, and artist known for blending fairy tale aesthetics with gothic horror and emotional depth.

Born in Guadalajara in 1964, he has become one of the most influential voices in modern cinema.
Del Toro’s creative journey began in childhood, nurtured by a Catholic grandmother and a fascination with monsters. He saw them not as threats but as metaphors for power, pain, and misunderstood beauty. This perspective shaped his signature style: dark fantasy infused with poetic visuals, Catholic symbolism, and themes of imperfection and redemption.

He studied filmmaking at the University of Guadalajara and learned special effects makeup from Dick Smith, the legendary artist behind The Exorcist. In the 1980s, del Toro worked as a makeup artist and co-founded Necropia, a special-effects company. His debut feature, Cronos (1993), won nine Ariel Awards and the Critics’ Week prize at Cannes, launching his international career.

Del Toro’s filmography spans Spanish-language masterpieces like The Devil’s Backbone (2001) and Pan’s Labyrinth (2006), as well as Hollywood hits including Blade II (2002), Hellboy (2004), Pacific Rim (2013), and Crimson Peak (2015). His 2017 film The Shape of Water won four Academy Awards, including Best Picture and Best Director.

Beyond directing, del Toro is a prolific producer and writer. He co-authored The Strain trilogy, created the animated Tales of Arcadia franchise, and curated the Netflix horror anthology Cabinet of Curiosities. His work often explores underworld motifs, amber lighting, insectile imagery, and the emotional lives of outsiders.

Del Toro is part of “The Three Amigos of Mexican Cinema” alongside Alfonso Cuarón and Alejandro G. Iñárritu. He’s received numerous accolades, including BAFTAs, Golden Globes, and a star on the Hollywood Walk of Fame. In 2018, Time named him one of the 100 most influential people in the world.

His latest projects, including Frankenstein, reflect a deepening of his spiritual and emotional themes—exploring pain, regret, and forgiveness through mythic storytelling. Del Toro continues to champion stop-motion animation, genre storytelling, and the emotional power of monsters.

In an age of algorithmic precision and instant synonym generators, Roget’s Thesaurus offers a quiet rebellion—a return to language as landscape rather than tool.

Its conceptual architecture invites writers to wander, to dwell, to discover meaning not through replacement but through resonance. Unlike digital thesauri that deliver quick fixes, Roget’s unfolds slowly, thematically, like a conversation with the soul of a word. It fosters an organic writing process rooted in intuition, emotional texture, and the nonlinear rhythm of thought. For those who seek not just clarity but cadence, not just accuracy but atmosphere, Roget’s becomes more than a reference—it becomes a ritual.

Using Roget’s Thesaurus in its physical form differs profoundly from using a computer-based thesaurus or digital writing aid, not just in mechanics but in the kind of mental and emotional engagement it invites.

The tactile experience of flipping through pages, tracing thematic threads with your fingers, and stumbling upon unexpected clusters of meaning fosters a slower, more contemplative rhythm.

It resists the instant gratification of search bars and autocomplete suggestions, encouraging instead a kind of analogue wandering—where discovery is shaped by serendipity, not algorithm.

This slowness is generative

It allows the writer to dwell in the space between words, to feel the weight of nuance, and to be surprised by the proximity of ideas that might never surface in a keyword-driven search.

On a computer, the process tends to be more transactional. You input a word, receive a list of synonyms, and often choose the one that fits best by definition or frequency. It’s efficient, but it can flatten the emotional and conceptual terrain.

Digital tools often prioritise precision and speed, which can be helpful for editing or technical writing, but they rarely invite the kind of associative drift that leads to poetic or unexpected language. Roget’s, by contrast, is organised by idea—not by word—which means that even your entry point is conceptual.

You begin with a feeling, a theme, a notion, and from there, you’re led through a constellation of related expressions. This mirrors the way stories and metaphors unfold—organically, recursively, with detours and echoes.

Using Roget’s Thesaurus as a companion in the writing process can foster a deeply organic and intuitive rhythm, one that mirrors the way thought and emotion naturally unfold. Unlike alphabetical dictionaries that isolate words by definition, Roget’s arranges language by concept—grouping synonyms, antonyms, and related ideas into thematic clusters. This structure invites writers to move laterally through meaning rather than vertically through precision, allowing for a kind of associative wandering that mirrors the way the mind actually works when searching for expression.

It’s about finding the right word

Not just the “correct” word, but the one that hums with the emotional and conceptual frequency you’re chasing.

Roget’s doesn’t hand you a synonym; it opens a corridor.

You start with a notion—say, “loss”—and instead of a neat list, you’re offered a constellation: absence, deprivation, bereavement, eclipse, vanishing. Each carries a different weight, a different shadow.

The right word isn’t just accurate—it’s resonant.

It fits the sentence like breath fits a body.

The physical thesaurus resists distraction.

On a computer, the writing process is often interrupted by notifications, tabs, and the temptation to multitask. Roget’s offers a kind of sanctuary—a quiet, focused space where language is the only terrain. It invites immersion, not fragmentation. And because it’s not optimised for speed, it encourages the writer to listen more deeply to their own voice, to question not just what they’re trying to say but how they want it to feel.

In essence, using Roget’s Thesaurus is less about finding the perfect word and more about entering a dialogue with language. It’s a ritual, a slowing down, a way of letting meaning emerge rather than be selected.

For a writer who values resonance over provocation, this analogue process can be a grounding force. It aligns with your ethos of turning absence into story, of crafting language that breathes and remembers.

Roget’s doesn’t just offer words; it offers pathways. And in those pathways, the organic writing process finds its pulse.

Roget’s fosters a dialogue between intention and intuition, allowing the writer to listen to the echo of a word before committing to its surface meaning.

This is especially powerful in poetic or narrative work, where the cadence and connotation of a word can shape the emotional architecture of a sentence or scene. By engaging with Roget’s, writers are invited to slow down, to dwell in the space between words, and to consider not just what they mean but what they evoke.

This cultivates a writing process that is less about control and more about communion—between language, thought, and feeling.

Moreover, Roget’s encourages risk and play; its conceptual groupings often include unexpected or archaic terms that can jolt a writer out of cliché and into originality.

In this way, the thesaurus becomes a generative force, not just a corrective one. It supports the organic unfolding of voice, allowing writers to discover not just what they want to say, but how they want to say it.

The act of browsing Roget’s can also mirror the way stories or essays evolve—through detours, revisions, and sudden illuminations.

It honors the nonlinear, recursive nature of creativity, where meaning is often found in the margins, in the words we didn’t know we were looking for.

Ultimately, using Roget’s Thesaurus fosters a writing process that is alive, responsive, and rooted in the pulse of language itself. It transforms the search for words into a search for resonance, and in doing so, it helps writers craft work that feels not just polished, but lived-in—language that breathes, that listens, that remembers.

📚 Where to Find Roget’s Thesaurus

South Africa-Based Options

• Bob Shop (Cape Town-based seller)
  Offers The Everyman Roget’s Thesaurus of English Words & Phrases (Hardcover) for around R125.
  View listing here
  Shipping available nationwide with standard courier options.
• PriceCheck
  Aggregates deals across South African retailers. You can find various editions, including updated versions with thematic panels and quotation boxes.
  Explore options

International Options

• Amazon
  Offers a wide range—from the 8th Edition Roget’s International Thesaurus to more niche versions like Roget’s Thesaurus of Words for Writers.
  Browse selections

If you’re drawn to the ritual of secondhand discovery, local bookstores or library sales might yield a vintage edition with its own patina of use. Want help choosing between editions—say, one with more conceptual clustering versus dictionary-style layout? I’d be glad to guide.

“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.

“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.

With their 2022 debut feature and horror phenomenon Talk to Me, filmmakers Danny and Michael Philippou established themselves as some of the most exciting new voices in genre filmmaking. Where that movie, in which teenagers chase the high of conjuring spirits to possess them at house parties, was
partly inspired by the recklessness they’d experienced as high school students, it was grounded, and elevated, by a very real sense of consequences.

“With the movies that we make, whether it’s horror or any other genre, we really want our stories to have a strong emotional core. The stuff we want to create, we want it to work on multiple levels,” said Michael of their first feature. Danny agrees, emphasising that their features so far are clearly and confidently
a work of genre. “We don’t want to be scared of something that’s a horror movie. We want to embrace that it’s a horror film, and be proud of making a horror film.”

It is with masterful control of the genre, and how audiences respond to their stories, that the brothers are able to combine horror, dark emotional undercurrents, and surprising comedy to maximum effect — putting real, relatable characters through the ringer to reach something more effective and far more
memorable in the end.

The filmmakers cite the wave of Korean genre films of the 2000s, notably Bong Joon-ho’s Memories of
Murder, as an inspiration in this way, how the now-Oscar-winning auteur was able to place queasy humor, slapstick, and the long emotional tail of trauma at the core of a film about the fundamentally unknowable mind of a serial killer.

Now, two years after their breakout film, the Philippou’s follow-up is Bring Her Back, returning the writing-directing duo to an excavation of the horrors of suburban family life that is heightened by the deepest emotional shocks and gnarliest gore of any genre film in recent memory.

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.

It began with a much softer, more innocent inspiration

“Our friend’s little sister is non-sighted, and there was a situation with her family where she really wanted to go and catch the bus by herself, but her parents wouldn’t let her do it,” Danny says. “She was trying to communicate with them that she’s going to have to learn to navigate the world without everyone babying her all the time, that she needs to have her own independence.”

That thematic core, of a teenage girl making her first steps towards independence, would manifest in the story of Piper (Sora Wong), who has low vision, shielded from the darkness of life by her protective older brother, Andy (Billy Barratt). Andy tends to paint the world in rose-colored hues for Piper, sheltering her
from its worst because he can’t bear to share a world that is so ugly with his little sister. But after the two siblings experience a tragedy and its unavoidable horror, they are flung into far more unthinkable circumstances.

Piper and Andy land under the care of Laura (Sally Hawkins), a child-care worker and counsellor living in a secluded home with the orphaned, and increasingly troubled, Oliver (Jonah Wren
Phillips). As brother and sister slowly unravel the horrible truth behind Oliver’s disturbing behaviour, his deterioration appearance, and a mysterious empty swimming pool at the center of Laura’s property, the Philippous methodically reveal the internal underworld of their tale, through snippets of horrific found footage and the dawning realisation of their new circumstances.

“Talk to Me feels like a party horror film, but this film is more character-driven,” Danny says. “We liked the challenge of a contained story about these three characters, focusing on their relationships.”

A Fractured Family

For Laura, whose secrets drive the narrative, the brothers were inspired in part by a lineage of films stretching at least as far back as the 1962 classic What Ever Happened to Baby Jane?, which focus on broken characters who withdraw from the real world into a dark fantasy of their own creation. When the fantasy is shattered by the world around them, their response to that incursion is often one of violent withdrawal — there are few things more powerful than a comforting delusion.

The characters in these films are “not necessarily bad people to begin with, but the world is bad, and bad things have happened to them and they’ve internalized everything,” Danny says. “And so, with Laura, what was exciting was trying to write a character that you uncomfortably sympathize or identify with.”

The Philippous instantly thought of Academy Award-nominated actress Sally Hawkins (The Shape of Water), whose dramaticrange and ability to embody a character’s fragile past made her a dream fit for the role. They were also intrigued by the fact that she had never quite tackled a film like this before — even if the emotional intensity was more similar to her work with the great Mike Leigh in Happy-Go-Lucky and Vera Drake.

“Seeing all these different characters that she would build big backstories for, that was so exciting to me, the idea of someone bringing that much care to her characters,” Danny says.

Adds Michael: “Laura is written almost in a more outwardly confident way, but Sally brought this depth to it and portrayed it in a different, more interesting way. Laura struggles with what she’s doing in the film, and that is what humanizes her, I think.”

Hawkins, for her part, was deeply impressed by the young film makers, the character-driven way they were building the film, and their way of working with the cast.

“Danny and Michael will storm the world. They have never-ending energy and drive, which can only inspire those around them.

They are so smart, so witty, and coupled with such emotional intelligence and integrity,” Hawkins says. “It’s a delicate piece and dealing with delicate subject matter, albeit in a rather terrifying frame or mask. I felt completely supported and trusted and given the space needed to do what I felt I needed to do.”

On Gore and Lore

First with the ghastly other-side souls of Talk to Me and now with the encroaching demonic presence of Bring Her Back, the Philippous never tire of dreaming up work for their talented makeup design teams. They enlisted both Sydney-based Make-up Effects Group (M.E.G.) and Larry Van Duynhoven’s
Melbourne-based Scarecrew Studios for the film.

“We love practical effects and building stuff and trying to find things that haven’t been done on film before,” Danny says.

All of this is in service of the built-in lore of the film. The lore of Talk to Me was potent but still somewhat willfully obscured by the way the Philippous chose to tell that story. It was, in fact, part of the film’s narrative engine that there was this mysterious hand with a lost legend that everyone in the film was trying to understand and piece together. In reality, the directors had written at length about all of the spirits the kids in the film were connecting with by engaging with the hand, as well as the experience of every kid who engaged with it.

The same is true of Bring Her Back, with its dark and foreboding ritual seen in fleeting VHS glimpses throughout the film. That ritual holds the immediate answer for what’s going on with Oliver, but it only scratches the surface of the film’s internal mythology.

“I always like when you don’t over-explain that stuff. You hint at it,” Danny says. “If you read the original script of The Shining, where you know that Jack Nicholson is actually a reincarnation of this other person that used to live at the hotel. All that stuff is completely stripped out in the movie, and then it’s the photo at the end where people are, like, ‘Wait a second.’”

The practical effects and world-building, and the way the film makers draw audiences in, are all in service of the central and terrifying logic of the film, one that lands with an emotional wallop when audiences realize the truth about Oliver’s condition.

“Oliver as a character is a manifestation of grief and the way it can eat you alive,” Danny concludes. “That’s the monster in this story: the consuming, never-ending pain of unresolved grief. The VHS tapes of the ritual are essentially a corrupted inversion of Laura’s home videos, another reflection of her unnatural grieving process.”

Just as Talk To Me ended on a thrillingly expansive note, showing that the story in the film was just one part of a larger, fully-fledged world, Bring Her Back’s unshakeable and haunting impact is achieved by the sense of reality and dedication to craft that the filmmaking duo bring to their new film.

Twin brothers Danny and Michael Philippou are an Australian writer-director duo, known for their online presence in comic horror and action

Danny and Michael’s passion for storytelling began on YouTube where their videos have been watched over 1.5 billion times with over 6.7 million subscribers. They gained notoriety from their homemade slasher videos, stunts, and comedy sketches. In 2015, RackaRacka’s channel was awarded the Streamy’s Best International YouTube Channel, landed on Variety’s 2016 Fame Changers, and ranked 5th on Financial Review’s Cultural Power List. In their home country, RackaRacka won numerous awards at
Online Video Awards and the Australian Academy of Cinema and Television Arts Award for Best Web Show.

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.”

Screenwriter Bill Hinzman’s first credit was Talk to Me, which he co-wrote with director Danny Philippou. He has worked with both Danny and Michael on a range of projects since 2011.

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.

“’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.”

When Dinosaurs Dream Again: The Timeless Myth Behind Jurassic Park’s Science

Jurassic World Rebirth was conceived almost immediately after 2022’s Jurassic World Dominion brought 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.

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.”

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.

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 King hated 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 Journey course, 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.

“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.

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.

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.”

“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.”

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.

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.

• 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.”

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.

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.

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.

“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.

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.

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 Man 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 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.”

The Genesis

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.”

Fame Makes Monkeys Of Us All

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.”

The Power Of Family

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.

©2024 Better Man Au Pty Ltd

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.

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 Conversations: Unlocking the Future of Communication

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.

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.”

REVIEW

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.

EPISODES& IMAGES

Multiple Characters

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.

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 Universe appeals 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

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.

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.

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

1. 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.
2. 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.
3. 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?
4. 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.
5. 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.
6. Seek Feedback: Share your writing with trusted friends, writing groups, or mentors. Constructive feedback can help you identify your strengths and areas for improvement.
7. 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.

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 Emotions through 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

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.

Turning your Screenplay Into A Novel

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.

“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.”

“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.”

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.

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.

Read more about Mufasa: The Lion King

“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.

Watch on Disney Plus

“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 9,000^th 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.”

When director Stephen Cookson read the premise of Arthur’s Whisky he was immediately taken with it.  “It felt really original,” he says. “I hadn’t seen it in quite that way before – age and coming to terms with growing older. And I just thought, this is interesting.”

Cookson developed the script with producer Peter Keegan, his partner at CK Films. After some work shaping the story they felt the time was right to send it to Julia Stuart, Director of Original Film at Sky. “Julia had a major input into the script,” notes Keegan and as it evolved, the team brought on screenwriter Alexis Zegerman.

In Arthur’s Whisky, Joan and her friends Linda and Susan discover a means to transform. Drinking a special ‘whisky’ invented by Joan’s late husband, their bodies, temporarily, morph into their younger selves. But is this the answer to all the issues that confront the friends as they grow older?

“The moral of the story is, you don’t have to be young to enjoy life to the full,” says Keegan. “They’re all complaining about their aches and pains, regretting growing older, and they get a chance to take this potion. Suddenly they look young again – but is this really for the better.”

“I liked the idea this is not the more often explored idea of older women revisiting their younger lives. This is older ladies in younger women’s bodies!” says producer Pippa Cross, at CrossDay Productions, who joined to complete development and help shepherd the film into production. She too appreciated the uniqueness of Arthur’s Whisky. “The maturity and the lives they have lived are all still inside them when they’re in their younger bodies, and that feels fresh.”

Widower Joan (Patricia Hodge) and her two friends Linda (Diane Keaton) and Susan (Lulu) find a new lease of life when they discover her husband’s greatest invention. Distilled in secret, Arthur’s whisky turns back the clock for anyone who takes a sip, giving them a few hours to feel young again. As the wrinkles disappear, Joan and her friends hit the bars and nightclubs with a renewed lust for life. But will they find the secret to happiness before the elixir runs dry?

Naturally, finding the right women to play Joan, Linda and Susan was always going to be key to the success of Arthur’s Whisky.

The team went out first to the beloved singer and actress Lulu, casting her as Susan – Joan’s friend, who has never been married.

Lulu was hugely excited by the idea of taking on Arthur’s Whisky. “The script was amazing and the subject matter, I thought, was amazing, too; the fact that it is about these three women who are seemingly so different, but really, they are more alike than they know,” she explains. “Women are just great beings, great as friends. This really showcases the strength of women.”

The star felt a kinship with her character right from the off. “I think she has a lot of attributes that a lot of women have, and certainly that I have.” With no husband or family to speak of, Susan has put all her energies into hobbies and her friendships. “When our friends revert back to their younger years, they have all sorts of experiences that ‘wake them up’,” Lulu continues. “Bottom line, they’re all looking for love! There’s not a lot of things you generalize about, but aren’t we all? So each of them sets off to deal with their particular situation. Mine is that I actually meet a younger guy. And it’s very, very scary. But with the support of her friends, Susan is able to feel the fear and go for it anyway!”

When it came to finding an actress to play Linda, Cookson and co. went out to the legendary Diane Keaton. “We wanted an American as part of our ensemble,” says Cookson. “And Diane really liked the project. I had a couple of conversations with her over the phone and she committed to it.” Needless to say, everyone was delighted to secure the services of the Oscar-winning actress. “If you pitch high, then see what you can get!” laughs Keegan.

With the shoot fast approaching, the production still continued the search for the perfect Joan. Wonderful English actress Patricia Hodge was just becoming available after a gruelling run in London’s West End and luckily as soon as she read the script, she was on board, as well as being delighted when she discovered who her co-stars would be. “In both cases they’re very much women that I wanted to spend time with,” says Hodge.

The script’s high-concept was something Patricia gave some thought to. “I’m not particularly a fantasist,” says Hodge. “I’m quite a realist, I think. So I had to stretch my mind and think, ‘Well, hmm, this might be interesting.’ And the more I got into it, the more I thought it was making a very good point. What would it be like….? It’s rather like people wondering, ‘What would it be really like to fly?’ You have to stretch your imagination. So, yes, in our story you can turn the clock back and see what happens. Well worth exploring.”

As Hodge notes, Arthur’s Whisky is very much about the bond between these three women. “Friendships are always based on something not easy to define. I think humour has to be a major part of it, it really does, because these are very disparate women. But they’ve obviously forged a bond through shared laughter and deeper views of life. It’s been enduring. And they’ve always been drawn back to each other.”

With all three actresses attached, it was a delicious-sounding ensemble – an intriguing mix of acting experience, styles and personality.

There was little time for rehearsal, especially given Keaton’s busy schedule, so the trio had to hit the ground running when they met. Hodge insisted that she and her co-stars went for dinner before the shoot began, to help forge a bond. “It’s a long friendship. It’s a fifty-year friendship our characters have,” she notes. Cookson joined them and was delighted with the rapport that was so quickly established, and the fun they all had. He was quickly convinced they’d pull it off. “Nobody really knew anybody. But they’ve got so much life experience. They just get on with it and make it feel so believable.”

With that in mind, the producer Peter Keegan feels that Arthur’s Whisky plays well for a diverse range of ages.

“What is fun is watching these three twenty-somethings with their sixty-somethings inside them re-visit some of the stuff that happens to us when we’re young. A lot of that is genuinely funny and insightful and I think it should have a broad appeal.” For example, the nightclub scene, with young Joan, Linda and Susan. “I hope the younger audience will laugh, watching these older ladies in younger bodies navigating the club! But also appreciate the value of deep and long friendship.”

Genevieve Gaunt was cast as Young Linda, Esme Londsdale as Young Joan and Hannah Howland as Young Susan. All three took time to study the actresses whose younger selves they’d play, with Gaunt even going on a binge of Keaton’s past movies. They came in to watch them on set, and also had a chance to meet their alter egos socially when another dinner was arranged. “Obviously they were like sponges, taking in every little thing that they could,” says Cookson.

More than anything, agrees Hodge, it’s a film about the value of friendship. “Each one of our characters has come through hurdles in their life as everybody does. And they’re able to empathize and share.” Bringing a mix of laughter and tears, the team hope Arthur’s Whisky will delight anyone that sees it.  “It’s not a sequel, it’s not a remake, it’s not a franchise. It is a feelgood film – and there aren’t many being made,” concludes Cookson. “And hopefully there can be more of this sort of British filmmaking, and particularly comedy – as there are so few being made now.”

Stephen Cookson, Director / Producer / Co-Story

Stephen is an English film director, producer and writer based in London. Prior to developing and going on to direct and produce Arthur’s Whisky he directed Brighton (starring Phil Davis, Larry Lamb, Marion Bailey and Lesley Sharp) which he adapted from the famous stage play Brighton Beach Scumbags, and My Angel which starred Brenda Blethyn, Timothy Spall, Celia Imrie and Mel Smith, and won Best Film, Best Screenplay and Best Director at the Monaco International Film Festival.

Stephen also directed Stanley a Man of Variety starring Timothy Spall which won over 20 international awards including Best Director and Best Actor, Tell Tale Heart (Steven Berkoff, Henry Goodman and Hugh Skinner) which he adapted from Edgar Allan Poe’s short story, Shakespeare’s Heroes and Villains and The Battle of Cable Street both starring Steven Berkoff, Mumbo Mumbo (Joss Ackland, Brian Blessed and Richard O’Brien) for Warner Bros and  Journey to the Moon – the first movie musical since Alan Parker’s classic Bugsy Malone to feature an entire cast of children playing adults. 

Alexis Zegerman, Screenwriter

Alexis is a writer and BIFA-winning actress best known for her roles in Mike Leigh’s stage and screen productions. In addition to Arthur’s Whisky, Alexis has written Dirty Martini, a feature comedy for BBC Films, and an adaptation of Mark Lamprell’s bestseller The Lovers Guide to Rome as an ambitious feature film for Anonymous Content. Alexis also rewrote All Inclusive, a major comedy feature for West End Films, and is currently working on two original TV series, one for Character Seven – a modern, profound comedy drama, and one for Hartswood – a brilliant, funny female ensemble piece, and The Kickback, a drama for Wild Mercury with Emily Hampshire (Schitt’s Creek) attached. On the theatre side, her play The Steingolds was a finalist for the hugely prestigious Susan Smith Blackburn Prize, and Holy Sh!t was the first play staged at the Kiln (previously the Tricycle) Theatre. She also wrote The Fever Syndrome for the Manhattan Theatre Club, which had a successful run at Hampstead, and she’s also developed with Manhattan Portrait of a Man, a powerful and intimate drama about JFK and Elaine de Kooning, also available as a feature screenplay. She’s currently writing a new original for National Theatre Connections.  

The idea for Magpie came from an experience Daisy Ridley had on a film set. She was playing the mother of a young child, and became intrigued by the idea of reality versus fantasy, when the young actor would call her ‘mummy’, outside of filming. She shared her initial idea with her writer-actor husband, Tom Bateman, who developed the idea, and crafted a plot exploring the deeper themes of sacrifice, obsession, betrayal and revenge, against the backdrop of a crumbling marriage.

“Magpie is a taut modern noir with a killer twist,” says director Sam Yates. “Like all noirs, we are exploring the darkness of the human heart, morally ambiguous behaviour, and alienation. As soon as I read Tom Bateman’s script, I connected with the story on a number of personal levels.”

Daisy took the project to producer Kate Solomon, who was immediately drawn to the story and worked with them on the script. “I think it’s very unusual to have films where the characters can be so complex and ambiguous. You have one view of Anette, and then it changes and you’re not quite sure why. It also felt very modern because a lot of it is based around the digital world, and the relationships are played out within that world.”

Daisy Ridley continues to make her mark on Hollywood as one of the most dynamic English actresses of our time. She is best known for her breakthrough role as Rey in the 2015 film, Star Wars: The Force Awakens directed by J.J. Abrams. She reprised her role as Rey in Star Wars Episode VIII: The Last Jedi directed by Rian Johnson in 2017 and in the final film of the Skywalker Saga Episode IX: The Rise of Skywalker directed by J.J. Abrams in 2019.

Director Sam Yates came on board soon after, marking his feature film directorial debut. “I immediately connected with the script, especially with the theme of someone who is not saying what they need to say, and is repressed or restricted in expressing what’s inside her, which here is about standing up to a partner who has very certainly devalued her over time, with his behaviour. I really responded to that as a premise. Anette finds expression in the film in a really interesting way, in a way that you don’t expect because she doesn’t say much at all. But nevertheless, she finds this cunning, inner strength to change her situation, which I thought was really beautifully done. And it’s unusual as well, I think, to see a modern noir put together in this way, with a dynamic female protagonist and lots of subversions of the genre, which I found really interesting.”

He continues, “there is a sense of moral ambiguity and ambivalence. We watch these characters all behaving in pretty interesting ways, and there’s no clear hero so you are not quite sure where to place your loyalties. I also wanted to question the undeclared violence that goes on within marriages. The sort of violence by stealth, which I felt was in the fibres of their relationship, and the desire to take revenge when someone wrongs you, or diminishes you and how you can express that.”

From Page To Screen

“Sam had a great emotional response to the script” says Tom. “He questioned how far we can push the secret and the conceit of the piece and reveal it to an audience. He brought huge ambition to the project, referring to Hitchcock and Paul Thomas Anderson as inspirations.”

Adds Daisy, “He’s both empathetic and sympathetic. He had a very unique sense of what the film was to be. It has been very interesting having his gaze and he is amazingly collaborative, amazing with performances. Right fit, right place, right time.”

At first, we see Anette seemingly troubled and dissatisfied with being a stay-at-home mother, Alicia being publicly vilified for a personal sex tape, circulating on social media and Ben behaving as a calm, dutiful and sacrificial father, chaperoning his daughter on a film set every day. Then things start to shift and perspectives on the characters change, as Ben becomes shamelessly obsessed with Alicia at the expense of his daughter’s safety, and sympathy grows towards Anette’s frustrating situation at home. She becomes increasingly suspicious of Ben’s behaviour towards Alicia.

Says Tom, “Anette becomes fixated with Alicia’s image through Ben’s lens. She is obsessed with the woman who is almost the opposite of her. She can travel and is free. She is independent and powerful and admired in the way that stars are.”

Consequently, cracks begin to widen in Anette and Ben’s relationship. Matilda says of Anette’s character, “When you deal with someone who is constantly lying and manipulating the situation in a very subtle way, it’s really hard to trust the other person. And you start becoming doubtful about yourself and think you are crazy. I think that is what Anette is going through.”

Says Daisy of the disintegrating relationship between Anette and Ben, “It’s like paper cut after paper cut and before you know it, you’re covered in cuts. How much can one person receive before there’s nothing left? Anette has lost her shine because of Ben.”

Anette is also struggling with loss. She gave up an exciting career in publishing to be a mother.

Says Tom, “And she is now possibly losing her husband, losing her child, everything that she’s sacrificed in her life in order to hold together this family unit and to be a good mother and wife. This is a love letter to mothers. I’ve seen mothers sacrifice so much, and I wanted to really shine a light on that.”

The role of Anette offered an exciting challenge for Daisy. A seemingly unstable stay-at-home mother with an errant husband, sacrificing everything to raise her children, who gains an inner power to break out of her isolated cocoon and achieve enlightenment, presented her with rich possibilities.

The character of Alicia also plays with the audience’s mind. Says Daisy, “You start by thinking she is a femme fatale because of what is presented of her character to the audience in the beginning.” It is revealed a tape of her lovemaking with her boyfriend has made its way online and as a well known actress she hits the headlines. “And then people make judgements based on this and jump to conclusions. But in fact, she is an innocent.”

And then there’s Ben himself. A writer who had success with his first novel and is writing his third novel (his second book was less successful), having moved his family to an isolated house in the country. He craves the attention he enjoyed with his first book, and is oblivious to Anette’s own needs as she deals with raising their children. So when the bright and shiny thing that is Alicia crosses Ben’s path, he finds the bait irresistible and “He becomes blinded by his own desires”, says Tom.

Shazad Latif was immediately drawn to play Ben. Tom’s script offered a multi-layered character to get his teeth into, describing him as “an egotistical zombie cruising only towards what he wants to do.”

Shazad anticipates audiences are going to be taken on an unexpected rollercoaster ride and will relate to the film depending on their own personal and emotional circumstances. “I think men and women will view this film very differently and many will side with and feel empathetic to Ben rather than Anette, whereas some will completely understand Anette’s point of view. “Men who are not awake or haven’t had any revelations in their life will feel Ben is trapped and they would do the same thing. Anette is holding him back. But I think the men who have had some kind of awakening or are doing some kind of self work, or trying to get rid of that toxic masculinity and patriarchy that’s within them, then they’ll understand and they’ll take sides with Anette.”

Says Daisy, “I think everyone will have a different response to the film, often quite visceral. And it will be really interesting to see people having a conversation about what it is that really resonates with them upon seeing it.”

Sam concludes “It’s a film about films, about watching and enjoying a kind of joyride. We are watching people make a film, watching people watch other people and watching people watch us. It’s about seeing how humans behave when they are pushed to the limit. Revenge is pretty sweet in the film and I hope people will get a real kick out of that.”

Director’s Statement

Sam Yates was named Screen International Star of Tomorrow and a rising star in The Observer. Yates has been described as “a major talent” in The Guardian and “a director of unusual flair” in The Observer for his work in theatre. Magpie marks Yates’ directorial debut. He has most recently returned to the London stage, directing Andrew Scott in Chekhov’s Vanya

We find Anette in a state of dullness, her sense of self, her agency and her confidence having been slowly diminished by a verbally controlling and disinterested partner. While I didn’t have Anette’s cunning to save me, I did eventually pull myself out of a damaging relationship, and learnt what it means to reclaim yourself after years of doubting yourself. Anette’s journey from fractured to whole is, I hope, one of universal resonance and will speak to anyone who’s survived a toxic relationship.

I was equally fascinated by Ben. Struggling creatively, and seemingly blaming this on Anette and his children, Ben, like the magpie, has his head turned by luminous objects. I use the word “objects” deliberately, because Ben’s fantasy that Alicia is the solution to his problems, the key to immortality, and the road to endless excitement, is a fantasy of his own creation. He looks outward rather than within for solutions to his malaise, boredom and discontentment. The fact that Alicia is an actor heightens this fantasy, an invitation into a world that appears glamorous, exotic and ceaselessly interesting. Ben has painted Anette as someone he finds undesirable; a mother, and nothing more. He can no longer see the brilliant, beautiful woman he was first attracted to. Such is the distorting power of his gaze.

While we are drawn into the sexually charged connection between Ben and Alicia we experience the ugly flip side, Anette’s struggle to bear yet another infidelity. However, this time she can’t sit back and do nothing.

How do we express our anger when we’ve been wronged? What happens when humans repress emotions for too long?

Anette begins subdued, unstable and in extremis, but throughout the film reclaims her sense of self, applying cunning, ingenuity and strength to take her ultimate, and oh so cold, revenge.

Cinematographer Laura Bellingham and I pursued the bold visuals of the genre, inspired by Hitchcock and Jonathan Demme (red herrings, unstable perspectives, shadow and light, mirrors and reflection, intense close ups, subjective POV), to keep audiences on the edge of their seats as the story hurtles towards its fatal conclusion. A robust and present score by Isobel Waller-Bridge serves to ratchet tension and deliver a distinctive and universally appealing noir.”

© SHINY THINGS FILMS LIMITED 2023

Writer-producer Chris Morgan, who wrote seven of the ‘Fast & Furious’ movies and is one of the best action-comedy writers in the world, knew he would be the perfect person to craft Red One, taking a deep dive into Christmas traditions around the world, and the stories he found inspired and excited him. “I loved learning the origins of all the characters and stories, pulling a little from here, a little from there. The thing that remains constant across cultures is the spirit of generosity and hope and kindness.”

“I’ve always had this dream of making a kick-ass Christmas movie,” laughs Hiram Garcia, writer, producer and president of production at Seven Bucks Productions, founded by Dany Garcia and Dwayne Johnson. “It sounds crazy, but it’s something I’ve always wanted to do. Try and tell an action-packed Christmas story with heart and humor while also approaching holiday mythology in a realistic way. And then one day, I had an idea about how we could do it.

“We love all holiday films,” says Johnson, who plays the North Pole’s Head of Security, “the classics like ‘Miracle on 34th Street’ and ‘It’s a Wonderful Life,’ as well as the contemporary favourites like ‘Elf’ and ‘Bad Santa.’ We all love them for the same reason: they bring us back to that warm feeling of being with friends and family, the time of year when life slows down for a minute. And there’s nothing better than watching a great Christmas movie with the people you love.”

So, while Garcia and Johnson were keen to capture that feeling in a holiday film of their own, they also knew they wanted to try something new. Garcia says, “We knew that if we were going to make a holiday film, it had to big and bold and capture something about the holidays that had never been portrayed onscreen. We wanted a Christmas movie that portrayed holiday lore in a grounded way while packing it with action on a grand scale. And once Dany, Dwayne and I started talking about it… we couldn’t stop, and the ideas started flowing.”

Longtime collaborator producer/writer Chris Morgan was also instantly taken with the story.

Johnson, who collaborated with director and producer Kasdan on the global sensations Jumanji: Welcome
to the Jungle and Jumanji: Next Level, says he knew the filmmaker had the vision they needed, Jake Kasdan. “Jake and I had worked together on the Jumanji movies and this seemed like the perfect next chapter to our partnership. Jake is a gifted filmmaker who knows how to tell a funny, heart-warming story in the context of a giant, fantastical action movie. We’ve done it together before and we knew he was the perfect director for us.”

“Once in a while, there’s an idea that just clicks, immediately. And this was like that for me.” says Kasdan.
“DJ playing Santa’s head of security, the Commander of the E.L.F… This idea of showing what the North
Pole really looks like and how it all really works, pulling back the curtain in this very realistic and grounded
way that we’ve never seen before. I just loved it, right away.”

Telling a new and unexpected story about the holiday was the core mission of the movie, according to
Morgan, who is also one of the film’s producers. “In our world, the things we are told about Santa have little bits of truth in them,” he says. “But we are showing the rest of the story. We’ve taken all the things you’ve heard since you were a kid and put a little twist on them.”

Santa’s story may be one of the most often told in the world, Kasdan muses, but the filmmakers found a
way to reimagine it in a surprisingly contemporary way. “Our North Pole is a giant crystalline metropolis,
the manufacturing center for all of the world’s Christmas gifts,” the director says. “And we portray Santa
himself— or Nick, as his friends call him— in a very different light. To our minds, the coolest Santa ever.
And from there, we started to build out a whole mythological world of ‘Red One.’”

But because it was a Christmas movie, the filmmakers also wanted to tell a classic Christmas story, in the
spirit of the films that inspired them.

“Within this fantastical adventure, we’re also telling very human stories about our two heroes, Cal and Jack. They are each in the midst of their own, very private crises this Christmas. And they’re going to work
through them together, whether they like it or not,” says Kasdan. “When you have DJ and Chris Evans,
who are these action icons and also fantastic actors, you can have both things — you can invest in the
emotional lives of these action heroes.”

The story has something to offer everyone, according to Morgan. “It transcends age and has a truly global
appeal, not just because it’s visually spectacular but because it’s about a group of people who want to make the world a better place.”

Rule number one, says Garcia, is when doing a Christmas movie, you have got to have fun. “We assembled a talented, kind and collaborative group of people. They bought into this idea a hundred percent and committed to making something that’s going to pour goodness back into the world. We love telling stories about love and family and redemption. What makes this one special is that not only does it have scale and fun and big action, we are going to take you on a crazy ride. We are going to scare you just a little bit. We hope we’re going to make you laugh. But we want to really make sure you have those feels at the end.”

“Our Santa Claus, a.k.a. Nick, a.k.a. Red One, is the amazing J.K. Simmons,” Garcia says. “

Simmons admits he was enthralled by the epic nature of the film. “But without comedy, heart and a
compelling story to tell, the scope doesn’t matter. Like every good Christmas movie, there are a lot of
laughs, but the essence of it is about the importance of kindness and being good.”

For the first time in history, the unthinkable has happened: Santa’s (J.K. Simmons) legendary North Pole outpost has been breached and the man himself has been kidnapped. Callum Drift (Dwayne Johnson), Commander of the E.L.F. and head of security for RED ONE (Santa’s code name), springs into action along with Jack O’Malley (Chris Evans), the world’s best tracker and the man responsible for unwittingly revealing Santa’s secret location. As the mismatched duo crisscrosses the globe to bring Santa home in time for his legendary annual run, they will have to confront the most treacherous of Yuletide dangers, from Christmas villains Krampus (Kristofer Hivju) and Grýla (Kiernan Shipka) to a trio of sinister snowmen.

JAKE KASDAN (Director / Producer) is the son of legendary filmmaker Lawrence Kasdan and grew up on movie sets. A highly acclaimed filmmaker and television director/producer known for his sharp wit and distinct comedic style. With a career that spans decades and mediums, Kasdan’s versatility has allowed him to seamlessly transition from small independent films to hit television series and large-scale action-comedies on the big screen, amassing a diverse and impressive body of work in the process. Most recently, Kasdan directed and produced the action-adventures Jumanji: Welcome to the Jungle and Jumanji: The Next Level. Kasdan also directed and produced the hit comedy Bad Teacher. Additionally, he wrote and directed a film that is often cited one of the greatest parody movies of all time, the cult classic Walk Hard: The Dewey Cox Story. Kasdan’s other notable feature work includes writing and directing The TV Set and Zero Effect, the latter of which he penned at just 22 years old. He also directed the coming-of-age comedy Orange County, starring Colin Hanks and Jack Black. On the small screen, Kasdan is equally as prolific. His television career began as the pilot director and consulting producer for the now-classic series “Freaks and Geeks,” which launched some of the most successful careers in Hollywood today. Kasdan went on to direct and executive produce numerous television pilots and series including the hit “New Girl,”which ran for seven seasons on Fox. In partnership with Melvin Mar, Kasdan’s Disney-based company The Detective Agency has also developed and produced several groundbreaking series including the Critics’ Choice Award nominee “Fresh off the Boat,” which enjoyed a six-seasons run on ABC and was lauded for bringing visibility to the Asian-American experience. Other credits include “Speechless,” “The Grinder,” “Bless This Mess,” “Doogie Kameāloha, MD” and “American Born Chinese.”
Kasdan.

CHRIS MORGAN (Writer / Producer) is best known for his extensive work in the Fast & Furious universe, grossing more than $7 billion as Universal Pictures’ most successful franchise. Morgan’s credits in this capacity include Fast & Furious Presents: Hobbs & Shaw (writer, producer), The Fate of the Furious
(writer, producer), Furious 7 (writer, executive producer), Fast & Furious 6 (writer, executive producer),
Fast 5 (writer), Fast & Furious (writer) and The Fast and the Furious: Tokyo Drift (writer). He also served
as executive producer on “Fast & Furious Spy Racers,” an animated Netflix series that aired for six seasons.
Most recently, Morgan was a writer on Shazam! Fury of the Gods. Morgan is working on sequels to Fast & Furious Presents: Hobbs & Shaw and Bird Box (now in development).

HIRAM GARCIA (Writer / Producer) serves as president of production for Seven Bucks, a leading
multi-platform production company pioneering original content for television, film, emerging
technologies and digital networks. A film and television producer and trusted collaborator with
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If there’s a TV series that impacted emotionally and positively with viewers worldwide it’s The Crown, created by Britain’s leading contemporary screen dramatist, playwright, TV-series creator and showrunner Peter Morgan, who specialises in taking the lives of public figures, mingling the events and words of their lives with his own imaginings, and recasting it as a masterful docudrama.

At its inception in 2014, Peter Morgan‘s The Crown succeeded in becoming one of the most ambitious television projects of all time — and by the time it concluded its 60 episodes in 2023, his vision for the show had proven to be monumental. Created for Netflix, and premiering in 2016, Morgan’s series which he wrote or co-wrote comprised a six-season landmark depicting the life of Queen Elizabeth II from right before she became the monarch through the year 2005, when then-Prince Charles married the love of his life, Camilla Parker Bowles.

Peter Morgan / The Crown (TV series) / List of The Crown episodes

As a writer, Morgan had not always been interested in writing about historical figures.

“It came to me when I was about 40, so I’ve only been doing it about 20 years. I mention it to my own children, always, somebody said to me, which is that “The best creative years of your life are 40 to 60.” That doesn’t mean it applies to everybody, but it certainly applied to me, and I was told it before I got to 40. Stephen Frears told me that, he said that “Your best years are 40 to 60.”

Some writers write for TV, some for film or theatre and Morgan was lucky enough to participate in all three media. “I think I felt most home in theatre,” says Morgan. “When you have any idea you must think which media it will suit the best. When I wrote Frost/Nixon I wanted it to be a film. Nobody wanted it for film. So I wrote it for TV and nobody wanted it for TV. So I wrote is for theatre and everybody wanted it for the film. Each time the route is different, but process of writing I find the same. Technically speaking it is the same process.”

Morgan’s advice for writers is to write.

“On one hand I would wish everybody a success with their first screenplay, on other hand I have seen many people, who had success with first screen play and it destroyed them and their career cos they have never been able to repeat that. The ultimate goal in the career is to have longevity. For this you have to practice early on and disregard what happen next when it´s done, you get a finance for that or what will be reaction of the audience. It is beyond your control. Only thing you have the control over is whether you get up and write each morning or not. If you don´t you are simply not a writer.”

When Morgan took on The Crown, one of the most ambitious television projects ever to be planned, he had no sense of what he’d taken on.

Says Morgan: “Because I think if you do know, you wouldn’t do it. I think you stumble in like an innocent fool, and you thought, “Oh, well, that sounds like fun!” And you assemble a nice group of people, and you think, “Oh, this is nice.” I’m speaking now, just as a freelancer, there’s something unsettling if you’re a writer or a director or an actor, always looking for the next job, or meeting different people or wondering if it works out here, works out there. And a lot of us as artists are unsettled, complicated people from complicated backgrounds with complicated lives.

So the idea of finding stability and a family — there’s an extraordinarily high percentage of people that made “The Crown” that stayed from Episode 1 to Episode 10 of Season 6. It was such a functional, gorgeous group of human beings. It sort of removes the noise and the nonsense of freelance life, where you’re worried about this, worried about that. “This new person in that job, that new person — do I know them? Will they develop a relationship with them?” We were spared all of that, all that existential crackle, and we’re able to just do our jobs. Because the freelance life, the self-employed life, there can be a cold, whistling wind of discomfort. And I think we were all enormously privileged at a very special time for television to have had that opportunity.

So when it got very tough, and it always gets tough — a show like this is impossibly tough to do. I’m just talking about how to make it good, rather than personal relationships. I kept pinching myself and reminding myself of what I felt might be a unique moment. And indeed, the climate has changed. Now, I don’t know that the same show would get made again. We were left alone to do it — left alone! I mean, I can’t stress this enough. We were given support, and no notes. This is the show we wanted to make, and it is the way it is because that was how we wanted to make it. I mean, when do you get that?! I mean, I kept thinking, on behalf of all the other people who haven’t been given this opportunity, I’ve got to not screw it up. I’ve got to not drop the ball.”

One of the most powerful scenes in Season 6 is where Morgan wrote a scene depicting what happened between Diana and Dodi Fayed on the night of her death.

Says Morgan: “We know everything that happened from the minute they left that hotel suite and went down to the car. We know yard by yard, second by second what happened. But what we don’t know is what they were saying to each other in that hotel room. And that’s where I come in, and I have to use my imagination, but I don’t just sit there, and I don’t just start writing immediately thinking, “Well, I wonder what they had…” — you think really long and hard. Where is this particular character at this moment in their life? So many people both close to Diana and close to Dodi, have spoken about the frames of mind of the two individuals at the time, and you piece together what you imagine to be the case. And if you get it wrong, an audience will tell you. An audience, even without doing the research, will intuit if something is right or not. Audiences are so smart, and you can’t pull a fast one. If it’s implausible, an audience will know it instantly. They’ll just reject it.”

My harshest critic is not actually a historian, because historians are always pushing their own agenda. They’re often people with a certain point of view. I find an audience’s response much more telling, much more appropriate, because it comes from a huge cross-section of people with different political views, different ages. They reject if they’re being lied to. So we have to do a lot of work, and a lot of thinking.

And I call it joining the dots — where you know that this happened, you know that this happened. You sort of are reliably told that this person felt this, and this person felt this. But there still leaves this gap. And that’s the gap that a dramatist has to step into, and do their best. And I don’t know, it just so happens to be that I’m drawn to that gap-filling.

For many writers, it would be too restrictive. They want the wide-open planes of their imagination to be able to go in any direction they want with pure fiction. And for other people, they would want to do real second-by-second recreations of verbatim, where we know what was said, and they would want to recreate that. And I’m somewhere in the middle. For me, the fun is in the imagination. But imagination which is so well backed up with either anecdotal records, personal interviews you can do, historical books, that you can actually then imagine accurately.”

Figuring out how to map the seasons., Morgan always knew where he wanted to get to.

“In my head, I always think of The Crown as a train, moving through history. Our train particularly moves at the same pace all the way through, which is a decade a season. So when things suddenly happen in bunch, you think, “Well, we might need three episodes to deal with one year,” the train, its rhythm, is messed up. The bulk of my time, I’d say 60% of my time as a showrunner was spent figuring out the season, mapping out the 10 episodes.

Once I started writing episodes, I would stick to it. But mapping out the outlines took me many months. And is always a process where I pitch it to the researchers, the researchers grant me permission or give me the red card. The architecture of it — thereafter, every decision is small. Once you’ve mapped out the architecture of the season, after that, everything else is like sure, until you get into the cutting room where things are minute. So you keep going down and down and down in terms of the size of your decisions.”

“I’m always wrestling, every single day when I am writing a biographical film, I wrestle with the relationship between truth and accuracy. And I have two ways of making myself sleep at night. The first is, if it’s truthful, I feel okay. And the second is I tell myself that what I’m doing ultimately is painting a portrait. When you are in the busi ness of cre-ative writing, there is an unspoken covenant between you and the audi-ence, where the audience is expecting you to bring something to it that is beyond conventional, documentarian, accuracy-based treatments.”

5 Screenwriting Lessons You Can Learn from Peter Morgan and The Crown

1. Find the Perfect Platform for Your Story

Morgan originally conceived The Crown as a feature film. Morgan was initially known for his brilliant work on the stage as a playwright, but he then segued into film, and later, television. He’s the screenwriter behind The Queen (2006), Frost/Nixon (2008), The Damned United (2009), Rush (2013), and Bohemian Rhapsody (2018). As he was developing and researching the feature version of The Crown, he began to see the potential of the overarching story and the real-life characters had through years and years of rule. Rather than focus on a smaller window within that story, he decided it would be better as a series. When you’re developing concepts, pay attention to the stories that you’re trying to tell. And know the differences between the demands of a feature and the demands of a series. So for The Crown, rather than trying to compact years of great stories into a single feature, Morgan decided to shift towards a series approach.

2. True Stories Still Require Imagination from a Screenwriter

Many screenwriters struggle handling stories and characters that are based on historical facts and events. They struggle with balancing fact vs. fiction — and don’t understand how to handle creative liberties. As a screenwriter, it’s your job to fill in the blanks and explore what those real-life characters may or may not have been feeling. And it is certainly your job to interpret what they may or may not have been feeling through dialogue and emotional manifestations. If anything, it’s should be considered a freedom — not a constraint. You have the freedom of interpretation. And that requires a lot of imagination. Telling a true story isn’t just about great research. It’s about taking that research and using your imagination to bring it to life in cathartic fashion for the audience.

3. Look for the Smaller Historical Gems Beyond the Obvious Events

“In advance of writing every season — each season is approximately a decade long — so I look at that decade and there are the obvious tentpole historical events, and if you don’t, at least in some way, allude to them, it feels like a dishonest representation of that decade. And then there are the surprising ones. And it can often take quite a lot of time to find those.”

The series handles a lot of the obvious historical events. But where it shines most is with the smaller details that many don’t know about — those hidden historical gems. When audiences watch a series or movie based on historical events and figures, yes, they want to see those tentpole historical events covered. They want to learn more about them. They want to feel like they are getting a look into what really happened — or may have happened. But they also want to be surprised. They also want to learn new things. When you’re researching your screenplay based on historical events, keep your eyes peeled for little gems that you can focus on as well.

4. Stories of Love are Universal

Whether it’s between Queen Elizabeth and her beau, Prince Philip — or Princess Margaret and her many romances, especially with Captain Peter Townsend — love stories are an excellent way to help the audience relate to otherwise unrelatable historical figures.

It’s easy to get lost in the history of everything when you’re dealing with a historical event or figure. You focus so much on the facts and relinquish the emotion that you’d normally find in a feature film or series. You need to find ways to bring the audience in. And you accomplish that by exploring themes that are universal.

And what better universal theme than love?

The love of a wife or husband. The history with a former love. The love you always wanted but never had. The love you had, and have never forgotten. The crush. The love affair.

These are all universal themes. And you can branch out, much like The Crown does, by exploring the love between a mother and daughter, father and son, etc. As well as the complications between those types of relationships.

Don’t let the historical significance of your screenplay cloud the themes that every great story needs. Find any opportunity to portray those universal themes within your true story screenplays. Facts are interesting and fun to explore. Themes are what keep the audience invested and attached to the story and characters.

5. Find the Core of Your Story

“I’m not being presumptuous, I hope, when I say that ‘The Crown’ is a little bit like ‘The Godfather.’ It is essentially about a family in power and survival.”

Sure, The Crown covers historical events and figures. But when you take on a historical project — or any project, based on history or not — you need to understand the core of the story.

The Crown isn’t just about the Royal Family. It’s about: What it is like to have power. How different people handle that power. And how others survive through that struggle with power

What’s the core of your story?  The core of your story is the overarching theme that audiences can relate to most. What’s it really about? That’s what will drive every single choice you make as the writer.

With this series, it’s not just about presenting the factual details of the historical event portrayed. It’s about the struggle of power and surviving through the decisions made, and the repercussions that follow.

“There’s no detail that’s too small, and it starts with the script, ” says writer-director Hallie Meyers-Shyer, whose latest film Goodrich comes from the heart. “The script is the thing, so if that works, you’re starting off from a good place. Everybody knows what they need to do, and then you can explore and let some magic happen.”

Hallie Meyers-Shyer has been surrounded by the film world since she was born.  Her parents are veteran writer/directors Nancy Meyers (Private Benjamin) and Charles Shyer (Father of the Bride) who divorced when Hallie was a young girl.

In 2017, she made her directorial debut in 2017 with Home Again. Meyers-Shyer grew up in Los Angeles and attended The New School in Manhattan and The University of Southern California’s Writing for Screen and Television Program.

“Taking note of the many forms families take in this day and age, I wanted to write about different
generations of children from different marriages coming together to form a modern family. Inspired by films like Kramer vs. Kramer and Terms Of Endearment, complex family dynamics have always been at the center of the funny and emotional films I love most and the kind of stories I have always wanted to tell. Goodrich is a movie about coming of age at any age, about sons and daughters, mothers and fathers, marriage and divorce, and about realizing what really matters in life is the ones you love.”

For Meyers-Shyer, Goodrich is a personal film. “It could only be a personal movie. My father had children when I was in college, and that was complicated for me.  It was a lot to digest and process, and I love those kids. And it was just an interesting thing to watch your parent, parent a new set of kids. So I thought that it should be a movie. I combined all these different themes in my life and I wanted to write a movie for Michael Keaton because I could only see him taking on a role like this.”

“Michael’s very selective as to what roles he takes on, so I thought there was a very good chance he would say no.  I really just wrote my heart out, and I wrote it to Michael, the way you write to great music.I watched all of his films, I watched interviews with him, and I felt like I got to know him a little bit, and I just wrote as honestly to his talents and his strengths as I could, and prayed that he would say yes, and he did and quite quickly actually.”

“A lot of the time, as a writer, you can understand your life better by writing about it, and I think it’s a very human story. It’s very relatable. For me, that’s worthy of spending a lot of time on because I think it’s important for smaller, more intimate stories to be kept alive in today’s world. It’s an odd time for filmmaking.”

Meyers-Shyer thought it would be interesting to explore the idea of the work-life balance for men on screen because it’s talked about a lot for women. She wanted him to be a man of a certain age, because when he parented his first generation of children, which is Mila Kunis, there was a different standard for men. They could go off to work all day and come home for dinner, and that was a little bit excused in the ‘80s and even.

“I would say, up until recently, really. Now, in 2024, there are different societal standards for men and for fathers and different expectations. So, I thought if he had to parent then and he had to parent now, that would be comedic and interesting to dive into,” says Meyers-Shyer.

“Because we shot in 25 days, I had done a lot of that chiselling to the script because there’s no time to shoot things that you think may or may not be in the film. So, I had tried to get that script down to what really had to be there. I know some directors kind of do in editing room, “What about if we put this scene here,” and something wacky. That’s not my style. I stick to the script, and the script is pretty much the movie.”

It started for Hallie in terms of writing. “I’ve always really wanted to be a writer, so if it wasn’t gonna be film, I would wanna be a journalist or something. I’m a writer in my heart, and cinema is something I learned a lot about growing up. It was a big part of our upbringing. They would educate us on Sturges movies and Lubitsch movies, all of the masters, Billy Wilder. I really took to it at a young age and my parents noticed that, so they really encouraged it, and then they would start explaining things to me. There’s a language to film. I’m a parent now, and I notice if my kid is into music, then I start playing him Paul Simon. You want to encourage your kid’s interests, and my parents have a vast knowledge of the history of film, so they imparted that wisdom to me. Then, when I’d be on sets, they would show me things and explain them, “This is why we’re doing it this way.” When we would watch something, they would say, “You see how he did that? Do you see how the blocking of that was a two-shot, and then it pushed in and now it’s a single?” They would explain things to me. I can’t remember a time before I wanted to do this.”

Melding comedy with drama, Goodrich tests and explores its lead character Andy Goodrich, played by the incomparable Michael Keaton, showcasing both his lovable qualities and his flaws. Andy’s world is quickly upended when he finds himself in the position of being the sole parent of his nine-year-old twins from his second marriage. His life has always largely been consumed by work, causing Andy to never really give his kids the father they deserve while leaning a little too heavily on his adult daughter Grace (Mila Kunis) from his first marriage. Grace, now pregnant with her first child, watches from the sidelines as Andy learns to give his next generation of kids the very thing Grace’s childhood lacked — him. As his work life comes to an end, Andy must grapple with the universe changing his course both personally and professionally, which may ultimately be just what he needs.

“My task was to translate Vera’s Brittain’s memoir into a screenplay, which meant sticking to the book – that was my beginning and end point for research,” says screenwriter Juliette Towhidi. I read and re-read and re-read the book and because I come from a journalistic background it is in my DNA to research things thoroughly.”

The film Testament of Youth is an unforgettable and profound story of love, war and remembrance, based on the First World War memoir by Vera Brittain, which has become the classic testimony of that war from a woman’s point of view. A searing journey from youthful hopes and dreams to the edge of despair and back again, it’s a film about young love, the futility of war and how to make sense of the darkest times. Directed by James Kent, the screenplay was crafted by Juliette Towhidi.  

Juliette Towhidi talks about adapting Testament of Youth

During World War I, Oxford University student Vera Brittain (Alicia Vikander) postpones her studies to serve as a nurse while her suitor, her brother and a secret admirer face death in the trenches.

From Page To Screen: The Creative Journey Begins

In 2008, Christine Langan and Joe Oppenheimer of BBC Films were exploring the BBC archive for dramas with film potential, and, with the centenary of World War 1 looming, their attention turned to the classic 1979 BBC series of Testament of Youth. Rosie Alison, of Heyday Films, had recently worked with Christine Langan on The Boy in the Striped Pyjamas and when she learned of the BBC’s exploratory conversations with the Vera Brittain estate, she made a strong plea for Heyday to produce the film.

Alison, like Langan, had fallen under the spell of both Vera Brittain’s memoir and the original television series as a schoolgirl – and had retained a passionate attachment to Testament of Youth. BBC Films agreed that Rosie Alison and David Heyman (of Heyday Films) should be the producers for the film.

Alison and BBC Films undertook an extensive search for writers, before Juliette Towhidi was chosen. Although previously best known for a very different film, Calendar Girls, Towhidi made a passionate pitch to write the script.  Read an interview with Juliette Towhidi

Says Alison: “Juliette just stood out – she had the emotional intensity and rigorous intelligence to tackle the big story because it’s not only the book of ‘Testament of Youth’, there were also Vera’s diaries, and a wonderful collection of correspondence between Vera and the men in her life. There’s an overwhelming wealth of material to draw from, including Roland Leighton’s frontline poetry, and we needed to find a writer who could tackle all that and not get lost within it.”

“My task was to translate Vera’s memoir into a screenplay, which for me meant sticking to the book – that was my beginning and end point for research. I read and re-read and re-read the book and because I come from a journalistic background it is in my DNA to research things thoroughly. I did a lot of research around the First World War, always from a civilian perspective and of course discussing her with Shirley Williams (Vera’s daughter) and Mark Bostridge, (Vera’s biographer) really brought her to life for me.”

While it was decided not to use a literal first person narrator, Vera’s first person voice is implied through the use of her letters (such an important aspect of Vera’s memoir). Says Alison: “Over two or three years, Juliette’s script evolved to achieve that balance between the big historical story and Vera’s personal journey. We didn’t want a stately biopic; we wanted to make an intimate film where you really felt the interiority of Vera on her extraordinary journey from youth and hope through the war and its losses, and out the other side to a kind of a reawakening of the value and purpose of her life. Juliette brought to the script both Vera’s inner life, and the bigger picture of the times.”

Says Towhidi: “It’s a little bit like one of the great Russian novels in the sense that you have individuals experiencing a great tide of history that they are powerless to do anything about. Vera’s very personal journey set against this extraordinary epic backdrop of the war is what I think makes the story really special. The fact that she struggled with different forms of expressing her experience – she began by trying to write it as a totally fictionalized novel, and then ended up writing a very personal first-hand account. I think that’s actually what gives the book its power. You feel the truth of it.”

Choices made in adapting a true story

In condensing a 600 page memoir into a two hour film, it was clear that some omissions and changes would have to be made, to distil the source material.

During the process of adaptation, the writer and the producers were very mindful of identifying the key aspects of Vera’s story, the bare bones, and building the script around those.

For example, the film concentrates on two key periods of Vera’s nursing – at the First London General hospital in Camberwell, then at the military camp Etaples in France. This meant that Vera’s period as a nurse in Malta, had to be left out: it felt too much of a digression within the narrative drive of the film. Another example of a conscious change made concerns Vera’s nursing of Edward: although Vera did nurse her wounded brother, in reality this was in the First London General Hospital at Camberwell after he was wounded in the Somme – but the film makers shifted this encounter to a later period of the film, during Vera’s stint as a nurse in France at Etaples; this was to help the pacing of her relationship with Edward through the film. (When Vera Brittain was thinking of fictionalising her war experiences, before she settled on writing a memoir instead, she herself toyed with moving her nursing of Edward to France.)

There was also the question of where to begin and end Vera’s story.

The film makers decided to open with Vera on Armistice Day in 1918, drawing from her powerful descriptions of herself as a broken figure on that day, disconnected from the cheering crowds around her; this was to establish a keen, visceral sense of seeing the world with Vera and through her eyes. Through Vera’s memory, the film then flashes back to 1914, as we meet her in her pre-war innocence.

Much thought also went into where to end the film – how far to show Vera on her journey both as a writer and as a political activist, working for the League of Nations in the 1920s.

And whether to show the start of her attachment to her future husband, George Catlin. In the end, it felt more dramatically satisfying to keep the timescale of the film more contained than the full scope of Testament of Youth.

Although we meet, briefly, her future husband George Catlin, the film focuses more on Vera’s determination to honour the memories of Edward, Roland, Victor and Geoffrey.

We leave Vera at the moment when she first finds her voice as a speaker. And there is the sense that, formed by her wartime experiences, Vera can now go on to write the book of remembrance which defined her legacy, Testament of Youth (which she actually didn’t publish until 1933.)

Sources

There is a wealth of original source material from which the current adaptation has been able to draw. Aside from the primary source of Vera Brittain’s WW1 memoir Testament of Youth, which she wrote and published retrospectively in 1933, there are also her diaries from those years (published as Chronicle of Youth), and her correspondence with Edward Brittain, Roland Leighton, Victor Richardson and Geoffrey Thurlow (published as Letters From A Lost Generation: First World War Letters of Vera Brittain and Four Friends, edited by Mark Bostridge). There is also a definitive biography of Vera Brittain by Mark Bostridge and Paul Berry, as well as Bostridge’s edited collection of Vera’s poetry and prose (Because You Died). Roland Leighton’s poetry is featured by Vera Brittain within Testament of Youth.

Vera Brittain’s biographer, Mark Bostridge, was the consultant on the film. Vera’s daughter Shirley Williams was extremely supportive and generous with her time, meeting with the production team and discussing script drafts, and giving insights into her mother.

“Serial killer movies — like war movies — frequently romanticize the very thing they’re claiming to critique. And that’s a trap I worked hard to avoid,” says screenwriter Ian McDonald of Woman of the Hour. “I wanted to treat the people who were killed with dignity. To acknowledge their fundamental role within the case, while also suggesting that they had larger, more dynamic lives outside the story, and not limiting them to mere ‘victims.’”

In the 1970s, Rodney Alcala embarked on a killing spree, luring women under the guise of being a photographer in search of models. Despite being a registered sex offender who had recently been released from prison, he notoriously appeared on The Dating Game, a show that weekly featured three hidden bachelors answering humorous questions from a female contestant who would then choose one for an all-expenses-paid date.

Anna Kendrick makes her directorial debut with Woman of the Hour, a taut thriller based on the true story of a woman who reluctantly makes an appearance on the popular 1970s show The Dating Game, and chooses a bachelor who turns out to be a prolific serial killer.

Told through the vantage points of the victims and survivors, Woman of the Hour serves as a keen reminder of the all too real dangers that women face, and the countermeasures they almost intuitively understand how to deploy, in their interactions with dangerous men.

Frankly, it’s the type of story only a woman could tell. And with her trademark wit and humor on full display — both in front of and behind the camera — Kendrick presents a shrewdly observed, shockingly funny, and unnerving film in her first turn as director. Here she discusses her personal investment in telling this story, how she came to direct it, and what types of stories she’s attracted to as a director.

Anna Kendrick directs Woman of the Hour from a screenplay crafted by Ian McDonald.

The stranger-than-fiction story of an aspiring actress in 1970s Los Angeles and a serial killer in the midst of a yearslong murder spree, whose lives intersect when they’re cast on an episode of The Dating Game. Rodney Alcala was a killer in the midst of a killing spree when he brazenly took part and won a date on the popular TV game show “The Dating Game”.

In conversation with Anna Kendrick, director, executive producer, and star of Woman of the Hour

“As a director, Anna is passionate and meticulous. She’s able to go deep into how characters feel and behave while also keeping the larger narrative in mind. She also just had a very clear, uncompromising vision for how she wanted the film to look and feel, which was inspiring. I can’t say enough good things…Weirdly, we both grew up in Maine about 15 minutes from each other. We were also apparently in a Christmas pageant together when we were kids, and her dad worked as a substitute teacher at my high school. So there’s a way in which it feels like this was meant to be.” — Ian McDonald, Screenwriter

When did you first get involved with Woman of the Hour and how did you come to eventually take the helm as director?

Initially, I was attached as an actor and producer. I actually remember telling a friend, “it’ll be nice because it’s a great movie and a great part, but I’m not in every scene so it won’t be too big of a workload.” Little did I know what would happen in the end. I think we were about two years into development when I became aware that I was much more invested in the movie. Usually, I’m a bit laser-focused on my character, but in this case, I found myself asking everybody how they were feeling about every aspect of the movie, from the producers to the writer. Then we suddenly found ourselves with a start date and no director.

So we started talking about who we could go out to, who seemed like they’d be an interesting fit, and I think for the first 48 hours of this conversation, I had this thought bubbling up that I was resisting so hard. To even have that thought in my brain felt like pushing myself off a cliff.

I think I first said it out loud to a director friend who I initially got in touch with to see if he wanted to direct the movie. He read the script and he said, “It’s a great script, and there’s part of me that would love to do it. But I think you want to do it and I think you should, and I think you’re ready. Frankly, what’s taken you so long?” And that was really important and validating. I ended up formally pitching myself to direct a couple days later.

Was the desire to direct something that you’d nurtured for a while? After having produced several films, at what point did you start entertaining the idea? Or was it a matter of just waiting for the right opportunity to come along?

I think for a long time, in my conscious mind, I was very much holding onto the belief that being a director just takes too much out of you. Subconsciously, I think I was sort of protecting myself because it feels really vulnerable to want to do something and say it out loud or even acknowledge it to yourself. So it was something that was under the surface for a long time, but maybe I just didn’t feel brave enough to admit it until this movie came along. And frankly I think the expedited timeline of this project was the reason why I was able to push myself off that cliff. I think I would’ve chickened out if I’d had more time.

The subject matter of the movie isn’t one that we’d naturally expect you to want to direct your first time out. It’s pretty dark!

Funny enough, I asked another director friend to read the script, and he said something along the lines of, “I’m so happy you’re going to direct, but I have to confess I’m surprised that this is what you’re drawn to…I can see there’s a lot of really interesting themes around being a woman in the world and the challenges that come with that.” He also specifically referenced the violence of the opening scene.

So I really had to sit with that and give it some thought. I ended up saying that I can understand why a movie that opens with an act of violence doesn’t really seem like it’s in my wheelhouse, but I feel like I’ve been through experiences where I can relate to being with another person and suddenly discovering you’re with someone deeply unsafe. And how earth-shattering it is to have that feeling of annihilation suddenly appear in a room that previously felt very safe and warm.

Those scenes where there’s either violence or the threat of violence don’t feel foreign to me. In fact, I had to fight for that opening scene. Some people wanted a very different opening. But I felt so attached to that scene despite most people knowing me as a comedy gal. So I understand why it would seem surprising, but for me, I felt very connected to the material.

What was your approach toward portraying the violence? Despite the inherent brutality of some of the scenes, none of the violence toward the women in the film felt gratuitous or salacious.

In general, my approach was that things that are beautiful should be beautiful, and the things that are awful should be awful. Yet the violence in the movie is rarely literal or explicit. I wanted to be removed from the violence without sanitizing it. Violence is uncomfortable. It shouldn’t be easy to watch. But sometimes the suggestion of it has more impact.

I’m not especially interested in violence, but I’m interested in the ways people try to survive dangerous individuals and dangerous systems. And there was something about Ian McDonald’s writing that felt so emotionally resonant. The scenes with violence don’t feel like they are really about the act itself. To me, they’re about the risk of annihilation we expose ourselves to through intimacy. They feel like scenes about shame. Whose shame is this? Do I have to take it on for you so that you don’t hurt me? And how badly might you hurt me if I don’t?

Have you always been attracted to these kinds of true crime stories?

I think that it’s such a compelling genre because we all are drawn to these terrible stories because our brains believe that it will keep us safe if we know everything about dangerous people and the people they prey upon. It feels like this built-in primordial instinct to keep ourselves safe. I just don’t know how else to explain why so many people, including myself, would want to immerse ourselves in stories like this. Maybe  it indulges the fantasy that you could get a perpetrator to see that what they’ve done is wrong. But that’s just not how these people are wired.

You mentioned tapping a few of your director friends for guidance. Who did you lean on for advice?

There were a million people that I leaned on or wanted advice from. But coincidentally my friends, Jake Johnson and Brittany Snow had both just directed their first features right before I started Woman of the Hour. I was texting with Brittany the weekend before we started filming. I was so nervous, my confidence was at such a low point, and she said, “You’ll be fine. You’re freaking out right now, but you’ll get on set and you’ll know what to do.” She was right. It was like stage fright where you think, I can’t go out there. I can’t go out there. Then you hear the first chords of a song and you go, Well, I guess I’ll have to and you muster all your courage. And Jake was always around three months ahead of whatever I was doing, so I was able to call him at each new phase and ask about what to expect and what challenges he faced that he didn’t anticipate.

The original screenplay for Woman of the Hour made the Black List back in 2017 [then titled Rodney & Sheryl]. What was it like working with writer Ian McDonald?

Ian’s the absolute best. He’s an angel and is so brilliant at what he does. One of the things we worked on changing together was the ending. I had read this piece about one of Rodney Alcala’s victims — a girl who had survived and how she managed to do that. It became the most interesting part of the story to me.

A funny story:  I remember going back and forth with Ian working on a draft, and after a while saying to him, “I have a note for you that I feel really weird saying, and it makes me like you so much as a person, but the note is: you keep giving the women too much agency.” [Laughs.] He was like, “I’m sorry! I guess?”

I completely understood why he’d want to give that to a female character. There were moments when these women were interacting with their boyfriend, or the game show host, or the killer and they’d say something to the effect of, “You’re making me uncomfortable right now.” But I needed to tell him that it would be unrealistic or unsafe for her to say that. And he got it. He understood why we needed to pare those moments back.

The actual episode of The Dating Game with Cheryl Bradshaw and Rodney Alcala doesn’t exist in its entirety anymore. Only snippets of it live online. What was it like shaping that narrative and filming those scenes? [Editorial Note:  The real woman on whom the character is based is named “Cheryl.”]

Filming those sequences of The Dating Game was thrilling because Ian used the opportunity to almost write the fantasy version of what we all wish we could have said in a pivotal moment, but usually only say to ourselves in the shower a week later. I also got to talk as fast as I wanted without being told by someone to slow down. Maybe I should have given myself that note, but I was having too much fun.

We know that the real Rodney Alcala and Cheryl Bradshaw had a conversation after the show that made her decide to forgo the prize date that she won. We don’t know what went on in that conversation, so in the film we’re imagining what happened. Danny Zovatto’s performance took my breath away. It was only day two of filming and I couldn’t believe how dialed in he was. There were takes when I was watching him and telling myself, “Anna, don’t move, don’t even blink. Something incredible is happening and if you do anything that changes his performance at all, I’ll never forgive you.”

But I think the story itself is so compelling because of the idea that this dangerous and violent man went on a show like The Dating Game, where the goal is to choose a good guy, and won. It’s just comically perverse. I thought Ian took the conceit of “Scary Guy Behind a Wall” and extended that metaphor so beautifully and in that sense, The Dating Game itself really guides the movie thematically. We use the framework of the show as a way to explore the kind of existential terror of being seen, of who we let in, of what it means to be vulnerable. It taps into this question about who we trust.

What was it like playing Sheryl?

Sheryl is the most fictionalized piece of the movie. There’s very little public information about the real person, so our Sheryl’s life before The Dating Game is basically an imagined version of a woman in the 1970s. And her story became central in teasing out the thematic elements of the pervasive gender issues that were rooted in that era and persist today.

What I found really enjoyable about playing Sheryl was finding the constant balance in how she needs to move through the world to keep herself safe — sometimes in very literal life-or-death ways — but also just trying to stay in people’s good graces every day, whether that’s with a casting director, or a neighbor, or a game show host. I had a really good time playing with that dichotomy of who she had to be and in all of those moments, showing the audience how frustrated she is, how formidable she is underneath every little concession and every appeasing statement she makes.

So in that sense, I loved getting to play out this fantasy of her breaking free and getting a little bit of power back during the taping of the show. There was a point where I was worried that some of the stuff she does on the game show would end up feeling pedantic or petty. Then I realized, if I just play it as though none of the questions I’m asking really matter, and I don’t really care that this guy doesn’t know the difference between astrologer and astronomer, I’m just having the most fun I can, that’s still powerful. Because maybe for the first time in Sheryl’s life, maybe she’s not making herself small.

You’re the first to admit that every part of making this film was your favorite, but if you were forced to choose, what aspect of directing Woman of the Hour did you end up loving most?

Working with the actors. I know every department operates with the belief that movies exist to be vehicles for great production design, great cinematography, or great wardrobes and they should, they must. But it’s natural for me, as an actor, to think that movies exist as a vehicle for story and performance.

Every single actor delivered. I would’ve been so royally screwed if anyone didn’t. Everybody had to be incredible and I had the best time collaborating with the actors. Is there anything more enjoyable than watching great actors give great performances? In this lifetime, for me, there is not.

Woman of the Hour offers an all too rare take on a serial killer narrative that puts the victims first. What impact do you hope this film has on audiences, especially those who are drawn to true crime stories?

We definitely wanted to find that balance between telling an emotionally satisfying narrative without glazing over the repeated miscarriages of justice that took place over the course of Alcala’s killing spree. Part of what was so frustrating about his story was learning that no one was looking for him. There were so many heroes who raised the alarm about him and what was happening, and the reality is that things were not set up to protect victims. There’s no happy ending with a story like this.So I hope the movie speaks to anyone who has made themselves small and pleasing because they were just trying to survive physically or financially or mentally. It’s for those of us who have thought “thank god I listened to my gut” and certainly for those of us who know the pain of thinking “I wish I had listened to my gut.” And I hope it encourages people to forgive themselves for doing what they had to do to survive.

What kind of stories would you be interested in telling next?

I’ll admit I am sort of surprised by the darkness I’m finding myself drawn to. Of the scripts that I’ve been sent to look at, the ones I’ve really liked seem really diverse, but I did notice that there’s this underpinning in each of them of a man who is very unwell and the story outlines the repercussions of his actions on everyone around him. Then there’s definitely part of me that’s drawn to the lighthearted stuff. I would love it if somebody sent me a comedy that I can just fall in love with. I also want to direct a musical so fucking bad.

“Rodney seemed like an impossible ask. It’s such a demanding character. I started watching Station 11 and when Danny came on screen I immediately said, Him. It has to be him. If he’s not available I don’t think I have a movie. Danny was beyond what I hoped for. I couldn’t get over how terrifying he could be in some scenes and how open and vulnerable and safe he was in others. He knows how to balance eruption and restraint. It’s just masterful.” — Anna Kendrick on casting Daniel Zovatto as Rodney

What attracted Daniel Zovatto to this project?

One of the things that attracted me was that it was going to be told from the perspective of the women. I thought it would resonate by being told in a way where it had a bit more sensitivity from the other side, and not just Rodney’s. When Anna and I first spoke over Zoom, we had a great meeting where we just bounced ideas about how I perceived the character and what we wanted to focus on. It went really well and right after I remember thinking, Oh my God, Anna’s going to kill it. She was so prepared and so studious in her way of approaching everything.

How did Daniel Zovatto approach playing Rodney?

In my research, one of the things I found interesting about Rodney is when a lot of these people commit heinous crimes like these, they usually have some sort of a broken family. Something happened in their childhood, they have traumas, they have something in common in that realm. With Rodney, he committed crimes for many, many years before getting caught, but the research showed that he had a normal childhood. Nobody thought that he was going to go down this path. It was a shock to everyone.

So I made sure I tried to capture that in the performance. His purpose was that he wants to feel power. He wants to be as close to being God-like as possible. He wants to be the man and he showed that in the way he killed some of his victims. And that was really disturbing to me because what it created was a freedom to allow myself to show charisma and flirtatiousness and invite the woman in. And then once she said something I didn’t like, or once I made up my mind that this is my next victim, you see the other side of the coin. There’s footage of Rodney when he’s older. When he’s already in prison and you see him in court defending his own case. But that’s not the Rodney I played. The Rodney I played was the guy who was onThe Dating Game.

How does a film like Woman of the Hour set itself apart from the pack in terms of all the true crime stories out there, especially serial killer narratives?

Again, I think having Anna at the helm makes a huge difference. I love working with female directors. There’s a different sensibility, understanding, and a way of seeing things that distinguishes their voices. They’re telling the same story, it’s just what point of view do we want to make sure that is heard? The point of view of the victims in this film is highlighted with a care I haven’t seen before. I think the performances that each of the actresses give are so full of life. You really feel for them and you fear for them.

What impact do you hope this film has on audiences?

I hope what people take away from this film is that there’s a better way of looking at things. Why do we always talk about the killer? Why are we not talking about all the people we lost so that we can really understand what happened, how families are affected? By having a story being told this way, we’re given an opportunity to really look at the bigger picture and not always focus on the bad guy.

“I will forever make movies for theaters,” says writer/director/producer Todd Phillips of Joker: Folie À Deux, the much-anticipated follow-up to the Academy Award-winning Joker. “I really believe that the theatrical experience is such a huge part of the experience of watching a film. Not just in the shared common space with 400 strangers, but in just the sheer size and sound and feeling you get, and that the film evokes.”

“In 2018, when we were first making Joker, we could have never imagined it would strike such a chord with audiences worldwide. Joaquin and I had talked about a sequel, but never seriously—that changed when we saw audiences’ reaction to Arthur’s story,” says writer/director/producer Todd Phillips. “But if we were going to do it, we knew we had to swing for the fences, we wanted to make something as crazy and fearless as Joker himself. So, Scott Silver and I wrote a script that delved further into the idea of identity. Who is Arthur Fleck? And where does the music that’s inside of him come from?”

Joker: Folie À Deux stars Joaquin Phoenix once again in his Oscar-winning dual role as Arthur Fleck/Joker, opposite Oscar winner Lady Gaga. The film finds Arthur Fleck institutionalized at Arkham awaiting trial for his crimes as Joker. While struggling with his dual identity, Arthur not only stumbles upon true love, but also finds the music that’s always been inside him.

Todd Phillips directed Joker: Folie À Deux from a screenplay by Scott Silver & Phillips, based on characters from DC.

Joker – An original vision of the infamous DC villain

A conversation with writer/director/producer Todd Phillips

On how the term “folie à deux” came about for this film…

“In research that Scott and I would do about mental illness in general and different kinds of conditions, ‘folie à deux’ is an actual term used in—I think it was in DSM IV, one of those books—where it’s this idea of shared madness. In the movie, you can take it many ways. You can say, ‘Oh, well, obviously, it’s a shared madness between the two of them.’ Or is it between Arthur and Joker, his own internal folie à deux? It really depends, to me, on the lens that you’re watching the film through, you know?”

On why Arthur Fleck resonated with audiences in “Joker,” and how the process of starting on the new film began after the success of the first…

“Movies tend to hold a mirror up to society, or where we’re at, at that moment in the culture at least. I think that’s where we were on the first movie, for sure. The first one was really such a huge success for us, it was a whirlwind. It was a lot to go through, so it took a long time to kind of get over that. Scott [Silver] and I would talk on the phone about what would we do if we were going to do a sequel, and it just sort of slowly evolved.”

On what he and co-writer Scott Silver were thinking of, in terms of themes, as they began to explore the story…

“I thought that the themes in the first film were rather timely. And we started talking the way you talk about any movie, thematically. You’re not talking about structure, and even in a sequel, you’re not talking as much character, because we know Arthur, so you’re talking more themes, what would resonate, or where would we at least hope we’re headed.

“In the first film, Arthur says, ‘Is it just me or is it getting crazier out there?,’ which kind of was the beginning of the first film. And I think, if you’re watching it, you’re going, ‘No, it’s not just you.’ And in this film, well, I know that a character doesn’t say it out loud, but we were thinking, ‘What the world needs now is love.’ And that was the jumping-off point for writing the screenplay.”

On how they built on the first film to create something so new for this one…

“We went back to the things we liked a lot about the first film, and one of those things is Arthur’s fantasies, Arthur’s fantasy life. So, having that tool available to us helped us feel like we could do anything in this one.

“When you have the opportunity, coming off of something like ‘Joker,’ you go, ‘Well, we could kind of do anything, we could do something that challenges us’—I’m talking about Scott and I as writers, me as a filmmaker, Larry [Sher] as a cinematographer. How can we challenge ourselves in a way that’s something we’ve never done before?

On the story and themes, generally, of the film…

“It’s hard to explain what the movie is without getting into the specifics of what it is, but essentially, it’s the story of identity. It’s the story of who is Arthur Fleck and who is Joker, at least through his own eyes. And what does it mean to have to embrace your true self and who you are? Which is what he has to ultimately do at the end. I think this movie is infinitely more hopeful than the first film for Arthur. The first film, weirdly, was kind of similar thematically, as far as the struggle between Arthur and Arthur’s shadow self, which was this idea that we all walk around wearing masks in life, and what happens when you take that mask off and be your true self? In Arthur’s case, it was putting on a mask—which really confuses it all—that made his true self come out.

On where Arthur is when we meet him in “Joker: Folie À Deux”…

We’re catching up with Arthur, he’s obviously been heavily medicated by the institution. We wanted to feel him totally disconnected and not really connecting again until he sees [Lady Gaga’s character] Lee. So, it felt right for him not to talk. In fact, the first line in the movie from him is, “Can I have a cigarette?” Which also seemed appropriate.

On how long Arthur has been at Arkham when we meet him again…

“We didn’t really think about it that much, but we think it’s kind of unspoken that he’s been in this institution/prison for a couple of years. That was something we didn’t really talk about, even with Joaquin, because we kind of just like to begin where we begin, if you know what I mean? So it’s not so much about, ‘Let’s fill in these two years and figure out where he’s at,’ it’s more like, ‘This is where he is now.’ Arthur is just absolutely disconnected, he’s lost whatever spark he had at the end of the first film, whatever life he had in him at the end of the first film, and we’re kind of meeting a beaten-down, broken Arthur.

On early conversations with Joaquin Phoenix about preparing himself to be in Arthur’s frame of mind and physical state again…

“It wasn’t like I was first seeing him when that door opened, obviously, because I’d spent months with him before getting there. But he’s the most dedicated actor you can ever work with, so we talked early on in the process about losing the weight again. And I said, ‘Well, there’s a version where Arthur doesn’t have to be as skinny as he was in the first movie, you know, there’s medication and they don’t exercise there, he doesn’t walk up the stairs any more, he’s been locked up.’ I can make an argument that he’s not as skinny. And Joaquin’s like, ‘No, no, no, absolutely’; in fact, he wanted to be skinnier.”

On Joaquin Phoenix infusing Arthur with grace as in the first film, but taking it to the next level—including tap dancing…

“It goes back to this idea that I have, that he won’t admit to, but Joaquin can do anything. So, when you challenge him with something as absurd as, ‘Oh, and it turns out Arthur can really dance, not like just that beautiful bathroom dance, but he can tap dance,’ he has it in him. And Joaquin just goes, ‘Okay, let me figure that out,’ and you put him together with Michael Arnold, who’s a phenomenal choreographer, and they work on that tap for months… and then you watch him do it.

“And nowadays, people go and see movies and they think everything’s CG, everything’s fake. So, I had this thought like, ‘Are people going to think we just put Joaquin’s head on some dancer’s body?’ But he’s doing everything, and he doesn’t miss a tap. It’s just crazy. I mean, Jeff and I sometimes sat in the editing room and just watched other takes looking for a mistake. And it’s like, it’s always just, he just gets it, top to bottom, every time.”

On the moment that Arthur meets Lee and the transformation that’s going on in him…

“Well, it’s a tricky scene because, if you notice in the movie, we go into Slo-mo for a second when he sees her. We liked the idea of it being a bit of a mislead, because fool me once, right? In the first film, his relationship with Sophie wasn’t really real. So we kind of leaned into that idea, is this even real? And particularly when she puts the gun to her head, if you’re watching the movie for the first time, you’re going, ‘Oh, I get it. She’s made up, this isn’t real.’ It turns out, she is real, and she’s doing that because they made a TV movie about Arthur, and that was part of it.

“But yeah, when he gets into that building, and he hears her voice in that song, when she’s singing with the class, kind of cutting through, you can feel it in Arthur, that something’s changing, or that something’s awakening.”

On Lady Gaga’s character, Lee Quinzel…

“Lee believes in what Arthur did and what he spoke about on ‘The Murray Franklin Show.’ She’s watched the movie they’ve made about Joker ten times.”

On what Lady Gaga brings to this film as Lee who, with Arthur, goes between the reality and fantasy parts…

“What she brings, in her own way, is a reality to the character. And she really got the first movie. Our first conversations were very much about the first film. And she, I think, rather easily slipped into that world. So, it’s not like she’s trying to be Harley Quinn from another movie, or Harley Quinn from the comic books. She’s being Lee in this world. Again, like both these characters, as well as Harvey Dent, Gotham, all these things have been created before and actors have inhabited those roles before. So, all we’re doing differently is trying to ground them in a real world. And again, they’ve been grounded in real worlds in other films. It’s just through the lens of our world, I should say.”

On the importance of bringing the audience up to speed on how the world has reacted to Joker in the aftermath of the events of the first film, via his interview with Paddy Myers, played by Steve Coogan…

“I thought it was important for a few reasons. I think a lot of people had questions at the end of the first movie, because we end with Arthur in an institution. I remember people asking me all the time, ‘Did any of it happen? Was it all just a fantasy?’ So, we thought it’d be fun and engaging, I suppose, to answer some of those questions, in really broad strokes, and explain why here he is, paying the price for it.”

On running an open set, being willing to try things on the day, and the philosophy behind that…

“We always have a plan, of course, but we just like the ability to veer from that whenever possible. And I think it helps actors, feeling loose and feeling like anything can happen. It feels like… the day feels more alive. It’s not so much that I prefer it, but if they want to try three different ways of doing something, I would never go, “No, no, this is what Jackie’s like, so I just want to see his three gears or five gears,” or in Joaquin’s case, 19 gears, right? So it’s like, “Yeah, show it all to me,” because a movie gets written three times. A movie gets written by Scott and I, then Larry and I kind of rewrite it, and then Jeff [Groth], the editor, and I do the third draft, the final draft.

“So, we don’t really know if the Jackie that I wrote a year-and-a-half ago with Scott is gonna be the same Jackie that ends up in the movie. But if Brendan’s willing to do three versions, or play this scene that way, and then try it totally different, it’s only helpful to the last writing assignment, which is the editing, right?”

On shooting the music performances live, and how that informed the music coming from a more emotional place…

“That is exactly a great illustration of what I mean, in that you can’t pre-record it in a studio a month-and-a-half before you shoot the film and expect the actors to have the emotion that they’re supposed to have behind the song. So really, the only way to solve that is to sing it live, on the day, in the space. Clearly, she could do that, she’s a professional singer. For Joaquin, I thought it would be a harder thing to convince him, or to get him to do, or for him to be able to do it. But, like he frequently does, he blew my mind. Always. I mean, he’s just… he can do anything.”

On the music in the film becoming a key element to this story…

“That was something we had been talking about from even before we were talking about a sequel. This idea was something I talked to Joaquin about really early on, that Arthur has music in him, that there’s some panache to Arthur and a romance to Arthur, even in the first film. And I think that really informed—I hate speaking for Joaquin—but I think that really informed Joaquin, that idea that Arthur has music in him, informed a lot of the first film. Most obviously when he dances in the bathroom, but even his movements throughout the movie. So, we just thought that was a logical, leaping-off point.”

On the type of music chosen for the film, what he was inspired by…

“Well, music choice in something like this is a huge thing. I always wanted the music to feel like stuff that Arthur knew, stuff that maybe his mom played in the apartment when he was growing up. So, a lot of it came from that. I mean, if you remember in the first film, he’s listening to Lawrence Welk with his mother on the radio. So we always kind of wanted to embrace the kind of old-school vibe of music.

“So, for this film, it was very consciously not original songs, because we wanted it to be things that Arthur knew. We didn’t think it would make sense to have some great songwriter come in and write original music, because you’re not going to get near to what we were at with the standards we used, but also it didn’t feel very ‘Arthur’ to create original songs. The songs that exist in the world are the songs in his mind.”

On the realistic look and feel of the space…

“I think for every movie—this is not unique to this film—you want it to feel as grounded in reality as possible. That goes with wardrobe and costume and set design, background players. You want it to feel authentic.”

On the set builds being 360 and why that level of immersion was so important…

“Well, the 360 set speaks to [production designer] Mark Friedberg, the way [DP] Larry [Sher] and I shoot, but also Joaquin, putting him in a place where there are four walls and where he could go over there, even though we’re set up over here. You don’t want to necessarily dictate with an actor like Joaquin, you want to give yourself the freedom for him to come and feel the space.”

On the transformative scene with the umbrellas, where color is first introduced, and everything begins to change for Arthur…

“Well, for me, it really represents that there’s still magic left in Arthur. And so, when they come out of those doors and it’s dreary and it’s raining and they’re putting their umbrellas up, what Arthur sees is the colors. So, the idea being that he’s been here for two years and what’s it been like? In those first 10 or 12 minutes, he’s beaten down. But when he steps outside and he looks up and you realize, ‘Oh, there’s still some magic. There is still a little light. It hasn’t all been extinguished.’ That’s kind of what that represents.”

On ensuring the film’s color palette, scale, and general look were different from “Joker”…

“We didn’t want to do anything that was a rehash of the first film. We wanted the movie to feel entirely different, but the first film still had a language that we follow in this movie. I mean, the color palette in the beginning of this film very much reflects where we left off in the first film. And it’s not until Lee is introduced, and it’s not until magic comes back into Arthur’s life and music comes back into Arthur life, that things start to shift for him. [Production designer] Mark [Friedberg] and I talked really early on about it wanting to feel as if you would have made this movie a long time ago, not with CG sets and blue screens. We very much wanted it to feel, at least the sections that were fantasy and the music sections, like a throwback to how they made those movies then.”

On crafting a truly theatrical experience for audiences…

“I will forever make movies for theaters. I have friends and colleagues that make movies for streamers, but I just will never do it, ever, no matter what. I’d rather just not make films, because I really believe that the theatrical experience—obviously, this is not something new I’m saying—but it’s second to none and it’s such a huge part of the experience of watching a film. Not just in the shared common space with 400 strangers, but in just the sheer size and sound and feeling you get, and that the film evokes. So, Larry and I, Mark and I, every crew member and I, we make these films for the theatrical experience. And, particularly this one, Larry and I really leaned into the IMAX a lot. And I think if you see this movie in IMAX, particularly the true IMAX, it’s crazy.”

On what audiences who loved the first film will find when they see “Joker: Folie À Deux”…

“Well, I think if you love the first film, it’s because you loved Arthur, because really the first film was all Arthur all the time. So, hopefully, there’s still that love for Arthur, the character. And that’s kind of what we leaned into. I think there was a ton more love than we thought. I mean, the movie was way bigger than any of us thought. I think it was big, not just because of what Larry and I did, the way we shot it, not just because of the sets that Mark built, it was because of this love for the character that Joaquin created. So, we just thought if we leaned into that, and we really leaned into taking Arthur apart and breaking Arthur down by the end of it, that just felt right.”

Joaquin Phoenix on Arthur Fleck

On when—and why—the idea of the sequel to “Joker” came about…

“Todd and I started talking about finding a new story to tell with the character maybe midway through the shoot of the first one, long before its release. It was something that, even then, I think we both felt like there was more to explore with the character. And I loved the idea and the challenge of continuing the story but finding different tones to play with.”

On working with filmmaker Todd Phillips…

“Practically speaking, he’s just a seasoned filmmaker with a very specific and unique perspective, and that’s really the most important thing, at least for me, when working with a director. Additionally, I like the way that he solves problems. And he’s pretty fearless. He thinks very quickly, which is great, so it allows you to really come at a scene in a different way each take if you want. And any time you run into a problem, he just very quickly comes up with a line that just solves the problem. I’ve never worked with anyone quite like him.”

On his character, Arthur Fleck, having music in him…

“In the first film, we discovered moments in the way that Arthur and Joker move in the world that felt musical, oddly graceful, in a way—some kind of rhythm that motivates his movements. There was a nostalgia to the music that he listened to, the music in his head, that we kept discovering more and more as we were shooting.”

On the environments created for the film…

“The sets that Mark Friedberg built were pretty astonishing. Arkham had multiple levels; they were the kind of sets that you go in, and you get lost, they’re that vast. It’s really impressive and obviously important that you can go from the stage studio world, which is about as far away from the movie as possible, to entering the set and getting lost in those corridors. Everything was accessible and it felt authentic. It’s a huge part of the film, obviously, and also was a huge part of helping the actors find their place within the world.”

On the introduction of music into the mix…

“We started talking about music performance very, very early on, long before Todd and Scott [Silver] started really sitting down and working on the script. It eventually became obvious that we wanted it to feel spontaneous and off the cuff and dirty in a way that I don’t think you typically see with movies in that genre. We just felt like we didn’t want it to be like anything you’d ever really seen before, or to do it in a way that people typically perform songs in movies. That was exciting and challenging, because then it felt like we had to actually go out there and perform live in order to perform the songs in ways that felt accurate, authentic, but maybe weren’t the most beautiful renditions of the song. And there was something that felt very exciting about that.”

On working with pianist Alex Jules to perform the songs live…

“George Drakoulias is a music supervisor, he works with Todd all the time, and I’ve known him for years. And very early on he introduced me to a pianist named Alex Jules, and we started working together and we clicked. I had told him that I wanted each take to feel different, and we never really set in stone the phrasing or one particular way of singing. It was always changing from take to take. And he was really great at just listening, and at feeling when I might go; there were times where I would sing hard and loud, and other times it would be kind of softer. I just wanted to work with somebody that was going to go with me and be really receptive, listening to me and changing the dynamics live.”

Lady Gaga on Lee Quinzel

On her reaction to the script and her initial feelings about her role in “Joker: Folie À Deux”…

“My feeling from reading the script initially was that I was excited about how much room there was to play. I felt like while the script was very intentional and it was clear that this was going to be a love story, that the way that we told the love story was going to be unlike anything any of us had made or seen before. And that also meant that Lee should be a character that we had never experienced before. So, one of my favorite things about the script was how real she was.”

On knowing that Harley Quinn has been portrayed in comic books and on TV, and how this is different…

“Of course I thought about all of the ways Harley Quinn has been in the world before this script, but it was exciting to me to create Lee in Todd and Joaquin’s world, and their world for ‘Joker’ was so different than anyone that we had seen before. And this story of Arthur Fleck, this story of the birth of Joker, is extremely heartfelt and emotional. So I knew that Lee had to also be grounded in that same kind of humanity for this movie to work. So I worked a lot with Todd and Joaquin every single day on how to bring out her humanity amidst a film and a story that’s wild.”

On where Arthur is in his mind when he meets Lee…

“I think at the beginning of the film, Arthur is in a terrible place. And I think Todd has always tried to say something profound about the system and the way that it beats people down. So, I think at the beginning of this film, we see that Arthur barely has a life. And this first meeting is a suggestion that there could be some hope.”

On the best part of discovering Lee while she portrayed her…

“I had so much fun discovering Lee on set, and I would say that working with Todd, working with Joaquin as close collaborators every day, was extremely eye opening for me about the filmmaking experience and how I could actually come to set knowing that I might discover the character in the scene. And in what ways do we inhibit ourselves from knowing who a character could be by deciding ahead of time? So it was really fun.”

On putting in the work to allow for spontaneity…

“We rehearsed the waltz for months. I learned all of my music for months, so did Joaquin. But we kept everything very loose because this was a big artistic playground, and ultimately the edit would decide the final film, but on set you don’t have to make decisions that are set in stone. We prepared, and then we got to play.”

On what the term “folie à deux” means…

“Well, I did research on folie à deux, and looked up the medical explanation of it. Some people refer to it as double insanity. Other people talk about it being this condition where two people who have psychosis, one gives psychosis to the other person, they believe a shared fantasy, a shared delusion to each other and those around them, and they will defend their fantasy at any cost.”

On defining the line between fantasy and reality…

“The fantasies in the film are an expression of the way Todd sees the two of them, Arthur and Lee, and they’re an expression of the way Joker and Harley or Lee and Arthur or Joker and Lee and Arthur and Harley are experiencing life. It’s really for the audience to experience and decide.”

On the intertwined nature of the music and how it connects to the story…

“You know, Todd always said that there was music inside of Arthur, and it’s hard for me to talk about the genesis of anything in this movie without starting with Arthur and the first film. So to me, music plays a huge role in this movie because it’s part of what brings Joker to life, brings Arthur to life, and I think in a way is, at times, teetering on a metaphor of how Arthur becomes Joker. This music within him. And also it’s, I think, an expression at any given moment of things that just cannot be said in the scene with words. It had to be said in song and in dance.

“I thought that the music was very artfully chosen for this film; they always put the story first, and everything was connected to a real part of these characters. I don’t know that music would have worked in this film without that. I think part of what makes all of this bonkers activity make sense to our hearts while we’re watching it is the fact that there’s some truth in all of it.”

On the process of finding Lee’s voice…

“Working with George Drakoulias, Jason Ruder, Randy Poster, Todd, Joaquin… we worked really hard to find everyone’s voice in the movie. And for me to find Lee’s voice was really an interesting process. I knew after a lot of time working on it that Lee’s not a great singer. She’s doing her best, and that’s sort of a part of this movie, right? Both of these characters are kind of doing their best. And aren’t we all in life just trying to do our best all the time? And so doing her best, given who she is, was the starting point for my vocal performance in the movie.”

On collaborating with Todd Phillips on the film…

“Todd took a very big swing with this whole concept and with the script, giving the sequel to ‘Joker’ this much audacity and complexity. There’s music, there’s dance, it’s a drama, it’s also a courtroom drama, it’s a comedy, it’s happy, it’s sad—it’s got all of these elements. Some of the music is fantasy, some of it’s in the scene. It breaks genre, and I think it was very, very bold, and that it’s a testament to him as a director, that he would rather be creative than just tell a traditional story of love. As a filmmaker, I don’t think he would ever land in one particular spot and say, ‘This is exactly what I want you to feel.’ I think he just is exploring these two people. I have always appreciated that he really celebrated Arthur in the first film, and in the second film, he goes even further.”

On working with Joaquin Phoenix…

“I loved working with Joaquin. He was just amazing to experience this whole process with. I learned so much about acting, working with him, and I had so much fun doing all of the music with him and the dance routines.”

On Lee’s feelings for Arthur and Joker, how deep they run…

“To me, in the beginning of the film, Lee really doesn’t know who she is at all, she’s just… everything is for him. I want to be close to you. I want to be near you. I want to talk to you. I want to break out of here. Lee is kind of unreasonable in her pursuit of Joker and Arthur. I think it’s through that love that she kind of discovers who she’s going to be for the rest of her life.”

On what audiences can expect when they see this movie in theaters…

“I think that, without question, this movie was meant for movie theaters, literally the movie is a theatrical experience, but not in the way that anyone would sense. I’m actually very careful not to use the word musical when I describe this film, because I feel like that limits the way that anyone might think about it before they watch it. It’s a movie that the sound, the score, the feeling in the theater, just completely transports you into the minds of the characters and the intention of the director, and it was just an absolute joy to be a part of.”

TODD PHILLIPS (Director, Co-Writer, Producer) is the director, co-writer and producer of what was until recently the highest-grossing R-rated film in history, the critically acclaimed, Academy Award-winning “Joker,” which earned more than $1 billion at the worldwide box office.  “Joker” is also the biggest global October release of all time, and the sixth Warner Bros. Pictures film to cross the billion-dollar benchmark.  The film also won the top prize at the 2019 Venice Film Festival, the Golden Lion.  His next film, “Joker: Folie À Deux,” is the hugely anticipated follow-up, starring Joaquin Phoenix in the title role opposite Lady Gaga, and releasing in theaters October 4, 2024.

Phillips was a producer of commercial and critical success “A Star Is Born,” co-written and directed by and produced with his Joint Effort partner, Bradley Cooper, who also starred alongside Lady Gaga.  Released in October 2018, the film grossed over $436 million worldwide and was nominated for eight Academy Awards including Best Picture, winning Best Original Song.

Phillips wrote, directed and produced the 2016 comedic drama “War Dogs,” starring Miles Teller and Jonah Hill, who was nominated for a Golden Globe award for his performance. In 2009, Phillips directed and produced the blockbuster comedy “The Hangover,” starring Cooper, Ed Helms and Zach Galifianakis, which won a Golden Globe Award for Best Motion Picture – Comedy or Musical.  He then wrote, directed and produced the sequels, “The Hangover Part II” in 2011, and “The Hangover Part III” in 2013.  Collectively, the trilogy grossed over $1.4 billion globally.

As a writer, Phillips was nominated for an Academy Award for Best Adapted Screenplay for his work on “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan” in 2006.  He began writing and directing features in 2000 with the cult classic comedy “Road Trip.”  In 2003, he wrote, produced and directed the comedy box office hit “Old School,” starring Luke Wilson, Will Ferrell and Vince Vaughn.  Phillips has also written, directed and produced such comedic successes as “Starsky & Hutch” and “Due Date,” the latter starring Robert Downey Jr. and Galifianakis.  He also served as producer on the outrageous dark teen comedy “Project X.”

SCOTT SILVER (Co-writer) was nominated for an Academy Award and a BAFTA Award, among numerous others, for best adapted screenplay for “Joker,” which he wrote with the film’s director, Todd Phillips. Silver was nominated for an Academy Award and a BAFTA Award for “The Fighter.” He also wrote “8 Mile.”

“When I started writing Lonesome, I was thinking about where our queer community is right now in Australia,” says writer-director Craig Boreham. “Our connections via social media are constant but the physical community spaces have begun to disappear and our big cities can be trickier places to navigate when you are searching for your people.”

Lonesome is a new feature film by award-winning Australian director, Craig Boreham (Teenage Kicks), exploring sexuality, loneliness and isolation in a world that has never been more connected. 

Craig Boreham’s writing often delves into the complexities of how people relate to each other and what is hiding under the surface.

“A big theme that I was exploring in the writing of Lonesome was the erosion of community and the isolation that people can feel emotionally despite the world being more connected than ever before in any time in history,” says Craig.  “Each of the characters that appear along Casey’s journey are struggling with their own search for connection in their own ways. I am always fascinated by the way people present in their exterior versus what is bubbling under the surface, and I wanted to explore that idea in the characters who inhabit this world. Casey and Tib are both people who carry the scars of individual trauma and they have built their walls up hard and high. They have these deeply buried histories and neither of them is truly equipped to be open about them.  It really becomes the hurdle that they need to get over to be able to really see each other.”

“Lonesome is a poignant and timely queer love story, and one that emerges unexpectedly amid the transactional world of casual hook-up culture,” says producer Ben Ferris Craig’s talent as a director allows him a lightness of touch to find the comic in the tragic, while losing none of the authenticity and tenderness at the film’s heart. Dean Francis’ photography lends a cinematic grace to the basements and rooftops of a Sydney less frequently depicted on screen.”

“I’m excited about Craig’s vision and the great talent we have on board with Josh Lavery and Daniel Gabriel and the other supporting cast,” says producer Ulysses Oliver, “I can’t wait for people to experience this part of Sydney or Australian culture that maybe they haven’t seen before with real authenticity.”

Casey (Josh Lavery), a country lad running from a small-town scandal, finds himself down and out in the big smoke of Sydney. When he meets Tib (Daniel Gabriel), a city boy, struggling with his own scars of isolation, both men find something they have been missing but neither of them knows quite how to negotiate it.

It is available to rent on AppleTV, Amazon or YouTube movies in most territories and also on Netflix in Australia. In the US it is available on Dekkoo.

Statement from writer-director Craig Boreham

Lonesome is ultimately a journey of connection between two souls who are both leaves blowing in the wind. Casey is lost after a country town scandal tore his world apart. Tib, rejected by his broken family, tumbles through the world without direction and any kind of support network. His only connections are formed through meaningless encounters with random men he finds on hook-up apps. When their worlds collide, both men find something they have been missing but neither of them knows quite how to negotiate it.

When I started writing Lonesome, I was thinking about where our queer community is right now in Australia. Our connections via social media are constant but the physical community spaces have begun to disappear and our big cities can be trickier places to navigate when you are searching for your people.

Independent filmmaking is a very collaborative form and I wanted to fill the cast with a mix of LGBTQI+ actors and people drawn from the community that the film explores to have many authentic perspectives informing the storyworld.

I wanted the film to be honest about the part sex plays in this navigation and the way gay men in particular use it. Whether it is in the pursuit of intimate connection or to purely to pass the time or to express rage or as a transaction, sex is a big part of our day to day but still so often hidden in our screen stories.

From Page to Screen

In 2021 producers Ben Ferris and Ulysses Oliver came together to create Breathless Films with the aim to produce a slate of low budget indie feature films from exciting directors who would embrace the indie model. Craig Boreham was one of the directors they approached to see what he was working on.

“It’s a crazy endeavor but here we are,” says Ulysses. “We did a big creational process and we looked at over 100 scripts and met with about 50 filmmakers which took about six months. We loved the story, Craig has an amazing track record, and we were looking for points of difference, which Lonesome has, but overall, it was the very strong arc and character story of Lonesome that was shining through. It’s very ambitious given the limitations we have. We are a big believer in the idea that it is about the story, and money isn’t the most important factor. Imposing limitations around resources and time makes you make strong creative decisions that will shine through.”

Craig enlisted longtime collaborator Dean Francis to the project to come on board as a producer and the Director of Photography. “Dean and I first met when we were attending the Berlinale Talent campus many years ago,” says Craig. “We have been creative sounding boards for each other ever since and have always wanted to work on a film together. I love Dean’s camera work. He really has a wonderful eye and his own film Drown, which he shot as well, is full of the bold richness that I wanted to bring to Lonesome. Having such a long creative relationship was a real asset to the filmmaking. We know what each other likes and there was a real ease to the working relationship.”

Dean says “Craig is one of my oldest friends and we’ve seen each other’s sensibilities develop over a long period of time. This meant we could work quickly from an intuitive shared understanding of the film’s vision. It was an advantage being a producer as well because I could really be in Craig’s corner when it came to protecting his vision from some of the practical challenges the production faced along the way.”

The filming off Lonesome took place over four weeks all around Sydney in July 2021 between Covid lockdowns. Craig and cinematographer Dean Francis had decided to embrace the light of the cooler months to give the film a cinematic quality that is harder to achieve in the summer months which of course came with its own challenges.

Casting

As a director, Craig has the utmost respect for the actor’s craft and was determined to pull together an ensemble cast who would be dedicated to the story world and bring the characters of Lonesome to life.

Lonesome is a story told with a very queer lens and Craig was very keen to cast actors who would understand the world they were creating. His plan was to fill the cast with a mix of queer actors and authentic people drawn from the community that the film explores.

This proved a more difficult task than anticipated using traditional casting methods and Craig took a more unconventional approach and began exploring social media and even gay hook-up apps like Grindr to find the perfect cast.

The story of Lonesome hangs firmly on the shoulders of Casey played by Josh Lavery.

Casey is a country lad who has just arrived in Sydney after hitchhiking across the country fleeing from a small-town scandal. He carries a lot of guilt from his past and is struggling to find his feet in the big city. It’s a whole new world, and one that offers Casey an escape from his past if he can just manage to work out how to negotiate it.

A relative newcomer to screen acting Josh Lavery had previously acted in a couple of bold queer short films but it was a video confessional that caught director Craig Boreham’s attention. Josh had done a short online piece talking about his experience as a young gay kid isolated in the country but reaching out via webcam to older gay men to explore his sexuality. There were a lot of parallels between Josh’s own story and the character of Casey and Craig reached out to Josh via his popular Instagram profile.

When asked about his initial thoughts of the project, Josh says, “I was excited about the project from the moment I read it, especially given the script was so truthful and sexy and queer. Something I haven’t seen in a lot of other films.  So many queer films are watered down to be more palatable for a wider audience which I always find frustrating. I love movies and art that push against this kind of sanitized representation and conservative morality.  It’s something that drives the creative work I do and the work I want to keep doing.  Lonesome has an authenticity I really relate to as a queer person and have been craving from queer cinema.”

Director Craig Boreham says of Josh, “I knew he was right for the role from our first meeting. He really understood what Casey was going through and he brought a lot of insight to the role. Josh really jumped into it boots and all, it was important to him that Casey’s journey felt authentic, and he drew on a lot of his own experiences of coming to the city as a young gay kid from the country. I was constantly impressed by what a fearless actor he is and his dedication to telling the story was really impressive.”

When asked about his character Casey, Josh has this to say, “Casey is a bit lost, a bit naive, a bit sad, a bit wide eyed. It’s a really big journey he takes throughout the film. Through exploring his sexuality and a new city, looking for connections and love in a meaningful way. I grew up in the country as well. I didn’t really have any meaningful connections until I moved to the city and then when I did, I would latch on hard because it was so new. So, I understand Casey and related to what he was going through in that way.”

“You can be in a shity situation but changing your circumstances can point you in a new direction”, says Josh. “Growing up, I was the only gay in my town, and it was hard. But moving to the city I found a new world. I really hope queer audiences relate to the authenticity of Lonesome and hopefully it reaches out and lets someone in some tiny town know they aren’t so alone.”

Tib lives by himself in a large warehouse that he has set up as home. He has been on his own since he was young and is a survivor and a loner who prefers to steer clear of emotional entanglements. His only real connections come in the form of anonymous encounters with men he finds on hook-up apps. He makes his money doing odd jobs and is very focussed on saving cash for a visa for his mother who was deported some years ago. 

“Casting Daniel Gabriel in the role of Tib was a bit of a cosmic miracle”, says director Craig Boreham. “I really wanted to find an actor who understood the layers of the character and could bring that perfect mix of charisma and a guarded exterior, and I really wanted to find a queer actor. Turns out that is a lot harder than it sounds. We were hitting walls with agents who are still, in this day and age, reluctant to let queer performers take on queer roles. Some of them were downright hostile.”

“I started reaching out to people in the community via hook-up apps like Grindr and Scruff. We were in lockdown and a lot of people were online and there were a bunch of roles in the film that I was keen to cast with interesting people in the community. That’s where I bumped into Daniel. They had a great look and I sent them a message to ask if they had ever done any acting.”

Daniel was no newcomer to acting. They had completed a degree in performance Queensland University of Technology and since graduating had worked extensively in theatre on projects with Griffin theatre company, Belvoir, and Darlinghurst theatre as well as La Boite and Queensland Theatre in Brisbane.  The Corona virus put a two-year hold on a one person show they were slated to do with Campbelltown Arts Centre.

“They were understandably pretty skeptical of my initial message,” says Craig, “like ‘who the hell is this sketchy dude telling me he’s making a movie and hitting me up on Grindr?’ But I convinced them I was legit, and we met up for a coffee to talk about it.”

“I thought he was a spam account. Still do,” says Daniel, with a wink, of that first encounter. “What drew me to the project was how blatantly gay and how real it is. A lot of what we see, when we see gay characters, is either complete caricature and stereo-typed or if it’s sexual then it’s totally animalistic and primal and there is no human connection there. I think what this film does so well is that we see that animalistic side of it but that’s just sex, sex is primal, but there are those moments where we get to see soft, queer love. Which is terrific and it’s so pretty to watch. It’s a love story and I think that’s very important right now.”

To bring the raw sexuality of Lonesome to the screen, the cast worked with Intimacy Coordinator Leah Pellinkhof.

Being a lesbian herself, Leah was dedicated to making sure the representations of gay male sex on screen felt real and visceral. She consulted with Craig and the cast to reshape her usual process, that to date had been primarily focused on heterosexual sex scenes, and they developed a process that was consultative and safe but authentic.

Director Craig Boreham says of working with the Intimacy Coordinator, “Working with Leah was like magic. She creates a space where the actors are able to have fun and perform boldly while always feeling safe and heard. Her process embraces story but speaks to performers in ways they can use practically and authentically.”

Daniel Gabriel who plays Tib in Lonesome says of the process, “Intimate scenes are extremely delicate terrain, one thing can go wrong, and someone gets traumatised for the rest of their life. Leah created immaculate boundaries for us from day one to fall back on if something felt incorrect and gave us a universal language so that no wires were ever crossed. Her thoroughness and dedication to safety is so tactfully and empathetically implemented that it always felt like a friend was looking after us. She is a genius.”

Craig Boreham is an award-winning Sydney based writer and director. Boreham’s films have screened at over 200 international festivals: including the Berlin International Film Festival, Sydney Film Festival, Cannes, Palm Springs, Frameline and Outfest. He has received numerous awards and nominations including the Berlinale Teddy Award for his short film Transient and four nominations for the prestigious Iris Prize in Wales. Other awards include Best Film at My Queer Career (Drowning, Ostia La Notte Finale), Mardi Gras Film Festival, The City of Melbourne Best Short Film Award, Melbourne Queer Film Festival and National Film Sound Archive Orlando Award among others. In 2008 a retrospective of Craig’s work, Cinema of True Poison was presented by Fundacion Triangulo in Madrid.

Craig’s debut feature film Teenage Kicks premiered at the Sydney Film Festival in 2016 to critical acclaim. The Guardian, named Boreham as “a strong new voice in Australian Queer cinema”, and the film was runner up in the Sydney Film Festival Audience Awards. Teenage Kicks was nominated for Best Direction in a feature film at the Australian Directors Guild Awards, and for Best Feature at the Iris Prize Festival, where lead actor Miles Szanto won Best Male Performer. Other nominations include Best Original Score at the AACTA Awards. Craig made MTV’s list of hot Australian ‘filmmakers to watch’ and Teenage Kicks was billed as one not to be missed by Empire Magazine. A graduate of the University of Technology Sydney (UTS) and the Australian Film Television and Radio School (AFTRS), Craig is currently developing several new feature projects.

©Lonesome Pty/Ltd.

For readers and audiences to have empathy for your Protagonist, there must be an understanding of your character’s inner turmoil, behaviour and reaction to whatever happens in the story. When the Protagonist is called to adventure and needs someone to guide him or her through the story, this is where a fully fledged and dynamic Supporting Character steps in.

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A Supporting Character is a person who plays a role in the life of a story’s Protagonist. Novelists and screenwriters don’t anchor a story around supporting characters, but they use them in the process of worldbuilding to create a compelling backdrop to the main character’s story arc.

Supporting characters have significant interaction with the Protagonist, and contribute to the major events of a story, but aren’t the primary focus of the story’s narrative.

Supporting characters offer a different flavour or dimensional element of the story that is different from the Protagonist’s, offer a unique characteristic and perspective to the overall story, enables readers / audiences to find multiple facets of interest in the characters who populate any given story, and will be involved in one or all three of the primary aspects of the plot: conflict, action, and goal.

A well-written Supporting Character will have a character arc, a strong point of view, and clear personality traits. In many cases they will be the types of characters a reader might recognize from their own life and—like main characters—they will grow and change over the course of the storyline. Characters who don’t change are known as flat characters, and while certain bit parts work just fine as flat characters, the majority of your secondary parts must be dynamic and engaging to a reader or viewer.

Stereotypes are the unsung architecture of storytelling

Unlike the Protagonist, the primary function of the Supporting Character is not specifically to achieve the goal of the plot – achieving the goal of the plot always belongs to the protagonist – but to serve / support the Protagonist in attaining the goal, creating an orbit around the protagonist, either aiding or resistance to the attainment of his or her goal in a positive way by teaching, caring, loving, mentoring, etc,

By crafting Supporting Characters with care and complexity, you can add depth and richness to your stories, making them resonate more deeply with their audience / reader. They might not always be in the spotlight, but their supporting roles build an engaging narrative. They are the pillars that hold up the story and provide the necessary counterbalance to the main characters.

They are the unsung heroes that can make a story come alive, sheds light on dark situations, offers solutions to insurmountable obstacles, lenfs support to a broken heart and lost soul, and promises hope when a situation is at its worst for the Protagonist.

Unlike the Mentor or guide (archetypal wise old man or teacher) who has special knowledge, insights and skills, becomes the herald of destiny, triggers the protagonist’s inner awakening and sets him or her on the path of transfiguration, the Supporting Character is not judgemental, but functions on equal measure with the Protagonist as the best friend, love interest. care giver, sidekick, the fool or comic relief.

The Supporting Character will have an understanding of the Protagonists problems and and allows readers / audience to have an understanding of why the Protagonist is conflicted.

Supporting characters deserve just as much love and attention as your Protagonist.

Three excellent examples that demonstrate the effectiveness of a well-written supporting character come from James Cameron’s Titanic, J.K. Rowling’s “Harry Potter” series and J.R.R. Tolkien’s “Lord of the Rings” saga.

• In Titanic, when we meet Jack, he’s already a “complete” person, he knows who he is, he is comfortable in his own skin, he lives life how he likes and likes his life. Until he hooks up with Rose and the tragic events unfold there is no real story there, apart from his dealings with Rose and their consequences.

• In Harry Potter, Hermione Granger, and Ron Weasley play the best friend and love interest roles, respectively. Both characters have distinct personality traits, backgrounds, and story arcs contributing to the plot. They also have goals and desires that sometimes align and sometimes conflict with Harry’s, which adds depth to their characters and the story.

• In “Lord of the Rings,” the fellowship comprises many supporting characters who each bring unique skills, backgrounds, and personalities. Although not the story’s main focus, characters like Samwise Gamgee, Legolas, and Gimli play significant roles and undergo character development throughout the series.

“In the pantheon of action cinema, revenge narratives hold a special place, tapping into the primal instincts of justice and retribution,” says screenwriter-producer Jean Pierre Magro. “Hounds of War elevates this tradition, intertwining the raw, visceral path of vengeance with a daringly ambitious plot. This film is not just an exploration of personal vendetta; it’s a high-octane journey of a brother’s relentless pursuit of justice for the murder of his sibling, culminating in the audacious plan to kidnap the most protected individual on the planet—the President of the United States.”

Action movies hold a unique and vital place in the tapestry of global cinema, captivating audiences with their thrilling sequences, heroic narratives, and the eternal struggle between good and evil.

These films, characterized by their high-energy storytelling, elaborate stunts, and visually stunning special effects, offer more than just escapism; they embody the quintessence of cinematic spectacle, demonstrating the medium’s power to engage, exhilarate, and inspire.

At their core, action movies serve as a conduit for experiencing the extraordinary. They transport viewers to a realm where the impossible becomes possible, where ordinary individuals rise to become heroes, facing insurmountable odds with courage and resilience. This genre taps into the universal human desire for adventure and achievement, providing a source of inspiration that resonates with audiences across different cultures and backgrounds.

Furthermore, action films are important cultural artifacts that reflect and influence societal values and norms. Through their depiction of heroism, sacrifice, and the fight for justice, they reinforce the ideals of bravery and perseverance in the face of adversity. They often explore themes of freedom, identity, and the human spirit, making them relevant and relatable to people from all walks of life.

In addition to their narrative and thematic significance, action movies are also at the forefront of technological innovation in filmmaking. They push the boundaries of visual effects, sound design, and cinematography, continually setting new standards for what can be achieved on screen. This relentless pursuit of innovation not only enhances the storytelling experience but also drives the industry forward, inspiring filmmakers and audiences alike to imagine new possibilities.

Hounds of War, with its rich narrative and dynamic action sequences, stands as a testament to the enduring appeal and importance of action movies. It encapsulates the thrill, drama, and spectacle that fans of the genre seek, while also exploring deeper themes of loyalty, honor, and the consequences of violence, making it a compelling addition to the action film canon.

Hounds of War is a cinematic rollercoaster, a symphony of relentless action and heart-stopping suspense. Audiences will be riveted by edge-of-your-seat stunts, pulse-pounding chases, daring rescues, and explosive combat sequences. From epic battles to gripping martial arts and nail-biting escapes, this film is an exhilarating homage to the art of action. Immerse yourself in a world where the rhythm of adventure beats strongly, and the spirit of heroic defiance never dies.

In the high-stakes world of covert operations, Ryder and his elite mercenary team represent the pinnacle of skill and ruthlessness. Exclusively employed by the US government, these seasoned warriors have toppled regimes, neutralized high-value targets, and ignited global conflicts — all in service of their country and for a substantial fee. But their vast knowledge and involvement in state secrets turn into a perilous liability. Deemed too dangerous to be left unchecked, the team becomes the target of a chilling presidential decree: The Hounds must be eradicated. Sent into the volatile war zone of Libya under false pretenses, they face what they believe to be a mission of critical national interest. Instead, they walk into a meticulously orchestrated trap set by their own handler. In a brutal turn of events, the team is decimated. Miraculously surviving this deadly encounter, Ryder, the indomitable leader of the group, finds himself fueled by a burning desire for vengeance. With nothing left to lose, he embarks on a perilous crusade against the most powerful adversary imaginable: the President of the United States.

Writer Jean Pierre Magro’s Statement of Intent

Revenge, as defined, is the act of causing harm in response to a wrong suffered. To theologians, it’s sinful; to rulers, illegal; and to economists, irrational. However, in Western culture, despite centuries of discourse against honor-based retaliation, the allure of revenge persists. It’s a driving force not just in our actions, often more than we’d like to admit, but also in the plots of films we eagerly watch. Our fascination with revenge, whether acted upon in reality or vicariously experienced through cinema, remains undiminished.

The modern action-revenge film is marked by a specific emotional journey, echoing theories of narrative genre that date back to Aristotle. We move from indignation at an injustice, through fear and loathing of the perpetrator, to the satisfaction of seeing the wrong avenged.

In today’s complex world, where moral absolutes are rare, the concept of revenge still resonates powerfully. From Bruce Wayne’s crusade born of personal tragedy to geopolitical reactions to national traumas, the theme of retribution continues to pulse through popular narratives.

Revenge films slice through moral complexities, offering tales of unambiguous, violent vengeance that tap into our most primal instincts. They appeal to anyone who has ever felt wronged, which is to say, nearly everyone.

Director’s Statement of Intent

Drama alone cannot satiate our cinematic appetite; we crave the spectacle  of  explosions,  witty  one-liners,  and electrifying guitar riffs. The action genre, enriched by contributions from the US, Hong Kong, and France, transcends cultural barriers with its universal appeal.

Critics often point out the genre’s reliance on clichés: the muscled heroes, the betrayals by less physically imposing but strategically superior villains, and the inevitable double- crosses. “Hounds of War” embraces these tropes to deliver a narrative that is both familiar and fresh, blending classic action elements with a contemporary, visceral drama.

At its heart, Hounds of War is a story of loss, resilience, and the indomitable human spirit. The protagonist, driven by the unspeakable tragedy of his brother’s death, channels his grief into a meticulously orchestrated mission, challenging the very foundations of security and power. This narrative arc does more than just captivate the audience with suspense and action; it delves into the complexities of grief, the thirst for justice, and the lengths to which one will go to right a wrong.

Set in a world rife with corruption and betrayal, the film explores the primal appeal of revenge movies. It’s a tale not just of brutality, but also of redemption. Hounds of War promises to be a cinematic tour de force, transforming violence into a choreographed spectacle, yet retaining a core of emotional depth and moral complexity.

Producers’ Statement of Intent

Action films, a staple since the dawn of cinema, truly came into their own during the 1980s, reshaping American pop culture. These films evolved from straightforward Westerns to complex explorations of violence and isolation. Over the past 80 years, the action genre has surged, growing from a mere 4% of top films in the 1930s to over 34% in the 2010s.

The genre’s resurgence brought a new emphasis on physicality and explicit violence, epitomized by films like Sylvester Stallone’s “First Blood.” The focus was on both the impressive hardware and the physical prowess of the heroes, appealing more to raw adrenaline than to romantic sentiment.

Post-“Die Hard,” the 90s saw a wave of more relatable action heroes. “Hounds of War” harks back to this era, combining nostalgia for 80s and 90s action films with elements of the modern action cinema. Set against the stunning backdrop of Malta, the film promises a riveting narrative filled with sleek chase scenes and intense action.

While acknowledging that the action genre has sometimes fallen into repetitive storytelling and over-the-top stunts, “Hounds of War” aims to transcend these clichés.

It’s not just about spectacle; it’s an emotionally powerful tale of betrayal and vengeance.

The significance of action movies like Hounds of War lies in their ability to dramatize our deepest fears and desires, presenting them in a world where the stakes are life and death, and the resolution is as cathartic as it is explosive. These films serve as a canvas for showcasing human resilience and ingenuity, especially when faced with seemingly insurmountable obstacles.

Moreover, Hounds of War pushes the envelope of the genre, blending the classic revenge tale with political thriller elements. It challenges viewers to question the nature of justice and the moral quandaries of taking the law into one’s own hands. The film’s audacious plot, combined with high- stakes action and deep emotional resonance, ensures that it stands out as a memorable and thought-provoking entry in the action and revenge film canon.

© Gravel Road Distribution Group

Writer-producer Jean Pierre Magro is a multifaceted screenwriter and producer, renowned for his dynamic and engaging storytelling. He holds a PhD, showcasing his academic prowess, and has a background in creating history documentaries, bringing a depth of knowledge and authenticity to his scripts. Magro’s talent shines in the action film “Hounds of War,” where he skillfully intertwines complex characters and captivating plots. In addition to Hounds of War, Magro’s work includes “Blood on the Crown,” a film that delves into the historical struggle of Malta against its British rulers in 1919, and “Bulgarian Rhapsody,” which explores the nuances of life in Bulgaria during World War II. These projects highlight his ability to handle both action-packed narratives and sensitive historical topics with equal finesse. Magro has produced impactful works such as “We Are Monster” starring Leeshon Alexander and the compelling “Not Without Hope,” directed by Joe Carnahan and starring Zachary Levi.

Director Isaac Florentine, an acclaimed director and martial artist, is renowned for his expertise in the action genre, particularly in films featuring martial arts. His notable works include “Undisputed II: Last Man Standing” and “Undisputed III: Redemption,” both of which are celebrated for their exceptional fight choreography and action sequences. Florentine’s background in martial arts infuses his films with authenticity and excitement, earning him a dedicated following among action and martial arts enthusiasts. His directorial style is characterized by its fluidity and precision, making his action scenes both visually stunning and technically impressive.

“What makes this movie so unique and appealing‐ is its amalgamation of the crazy 30s, the world of insects, its Agatha Christie’s‐style of plot, ” says director & producer Julio Soto Gúrpide of the animated Inspector Sun and the Curse of the Black Widow, based on an original screenplay by Rocco Pucillo.

“Inspector Sun is a homage, a comical satire almost, of the film noir, “whodunnit” genre, but aimed to a younger audience”‘ says director Julio Soto Gúrpide.

“The film is set in the 1930’s aboard a Pan Am Clipper seaplane during a flight between Shanghai and San Francisco. A crime is committed: powerful Bugsy Spindlethorp is murdered leaving the incredibly beautiful Arabella ‐a Black Widow‐… well… widow. Hard‐boiled Inspector Sun together with young apprentice Janey investigate the crime, dealing with all sorts of critter enemies, including powerful assassin crime lords and a megalomaniac locust‐villain who plans to starve humanity by destroying their crops and other
sources of food, controlling a mutant super swarm.”

“In the world of animation, we have seen insects through the lens of wonderful films like Bugs and
Antz. Zootopia touched slightly the film noir genre, and Who Framed Roger Rabbit was closer
to the genre but it was a life action‐animation hybrid that was not strictly an animated film. So I am
therefore confident to say that the originality and radicalism of our approach, what makes this
movie so unique and appealing is its original designs and its uninhibited sense of humor. We believe that Inspector Sun is a rare gem that will not leave you indifferent,what makes this movie so unique and appealing.”

“Spiders produce fascination and yet, rejection. Therefore, one of the main concerns of the film was
to find a way to make children and parents sympathize with their cause. That is why we paid special
attention to carefully crafted characters, ‐designed by well‐known designers Sylvain Deboissy
(Storks, Rio, Sharktale, Minions, etc) and Max Kostenko (Fantastic Beasts, Artemis Fowl, Kong, etc)‐
to make sure we ended up with some very attractive, hilarious characters that everyone will find
appealing in its “imperfections”.”

“Insects can be intrinsically very attractive and yet the challenge was to give them real personality, expressivity, etc. Art Deco and 1930’s Asian and world designs were also important, to convey the cosmopolitanism of that period, of Shanghai, and of the wonderful Pan Am Clipper flying hotel. Every prop was also designed accordingly to this philosophy of a world manufactured by and for spiders and other bugs, to create a world of insects that we hope will be the first installment of a very successful franchise.”

The bug world’s greatest detective must learn to work hand in hand with a new partner to solve a murder mystery on a seaplane and save both the bug world and the human world from a dangerous villain.

Director & producer Julio Soto Gúrpide

Julio Soto has been working for over 15 years between the US and Spain as a film director, writer and producer. His credits have spanned across all media forms: from films, documentaries, commercials, TV series and music videos. His latest work is the multi-million 3D animated feature “Deep”, sold worldwide including a theatrical release in the USA. He has also just completed the political drama “Palestine” and is developing a slate of animated features including “Evolution”, “Inspector Sun”, a film-noir set in the 1930s and “Metal Heroes”, a rock music comedy.

Other recent films include “Dissection of a Storm”, a short film that qualified for the 84th Oscar Academy Awards, the 2009 feature documentary “My Beautiful Dacia” made in co-production with Channel4, MDR-Arte, SVT, the Media Program, CNC and TVR Romania, and “Radiophobia”, a documentary film that broadcast in over 100 countries in channels such as National Geographic, Aljazeera, History Channel, ARTE, Canal+ and that also screened at the UN headquarters.

– IMDb Mini Biography By: Julio Soto Gurpide

“When I read Colleen Hoover bestseller, it was clear that there was so much more to it than just a romance. This is a book about the human experience,” says recalls director and actor Justin Baldoni. A strong adaptation starts, of course, with a strong script, and Baldoni found the perfect screenwriter in Christy Hall a New York City based playwright who also serves as a producer on It Ends With Us.

Pictured Above: Blake Lively and Justin Baldoni in IT ENDS WITH US. © 2023 CTMG, Inc. All Rights Reserved. All images are property of Sony Pictures Entertainment Inc.

It Ends With Us, the first Colleen Hoover novel adapted for the big screen, tells the compelling story of Lily Bloom, a young woman who’s determined to break free of her traumatic past but finds herself falling into the same patterns she grew up with. “By the time I decided to helm the film adaptation,  It Ends With Us had become the second-best rated romance of all time on Goodreads,” recalls director Justin Baldoni. “Fans really fell in love with Lily. When I read the book, it was clear that there was so much more to it than just a romance.

The project of adapting It Ends With Us for the screen began before the film’s skyrocket to success. The book was first published in 2016, and Baldoni first reached out to Hoover in 2019 to collaborate on the adaptation. Then, in 2022, It Ends With Us took off as it gained a following among the #BookTok community of readers on TikTok. Since then, the book has spent 140 weeks on The New York Times Bestseller List and has sold almost 10 million copies. Hoover is currently the best-selling author in the U.S., and the book’s sequel, It Starts With Us, became the most pre-ordered book in publisher Simon & Schuster’s history. “It just blew up,” says the filmmaker.

However, Hoover didn’t set out to write a bestseller. Rather, her goal with the novel was simply to better understand her mother, who made the heart-wrenching choice to leave an abusive relationship when Hoover was young. “I had no idea this story would reach as many people as it has,” she says. “My mother has always been a huge role model for me. She’s extremely independent and smart and level-headed. I never understood how she ended up in a relationship with my father. Writing this book helped me to understand both of them better, but it mostly healed a lot in my mother.”

When Baldoni reached out to Hoover about the film adaptation, Hoover was impressed by his ability to weave sensitive issues into compelling stories—especially considering the success of his directorial debut, Five Feet Apart, which tells the story of two teens with cystic fibrosis who fall in love. “Justin has his finger on the pulse of so many things that are important,” she says. “So I was excited and honored he wanted to take on a story that dealt with the topics in It Ends With Us. I was confident he’d be able to tell it in a way that would honor those who have walked in Lily’s shoes.”

Baldoni also reached out to producers Alex Saks and Jamey Heath to lend their perspectives to the film. “Justin and I had been cheering on each other’s work from afar for years, and we always promised one another that we’d find a film to work on together,” says Saks. “Then, one day, I got an early-morning text from Justin asking if I had time to talk. I started working on the film a few days later.”

Once the team was assembled, they got to work developing the adaptation. Heath thought carefully about how to balance the many themes in Lily’s story. “While on the one hand, we were making a movie about ending a cycle of abuse, on the other hand, we were making a movie about love,” he says. “We had to honor that paradox from the first day we began work on the film.”

Overall, the filmmakers stayed true to what made the book such a phenomenon. “We were thinking about the fans throughout,” says Baldoni. “Colleen has crafted such a beloved story, and it has created such waves culturally, that we wanted to stay true to her vision.”

With its themes of healing, redemption, and hope, Lily’s story resonates with readers and viewers even if they don’t share her experiences. “What’s beautiful about this film is there is every color of human emotion in it,” says Lively. “There’s levity, there’s joy, there’s humor, there’s hope, there’s pain, there’s tragedy, there’s violence, there’s trauma, there’s sadness, there’s exaltation. Life, death, love, and loss—a kaleidoscope of the human experience.”

In It Ends With Us Lily Bloom (Blake Lively), is a woman who overcomes a traumatic childhood to embark on a new life in Boston and chase a lifelong dream of opening her own business. A chance meeting with charming neurosurgeon Ryle Kincaid (Justin Baldoni) sparks an intense connection, but as the two fall deeply in love, Lily begins to see sides of Ryle that remind her of her parents’ relationship. When Lily’s first love, Atlas Corrigan (Brandon Sklenar), suddenly reenters her life, her relationship with Ryle is upended, and Lily realizes she must learn to rely on her own strength to make an impossible choice for her future.

A strong adaptation starts, of course, with a strong script

Baldoni found the perfect screenwriter in Christy Hall. “Colleen tells the story in a way that creates enormous empathy for every character, not just Lily,” he explains. “Making sure the audience has compassion for a person who is doing the things Lily’s husband Ryle does within the context of a two-hour film is a difficult proposition, and Christy nailed it.”

Baldoni, Hoover, and Hall knew they wanted to preserve the heart and soul of the book, so they assembled a focus group of some of the book’s biggest fans—who call themselves the CoHort—to get their input. “We put out a call on social media and got a tremendous response,” says Baldoni. “When we gathered the group, they all got to meet Colleen, read one of our first drafts, and give us their honest feedback. We got some really important information. At one point, we didn’t know if Lily should say the phrase ‘it ends with us,’ because you try to avoid saying the name of the movie in the movie. So, we tried a draft without it, and immediately the fans were like, ‘what? She didn’t say it!’ Christy and I looked at each other and just laughed, and boom, the line went back in.”

“I know that their feedback changed some of the things in the script for the better,” says Hoover. “And I just thought that was brilliant. You know, who better to tell you how the script is and what they want to see in the book than the readers themselves, who have been there from the very beginning?”

“Colleen is so protective of the fans and their experience,” says Lively. “She wanted to make sure that the film captured the heart and soul and essence of the book, and even the details were really important to her. She was an advocate for the fans, to make sure the adaptation captured the spirit of the people we fell in love with.”

JUSTIN BALDONI (Director; Ryle Kincaid) is an actor, director, producer, New York Times bestselling author, and entrepreneur whose efforts are focused on creating impactful media and entertainment. Baldoni is the co-founder of Wayfarer Studios, an   independent production studio actively developing, producing, and fully financing a slate of highly original, genre-defining, and globally impactful feature films, episodic television, documentaries, unscripted series, and podcasts. He is also the co-founder of BeLove, the non-profit arm of Wayfarer Studios, which seeks to transform the way communities see and respond to the needs of unhoused populations.

In 2019, Baldoni co-founded Wayfarer Studios with business leader, humanitarian and film producer Steve Sarowitz, disrupting the typical studio model by  producing stories that serve as true agents for social change. In 2020, Baldoni directed and produced  Wayfarer Studios’ first feature film project Clouds, based on the book Fly a Little Higher by Laura Sobiech. The film was acquired by Disney+, becoming Disney’s first-ever narrative acquisition on its global platform.

Baldoni made his feature film directorial debut in 2019 with Five Feet Apart for CBS Films and Lionsgate, starring Cole Sprouse and Haley Lu Richardson. The film went on to gross $91 million worldwide, making it CBS Films’ third-highest grossing film of all time, and was nominated for several awards including a People’s Choice Award nomination for Drama Movie of 2019 and a Teen Choice Award nomination for Choice Drama Movie.

Baldoni is the founder of Man Enough, a movement and content studio founded on the belief that by undefining traditional roles and traits of masculinity, men will be able to realize their potential as humans and their capacity for connection. Man Enough is a community for thought leaders, change makers, men, and people of all identities to co-create, discuss, and embark on a journey of growth together. In 2017, Baldoni spoke about his own journey with masculinity in a viral TED Talk, which has since been viewed over 8 million times, and he continues to speak on this topic at college campuses  across America.

In 2021, as a follow up to his wildly popular TED Talk, Baldoni released his first book Man Enough: Undefining My Masculinity with Harper Collins as part of a three-book deal. With insight and honesty, Baldoni explores a range of difficult, sometimes uncomfortable topics including strength and vulnerability, relationships and marriage, body image, sex and sexuality, racial justice, gender equality, and fatherhood.

As a complement to Man Enough, Baldoni, along with his longtime collaborator Jamey Heath and prominent masculinity expert Liz Plank, launched the popular, Webby-nominated podcast, “The Man Enough Podcast,” where they engage in intimate, open conversations with high-profile guests to  investigate how traditional structures and attitudes toward success and failure, fatherhood, body image, privilege, relationships, intimacy and other issues hold back and often oppress and negatively affect men, women, and humanity as a whole. Guests have included Shawn Mendes, Alok Vaid-Menon, Jay Shetty, Glennon Doyle, Matthew McConaughey, Emmanuel Acho and more.

In 2022, Baldoni released his second book on masculinity, Boys Will Be Human: A Get-Real Gut-Check Guide to Becoming the Strongest, Kindest, Bravest Person You Can Be, catered to middle grade and high school boys, which went on to become a New York Times bestseller.

Baldoni first rose to worldwide fame through his role as Rafael on The CW’s award-winning  phenomenon “Jane the Virgin” opposite Gina Rodriguez, which spanned five seasons.

CHRISTY HALL (Producer, Writer), a New York City based playwright, moved to LA in 2017 when her original stage play turned screenplay, “Daddio,” was honored in the top 3 on The Black List. A year later, Christy’s original screenplay Get Home Safe was also listed in the top 3 on The Black List 2018. She was named one of Variety’s 10 Screenwriters to Watch 2018 and went on to write, executive-produce and co-create the series “I Am Not Okay With This” for Netflix and 21 Laps, premiering in 2020.

Hall’s writing for stage includes “Yours, Isabel” (“Top Pick!” DC Theatre Scene; Best Play, DC’s Audience Choice Awards; “GO!” LA Weekly; “WOW!” Stage Scene LA), “To Quiet the Quiet” (“Pick of the Week,” LA Weekly; 2018-19 Woodward/Newman Drama Award Winner), “A Painted Window” (Selected project for the 2016 HB Studio Residency, NYC; Winner of four Pulsar Awards including Best Play and Best Original Script), “Trails” (New York Musical Theatre Festival winner for Best Music, the Stage Entertainment USA Development Award, and runner-up for Audience Choice Award), and “Home” (Invited work of the 2016 Adirondack Theatre Festival and the Bloomington Playwrights’ Project in December 2016).

Upcoming projects include the adaptations of Stephen King’s The Girl Who Loved Tom

Gordon for Vertigo and Village Roadshow, and Sony Pictures’s The Husband’s Secret based on Liane Moriarty’s No. 1 New York Times bestseller.

Christy’s feature directorial debut on her original script, Daddio, starring Dakota Johnson and Sean Penn, was released by Sony Pictures Classics on June 28th, 2023.

William Schneider, who co-wrote the screenplay of The Crow with Zach Baylin, “fell in love with director Rupert Sanders’ completely new take on a modern reimagination of the original graphic novel by James O’Barr. “The way he took a tale of revenge and from it built an unforgettable love story was so inventive, imaginative, and challenging. I loved getting into that element.”

Co-writer Zach Baylin was equally drawn to Sanders’ vision. “I’m a huge admirer of Rupert’s work and I knew he would make something striking and visionary and moving. I also had an affinity for the heartbreak and outsider perspective of the original graphic novel and wanted to honor that tragic love story.”

For director Rupert Sanders, the love story between the central characters, Eric and Shelly, is the film’s beating heart. “I wanted to invest audiences in their love story, and to have them understand what Eric will do when that love is taken from him,” he says. “So, The Crow is two movies in one: an action-thriller story of revenge, and a romance.”

Indeed, the tragedy, loss, and grief of Eric and Shelly’s romance drives the film. As producer Molly Hassell notes, “During the film’s development, one of the most pressing considerations was the thought of what we – or someone – would give to have that last moment with the person we loved deeply and lost tragically. To bring to screen the complex feeling of unexpected loss and to honor the complicated landscape that comes in the wake of such loss. Once we brought Rupert aboard, we decided to make something new and imaginative that would touch upon those feelings to which everyone can relate – within a big action-thriller. The Crow hits on a new zeitgeist, and a new way of looking at the world, grief, and ultimately, at healing.”

“Rupert brought an authenticity from the original source material and a vision that was totally reimagined for a new generation unlike any other ideas we had seen,” says producer Victor Hadida. “His  version of this dark anti-hero who you could still see humanity within at their darkest hour, and a sense of such anger and frustration reflected throughout the film was tantalizing.”

The Crow’s look is inspired by the graphic novel’s haunting imagery – and encompasses the casting of Skarsgård as a totally reimagined Eric, with a hardened, gothic aesthetic. The characters are modern, dynamic, have varied artistic interests, and inhabit a contemporary society with intriguingly retro designs.

Bill Skarsgård adds that The Crow is very much a film for today’s audiences. “That’s what really got me excited about it,” he explains. “This film’s Eric and Shelly are completely contemporary; they’re two outsiders to whom anyone can relate.”

In the revenge/action-thriller The Crow, soulmates Eric (Skarsgård) and Shelly (FKA twigs) are brutally murdered when the demons of her dark past catch up with them. Given the chance to save his true love by sacrificing himself, Eric sets out for merciless revenge on their killers, traversing the worlds of the living and the dead to put things right. The film navigates the complexities of love, loss, and grief within the framework of a no-holds-barred story of action and revenge.

Director Rupert Sanders’ Statement

The Crow is the original anti-superhero. His story is about tragic loss, about dealing with the pain of everything that comes with losing someone you love, something that all of us have or will encounter at some point in our lives. It is about the dark shadow of grief, about what we would do when something so meaningful is taken from us.

The original graphic novel is deeply meaningful for so many, and the character, his journey and his need for revenge has inspired a canon of films for the last three decades. Our version goes back to that graphic novel by James O’Barr, who I had the honour of meeting shortly before production, and explores the love story as the primary drive for our film.

What Alex Proyas did with The Crow in 1994 – and Brandon Lee’s iconic embodiment of that character – will forever impact that generation and others to follow. It was a culture-defining film that is beloved to this day and has inspired many other iterations both inside and outside The Crow Universe.

That film sparked a fire with the youth of that day, a youth who grew up on hard, alternative rock, punk and metal, that binged on MTV and zines. It held a mirror to that generation in the aesthetic of the film, its smoky, rain-drenched streets, stylized and subverted sets, its leather clad hero and chain wielding villains. It expressed its name in a very specific, music-driven vision, that spoke to a young audience who had never been spoken to in that way. It became a cult classic.

Our interpretation of James’ work also reflects this young generation, whose tastes and references have changed so dramatically from the original film. Hopefully it speaks to them in their language, with their style and music and hopefully will get them to discover Alex Proyas’ film and James O’Barr’s graphic novel, bringing a new audience to the source material.

For this story is as universal as an epic poem or Greek myth, it deals with the very primal, naturalistic emotions of love, grief and rage and it also deals with the supernatural and physiological imaginings of heaven and hell, the dead and the undead. It explores the great positive force of love and the great negative force of rage and hate that stands in its shadow, it asks what would we do, but also what would we have become by doing so. When Eric slumps to the floor, covered in the blood of the slain, we look deep into his eyes and he asks us…why?

I am very pleased to have worked with two young actors whose performances are the backbone of this film. Bill Skarsgård is so committed and vulnerable, monstrously violent and delicately tender, he brings so many layers to the complex emotion of a man consumed with so much love and hate, but also a man who will do anything for the woman he loves. He fights, numb with pain and grief, killing and maiming for the one he loves…but to what end? FKA twigs brings the same unique and wondrous talent that she does to her entire volume of work, and her performance and the vacuum created by her absence undoubtedly gives reason for this Crow to be born.

From Page to Screen

Sanders’s startling vision for the look of the film hits us from the opening frames, during the title sequence, in which a figure – revealed to be Eric – is seen writhing and undulating in a black liquid.

“I wanted to make a film that was sophisticated, visceral, and mind-blowing from the start,” says Sanders. In a near freezing room, the filmmakers filled a large animal feed tank with a black food-thickening agent, in which Skarsgård was filmed writhing, splashing, punching, and spitting – all captured at an ultra-high 600 frames per second with a state-of-the-art Phantom camera. The high frame rate facilitated a slow-motion unveiling of the unsettling and striking actions. “We designed it to be an allegory of a fight against the darkness,” Sanders adds.

When Sanders came aboard The Crow he looked at some of his favorite films from the ‘80s and ‘90s, like Diva and Subway, which, he says, “have this great aesthetic that feels very modern, yet timeless and otherworldly.”

“I wanted The Crow to have a grounded aesthetic,” Sanders continues. “Even the supernatural elements had to feel authentic. I didn’t want anything to feel too fantastical.”

The film moves between the urban, graffitied street culture and nightclubs of Eric’s life, to the more sophisticated ‘90s-inspired apartments of Shelly and her mother, and the heaven-and-hell vibe of the massive, flooded, and abandoned railyard that’s home to Kronos.

Sanders wanted Eric to have a kind of homemade chop aesthetic, as well as home-grown piercings and tattoos, all of which are central to the character. “I wanted Eric to come from a place that felt resonant to the street culture I grew up with in the ‘90s,” says Sanders. “Many of the kids I used to go out with would cut homemade mullets and piercings, and people would tattoo their own thighs and hands. Eric has been on that kind of journey and has that kind of piecemeal look. It was about him looking aggressive on the outside, but inside being very vulnerable. It’s not a warning of ‘I’m dangerous’; it’s a warning of ‘Keep away; don’t talk to me.’”

Principal photography of The Crow took place in Prague, Czech Republic. In addition to the volcanic opera house sequence, notable sets created by production designer Robin Brown and his team included Kronos’s in-between world of the living and dead, which was inspired by Andrei Tarkovsky’s landmark 1979 film Stalker.

The Crow’s theme of loss and grief extended into the lives of the filmmakers.

The sense of real-life loss extended into this film’s production. The production of this film was marked by a poignant real-life loss. Edward Pressman, who was a producer on the 1994 picture, as well as on the new one, passed away not long after production wrapped.

“Ed’s sensibility, and his understanding of pop culture and the motion picture universe, were very present when we made The Crow,” says Sanders. “I was lucky when I got to sit with Ed for lunch and screen some of the film for him. Later, Ed saw the first cut of the film, and wrote me a long, beautiful email about how much he loved it, how he thought it was a worthy successor, and how we retained so much of what he loved about the graphic novel. He was a true advocate for the path were taking on The Crow.”

Molly Hassell reminds us that the heart of the film is grief, noting that James O’Barr wrote the graphic novel after his fiancé had passed away in an automobile accident. Moreover, Hassell and fellow producers Victor Hadida and John Jencks had decided to make The Crow in the memory of Victor’s late brother, Samuel Hadida, who had been championing the making of film but passed away in 2018. “At the time, we dedicated the making of The Crow to Samuel Hadida who we lost unexpectedly. This loss was very personal to all of us involved in the film – whether as brother, love, or deep friendship – it was the driving force behind the creation of the new film. Much like O’Barrs original work.” Victor continues, “bringing it to screen is the biggest tribute I can make to his legacy.”

Hassell says these themes will move audiences. “We wanted to make a film to which audiences can relate, and from which they can take something away,” she continues. “It’s very important to all of us involved in The Crow that audiences leave the cinemas understanding that they’re not alone, and that everyone, at some point, experiences grief or death. It’s not a solo journey; it’s something we can talk about and deal with together.”

Victor Hadida says “The aesthetic of the film is an experience in itself. But in a dark theater on the big screen with great music and surround sound, you go on this journey with these characters in a beautiful and stylish setting with impressive scope, and it is so very intimate.”

For William Schneider, working on The Crow was an emotional experience. “When I was a kid, the world that James O’Barr created was so important to me, so being a part of this project was incredibly personal. It felt like Rupert Sanders was leading us through the jungle together, uncovering so many unique moments. It was always challenging work, but very rewarding at the end of the day. It felt like we were making something special.”

Bill Skarsgård adds that The Crow offers audiences something different. “It’s emotional, dark, gritty, romantic, with a lot of edgy action. I hope the movie speaks to everyone, especially those who don’t see themselves represented much in films today. Eric and Shelly are outsiders, rebels, and misfits, and this is their story.”

Rupert Sanders concludes, “This story has universal themes: everyone has loved and experienced grief. There’s also the idea about sacrifice – that there are things worth more than a sense of self. The film asks, what would you do for someone else? It taps back into the true beauty of a love story.”

Eric and Shelly “two kinds of broken and lost souls who find each other in a rehab facility.”

Director Rupert Sanders calls the central characters, Eric and Shelly “two kinds of broken and lost souls who find each other in a rehab facility. They come from different worlds; there’s a kind of uptown girl / downtown boy feel about them. Eric is lost and silent. There’s something beautifully damaged about him. Yet, he’s a romantic and can express himself emotionally in a way we don’t typically see in heroes or anti-heroes.”

Eric’s body is covered in tattoos, which tell others to keep away from him. “They’re a kind of shell,” says Skarsgård. “Eric is tormented, raw, and vulnerable. But there’s another side to him; he’s also gentle and hurting. Eric has grown up in a destructive household and has been living on the streets. He uses drugs and other vices to survive, with only Eric’s creative work in music and drawing giving him purpose.”

“Then Eric meets Shelly, which transforms him,” the actor continues. “I imagine that can happen with addicts or people close to rock bottom; they meet someone and project a kind of salvation on them. I think Eric feels that Shelly is some kind of angel who’s been sent to save him. Shelly becomes Eric’s savior as well as his lover. She rekindles a fire and purpose in Eric. When she’s taken away from him, it’s all about the lengths that Eric will go to get her back.”

Sanders says that Shelly’s arrival in Eric’s life is completely unexpected, but “there’s something magical about their draw to one another. She teaches him how to feel and love again. When that’s taken away from Eric, it’s incredibly painful.”

There’s a supernatural loophole that could bring Shelly back – but at the ultimate cost to Eric. First, he must become a vengeance seeking, unstoppable force.

Eric’s odyssey of retribution is marked by relentless violence and death, but also points to another of the film’s key themes: self-sacrifice. Says Sanders: “Eric’s great loss leads to a journey of nihilism and destruction, but it’s all to bring Shelly back. He will become a monster and sacrifice his eternal life for her mortal life.”

FKA twigs, a British genre-bending singer, songwriter, and actor, took on the role of Shelly.  Shelly, too, is broken. She had been taken under the wing of a wealthy man whom she saw as a benefactor, but who ultimately forced her to commit an unspeakable act. To escape his further persecution, Shelly flees to the rehab facility where she eventually meets Eric. Their bond is immediate and powerful.

“Eric offers Shelly comfort, safety, and an unconditional love that she’s not experienced before,” twigs notes. “Shelly, in turn, offers Eric a sense of expression, art, and knowledge. She’s always talking about music and poetry and has lived in beautiful places. Shelly provides Eric with a kind of home to explore and express himself and be the most authentic version of himself. They’re a perfect fit of jigsaw puzzle pieces. So, when she’s ripped away from him, Eric has no choice but to go and find her, no matter what it costs him.”

In casting the role of Eric, Sanders and Hassell were looking for an actor who could convey authenticity, as well as a critical mix of inner fragility and external violence and rage that fill Eric in his journey to save Shelly. They found all those colliding traits in Bill Skarsgård.

“Bill, after working in the horror genre [as Pennywise the Clown in the blockbuster film adaptations of Stephen King’s It], was ready to step out from those veils of makeup and become himself,” Sanders explains. “He’s an incredibly emotional actor, with huge eyes that convey feelings of longing, pain, boyish wonder, and love. But when they harden, those eyes become terrifying.”

The dynamic between Eric and Shelly – and Skarsgård and twigs – had to be magical. “There was indeed something chemical going on between Bill and twigs that was a joy to watch and capture on film,” Sanders tells us. “Without that chemistry, we’d wonder why Eric would go on this war path to bring back Shelly. Eric had to care so deeply about Shelly, and she had to make such an impression on him – and the audience – which she does.”

“The Crow’s DNA has alway been a deeply romantic helix of horror, music, and violent urban myth and Bill and Twigs are the perfect collaborators to bring that to life,” says Baylin. Beyond the necessary chemistry, Sanders was looking for an actor who could embody Shelly’s magical and unique qualities, “so the audience would feel the vacuum from her disappearance,” he continues. “There was something about twigs that carried a once-in-a-generation feeling. She really turns Shelly into a formidable and iconic figure. “Twigs is such a transcendent performer with a mix of balletic grace and punk outrage that perfectly fit our Crow’s world.”

FKA twigs felt a strong and immediate connection to the character. “I wanted to play Shelly because she felt like a magnified version of myself. Obviously, we’re not the same, but it felt like Shelly was one side of me that could be ‘blown up’ into the entire character. There’s something really light and child-like about Shelly, even though she’s been enveloped in darkness,” twigs continues. “I feel that in myself, as well. I liked that Eric and Shelly have such a deep love and connection that feels different from those we’ve seen before. They have their own vibe.”

© Lionsgate

RUPERT SANDERS – DIRECTOR

Filmmaker Rupert Sanders is best known for his compelling storytelling and striking visuals across film, television, and advertisements. Sanders started his career in advertising, directing spots for clients including Apple, Nike, and Guinness. He went on to direct award-winning spots such as Diorama for Halo which won two Grand Prix awards for Film and Integrated Film at the Cannes Lions International Advertising Festival. He also directed The Life for Halo which won a Gold Lion for cinematography and Sanders a Silver Lion for directing. He released his first feature film, Snow White And The Huntsman, in 2012. The action-fantasy starred Kristen Stewart, Chris Hemsworth, and Charlize Theron and opened to number one at the box office. Sanders then directed the adaptation of the popular science fiction manga, Ghost In The Shell, starring Scarlett Johannson in 2017. On the TV side, Rupert directed the pilot episode for Apple’s sci-fi epic Foundation. The series premiered to rave reviews and was picked up for a third season.

ZACH BAYLIN – SCREENWRITER

Zach Baylin is an Academy Award, BAFTA and WGA-nominated screenwriter and was named one of VARIETY’s “10 Screenwriters to Watch.” Baylin penned the script for the Oscar Nominated King Richard for Warner Bros. Studios, which debuted to rave reviews in 2021 and went on to receive six Oscar nominations, including Best Original Screenplay, Best Film and Best Actor, which Will Smith took home for his performance as Richard Williams.  Most recently, Baylin wrote Bob Marley: One Love, Reinaldo Marcus Green’s Paramount film about the life of Bob Marley, which released on February 14. Previously, Baylin co-wrote the script for Creed III, the third installment of the revamped Rocky series, for MGM. The film stars Michael B. Jordan, who also made his directorial debut with the film, and had the highest grossing opening weekend for a sports film of all time. Baylin also wrote a re-imagining of the upcoming 90’s classic THE CROW for director Rupert Sanders to be released in 2024 and cowrote Sony’s Gran Turismo, directed by Neill Blomkamp, which released on August 25, 2023. Baylin has written projects for Lionsgate, Imagine, TNT, Studio 8, wiip, as well as for acclaimed filmmakers such as James Gray, Jeremy Saulnier, Francesco Munzi, and Jonathan Levine. Together with his wife, Kate Susman, Baylin co-founded Youngblood Pictures, a Film and Television Development Company dedicated to telling true stories about complex, unheralded characters. At Youngblood, Kate and Zach currently have a number of film and TV projects in development, including The Order, a true crime heist thriller set in the dangerous American Militia movement of the 1980’s. The film stars Jude Law, Nick Hoult, Tye Sheridan and Jurnee Smollett. It is directed by Justin Kurzel and will be released in the fall of 2024. The duo is also writing and producing the limited series, Black Rabbit for Netflix, which stars and is executive produced by Jude Law and Jason Bateman (who is also directing). It is currently shooting in New York City for release in 2025.

WILLIAM SCHNEIDER – SCREENWRITER

William is an award-winning writer who has established himself as an outstanding voice in crafting original screenplays and demonstrated a passion for adapting compelling IP for a global audience.
William co-wrote and executive produced the re-imagining of The Crow for director Rupert Sanders. William co-wrote an adaptation of the beloved Konami video game series Return to Silent Hill with Christophe Gans directing. He collaborated with Japanese literary giant Hideyuki Kikuchi to adapt the first book of his best-selling series of novels Vampire Hunter D. He also wrote an adaptation of Tecmo’s groundbreaking horror video game series Fatal Frame. He adapted one of his favorite graphic novels, Hugo Pratt’s Corto Maltese. He currently has Joel Reilly, Jasper Graham, and Patrick Patterson of Undisputed Pictures producing his action thriller script Rain Who Kills Alone. In television, William recently sold his pilot Dynamite to Brett Burlock and Cineflix. The script tells the story of the infamous English wrestler Tom Billington.

If you find yourself staring at a blank page, trying to write but are unable to find the right words, or lost the verve to express yourself, you’ve been struck by writer’s block, something all writers struggle with.

Overcoming writer’s block is a delicate process that is often highly subjective and depends on each individual. But, at the end of the day, it is about conquering self-doubt and knowing that hard work will pay off.

Writer’s block is a phenomenon experienced by writers that is best described as an overwhelming feeling of being stuck in the writing process without the ability to move forward and write anything new. While overcoming writer’s block is usually a different process depending on the individual, there are ample tools to help writers along the way.

Writer’s block has various degrees of severity, from difficulty in coming up with original ideas to being unable to produce work for years. This condition is not solely measured by time passing without writing, it is measured by time passing without productivity in the task at hand.

Writer’s block is triggered by a number of things, depending on the individual. Some people believe that writer’s block stems from a lack of ideas or even talent. However, that’s usually not the case.

There are four main triggers of writer’s block:

• Apathy. These writers feel constrained by the “rules” of writing and struggle to find their creative spark.
• Anger. These writers are often narcissistic and would get angry if something they created went unnoticed.
• Anxiety. These writers worry that they aren’t good enough.
• Issues with others. These writers don’t want their writing to be compared to others’ work, resulting in a fear of writing anything at all.

Tips On Overcoming Writer’s Block

• Use a different writing tool. When your writing feels stagnant or you feel stuck, try changing your professional writing tools. If you usually type, try switching to pen and paper or typing in a different font. If you usually write by hand, try typing instead. If traditional methods don’t work, try a specialized writing app that hides your text or has a countdown timer that forces you to write without stopping. Switching up your professional writing tools can be as effective as changing locations to help you overcome writer’s block.
• Take a break. Do something else for a while, and return a few days (or week, or months) later to view your work with a fresh eye. While having a space set aside for writing is important, sometimes what you need is a change of scenery. Write in a coffee shop, the park, get away for the weekend by yourself. That may be just what you need to get your creative juices flowing.“Plots come to me at such odd moments, when I am walking along the street, or examining a hat shop … suddenly a splendid idea comes into my head.” — Agatha Christie
• Jump ahead. Write smaller pieces of the article, story, or writing project without knowing where they fit. The important thing is to keep going. A lot of problems are resolved in the doing. Avoid areas of high difficulty. Just write. You can always rewrite the first draft—make use of that freedom and get stuff down. Then come back to it.
• Set a strict writing schedule. Tell anyone who needs to know that aside from an emergency, you’re not available. That should eliminate friends and loved ones assuming “you’re not doing anything right now, so…” It’s crucial you learn to say No. During your writing hours, you’re working.
• Create a deadline for yourself. Time pressure can create focus and can force you to make decisions that you may be avoiding.
• Turn off all other media.That means radio, TV, email, or social media. When we feel stuck, our inclination is to break from the work and find something fun to occupy our minds. That’s why Facebook, online shopping, and pictures can keep us from writing.
• Make your process more visual. Unsure of how to continue a section or chapter? Turn to diagrams, Post-it notes or just plain pen and paper. Sometimes, visualizing the problem can help.
• Do something thoroughly mundane. Monotonous tasks like showering, cleaning, and so on make your brain go on autopilot, leaving the creative side free to daydream about all kinds of things—including how to solve the issue that’s causing your writer’s block. If you feel like you’re stuck, a non-writing activity may prove helpful. If you stop directly and intensely looking at words, you might find the story you want to tell while doing another task. Pick an activity that lets you step away from the written word: watching movies, solving a puzzle, enjoying a meal, or looking at artwork. You can also turn to your hobbies, which help your brain concentrate, work, and finish tasks.
• Freewrite. This is good advice for any kind of writer. Write without pausing to worry about sentence structure, grammar, spelling, or whether what you’re saying makes sense or not. Just write without second guessing anything. While most of it will be unusable, it’s a good way to push through the block.
• Just write. You don’t get better at anything without practice. John Grisham established his writing routine long before he became famous. He got up early every morning and wrote for an hour before work. “Write a page every day. That’s about 200 words, or 1,000 words a week. Do that for two years and you’ll have a novel that’s long enough. Nothing will happen until you are producing at least one page per day.”
• Make writing a habit. To avoid or overcome writer’s block, think about what time of day you find it easiest to be creative. For many people, creative tasks are easiest in the morning when it’s quiet and emails aren’t piling up. Others prefer writing late at night. Plan to write when you’re naturally most creative, whether it’s at 6 AM or 10 PM.
• Lower your expectations.You aren’t going to do your best writing every day. Show up anyway, do the necessary research, and write. Even when it’s not your best work.
• Read. Writers are readers. Good writers are good readers. Great writers are great readers. Read everything you can get your hands on. It’ll help you grow in your craft and inspire you when you come up empty. “If you don’t have time to read, you don’t have the time (or the tools) to write. Simple as that.” — Stephen King. “Read, read, read. Read everything  —  trash, classics, good and bad, and see how they do it. Just like a carpenter who works as an apprentice and studies the master. Read! You’ll absorb it. Then write. If it’s good, you’ll find out. If it’s not, throw it out of the window.” William Faulkner.
• Clear your mind. A foggy mind can stop you from getting your best ideas out. If you’re having trouble writing because of brain clutter, try doing something calming and introspective. Meditation, yoga, prayer, silent reflection, and other meditative practices will help you focus on the present moment and can improve your ability to concentrate in the long term.
• Excercise. If you’re feeling sleepy and disconnected or disinterested in your work, try kick-starting your energy with aerobic exercise. It can be running, walking, or dancing: anything that makes you feel happy and gets your heart rate up. Even 10 minutes can help you feel better and write better. Exercise helps your body and mind work their best. It releases endorphins, the hormones that boost your mood. If you feel more productive and energetic, you’ll probably beat writer’s block.

With the blessing of Ridley Scott, director Fede Alvarez decided to go back to the basics when shooting Alien: Romulus from a screenplay he wrote with frequent collaborator Rodo Sayagues based on characters created by Dan O’Bannon and Ronald Shusett. “I knew that I wanted to take this chapter back to the beginning, not only story-wise but in terms of visual style,” explains Alvarez. “I wanted to keep it simple and focus on a few characters you could get to know and love.”

“In space, no one can hear you scream.” That iconic tagline has resonated in the hearts and souls of generations of moviegoers, and for the past four decades, the “Alien” franchise has set the bar for the sci-fi/horror genre.

The brilliance of Ridley Scott’s 1979 film forged life into a groundbreaking franchise that features remarkable directors (James Cameron, David Fincher, and Jean-Pierre Jeanuet, among others), never-before-seen creatures, and cutting-edge effects that defined what it means to be truly scared.

The journey for the latest standalone film in the epic “Alien” franchise began when director/co-writer/executive producer Fede Alvarez (Evil Dead, Don’t Breathe) presented his ideas to acclaimed filmmaker Ridley Scott years ago. Scott was immediately hooked. “Fede Alvarez had a true vision for this movie,” recalls executive producer Tom Moran.

Scott’s production company, Scott Free, pitched the idea to 20th Century Studios, and with their blessing and Scott’s guidance, Alvarez started working on a screenplay with Rodo Sayagues (“Don’t Breathe 2”). According to producer Michael Pruss (“Boston Strangler”), the biggest challenge was figuring out how to make an “Alien” film for 2024. “The evolution of the franchise is fascinating, but it has been crying out for a new, modern film,” Pruss says.

The filmmakers needed to understand not just the mythology but also how the characters, the horror, and the suspense—which have historically been fantastic across the “Alien” franchise—can exist today. James Cameron, who wrote and directed 1986’s “Aliens,” met with Alvarez early in the writing process, offering invaluable insight and suggestions on everything from character development to the creation of the aliens.

READ THE REVIEW

The path from inception to filming results from several creative breakthroughs on Alvarez’s part. “There is a deleted scene in ‘Aliens,’ where a bunch of kids are running among the workers in the colony,” explains Alvarez. “I remember thinking about what it would be like for teenagers to grow up in a colony so small and what would happen to them when they reached their early 20s.”

The premise gave birth to the story of Alien: Romulus, while giving the franchise a new spin. Alvarez’s and Sayagues’s original story is set roughly 20 years after the first “Alien” movie and about 37 years before “Aliens.” While scavenging a decommissioned space station, hoping to find the technology necessary to leave their doomed planet behind, a group of young colonists unwillingly awaken the most terrifying organism in the universe.

Alien: Romulus is the first film in the “Alien” franchise featuring young adult characters, and the filmmakers set out to ensure they found the best fresh-faced young actors to embody the roles.

“The time has come. Prepared to be transported once again to the vacuum of space and all its horrifying unknowns,” says producer Ridley Scott.

Audiences will be frightened, compelled, and thoroughly entertained when “Alien: Romulus” hits theaters in August. Producer Michael Pruss says, “I know audiences will appreciate that we are bringing a modern spin onto a classic franchise. And hopefully, they’ll be scared out of their wits.”

“My ambition is for the generation who saw the original movie to love this film and for those who have never seen an ‘Alien’ movie to be introduced to this incredible universe through our film,” says Alvarez. “With any horror movie, you want the people to be terrified and have an experience that leaves them breathless.”

“Watching anyone’s version of something I’ve already done (which I had to deal with on ‘Blade Runner’), there is always trepidation,” says Scott, “But I thought ‘Alien’ needed a really fresh view. I had seen three of Fede’s films so I knew what he was capable of, and what I liked was the fact that he cast young people. That was a really valuable asset to what he was doing and what I knew he could do. So, I was excited from day one. I said, ‘You’ve got a huge movie here.’”

A truly terrifying cinematic experience. The sci-fi/horror-thriller takes the phenomenally successful “Alien” franchise back to its roots: While scavenging the deep ends of a derelict space station, a group of young space colonizers come face to face with the most terrifying life form in the universe.

From Page To Screen

Principal photography on “Alien: Romulus” began March 9, 2023, in Budapest, Hungary. The gorgeous Central European capital has become known for hosting a litany of big-budget Hollywood movies because of its beautiful locales, highly experienced local crews, efficient tax incentives, and quality of life. But what particularly drew filmmakers to the city for this project were the soundstages at Origo Studios, where almost all the sets were built.

To create a visually spectacular world that transports audiences to the darkest corners of the universe, director/co-screenwriter/executive producer Fede Alvarez recruited an impressive creative team, including director of photography Galo Olivares (“Gretel & Hansel”), production designer Naaman Marshall (“Don’t Breathe”), editor Jake Roberts, ACE (“Civil War”), composer Benjamin Wallfisch (“Blade Runner 2049”), visual effects supervisor Eric Barba (“Oblivion”), costume designer Carlos Rosario (“Shogun”), set decorator Zsuzsanna Sipos (“Dune: Part Two”), prosthetics makeup designer Ivān Pohārnok (“Midsommar”), property master Graeme Purdy (“Spider-Man: Far From Home”), and special effects supervisor Gábor Kiszelly (“Poor Things”).

With the blessing of Ridley Scott, Alvarez decided to go back to the basics when shooting the film. “I knew that I wanted to take this chapter back to the beginning, not only story-wise but in terms of visual style,” explains Alvarez. “I wanted to keep it simple and focus on a few characters you could get to know and love.”

This included the use of visual effects techniques that haven’t been used in ages. “My approach was to create a true horror movie with limited characters and to use practical effects wherever I could,” says Alvarez. “I wanted to tip my hat to all the filmmakers who have come before me and pay homage to the ‘Alien’ franchise in a number of ways.”

“Fede is a unique filmmaker,” says Ridley Scott. “He does everything himself. He relies on the crew to help him with his vision, obviously. But he is an all-arounder.”

Adds executive producer Tom Moran, “I’ve never met a director that has loved another director’s movie more than Fede loves Ridley Scott’s ‘Alien.’ Ridley’s approach in 1979 was very practical in terms of visual effects and style. Fede decided to honor that and go back to basics.”

There are even nods to Jerry Goldsmith and James Horner’s iconic cores from “Alien” and “Aliens” respectively, as well as to Richard Greenberg and Phil Gips’ opening title sequence from “Alien.”

As a result, every set was originally constructed: every corner of the spaceships, the space station, the colony, the hallways, and the docking bay. Everything, except the exterior colony of Jackson’s Star and the colony affairs, was built on stages or the backlot of Origo Studios.

Alvarez’s essential rule of going back to basics gives Alien: Romulus a very rich visual aesthetic, a textural antiquated futuristic look, yet one possessed with a familiar darkness. Because Alien: Romulus takes place between “Alien” and “Aliens,” the filmmakers dove deep into researching the 1980s and every frame of the two movies.

Alvarez explains, “Our approach with Naaman was to look at the movie as a period piece. We were inspired by the first two ‘Alien’ movies and researched the futurism of that era.”

“We wanted Alien: Romulus to be viewed as a part of a trilogy in a movie theater, where you can just go watch it after ‘Alien’ and before ‘Aliens,’” adds Marshall. “It was a real challenge to design something into the pocket of something else. I did a lot of research into Ridley and James Cameron’s movies: lots of screen grabs of textures, colors, shapes, and prosthetics. We leaned back to the future of the 1980s.”

Adds Alvarez, “We revived techniques that haven’t been used in decades as we dove into the futurism of the ‘80s. Living in the world has been the most fun I’ve ever had. We are excited to put the audience through the same immersive and hopefully thrilling experience.”

The Xenomorph

The Xenomorph is the most perfect specimen in the universe, as well as the ultimate weapon. It has concentrated acid for blood, does not require food, and can survive in any atmosphere. It has a skeletal humanoid shape with an elongated, cylindrical head and a bony tail.

The Xenomorph (or Xeno) is the Endo parasitoid extraterrestrial species that serves as the title antagonist of the “Alien” franchise. Alvarez’s concept in “Alien: Romulus” was to use old-school effects when creating it. According to the Legacy team, four full Xenos were created, requiring the work of 80 artists, including digital artists, concept artists, mold makers, sculptors, painters, and robotics experts. All worked from general design concepts that make all of them functional.

It was especially important to Alvarez that the actors have the opportunity to interact with a fully-functional animatronics Xenomorph. “Fede wanted the surfaces very rough and sharp. He wanted it to feel as though a shark’s skin; if you touched it, you would be cut,” explains Shane Mahan. Everyone at Legacy Effects was very keen on making the Xeno feel like the original “Alien” movie.

The Facehuggers

The iconic facehuggers return in “Alien: Romulus” courtesy of Wētā Workshop’s creative lead Richard Taylor, with some changes and in more numbers than ever before. There are 12 different iterations of facehuggers, all representing the same creature. There are fully animatronic facehuggers that can pry open doors and can be programmed. Some just move a little, some are rigged onto moving vehicles, and some are remote-controlled and run along the ground with legs.

The facehugger is a parasitoid, a spider-like alien creature with bony fingers and human-looking flesh with a tubular tongue that enters its human host via its mouth and implants a seed that will amalgam with the victim’s DNA and rapidly grow. It has no eyes but tracks humans by their heat signature (body temperature).

The Chestburster

The chestburster is a large, larva-like alien creature implanted into its host’s chest cavity by a facehugger. Upon maturation, it exists via the host’s chest.

One of the most iconic scenes in Ridley Scott’s “Alien” is the chestburster scene, for which the creature was originally designed by the great Swiss surrealist artist H.R. Geiger. Alvarez specifically reached out to Alec Gillis, owner of Studio Gillis, who worked on “Aliens,” “Alien 3,” and “Alien vs. Predator,” to create the chestburster and egg effects in “Alien: Romulus.”

“I watched the first ‘Alien’ just like everybody else. In fact, I was sitting next to James Cameron, and this was before either of us was even working in the movie business,” says Gillis. “Then five years later, I was on set with Jim on ‘Aliens,’ working for Stan Winston.”

The chestburster in “Alien: Romulus” is very similar to the original creature, with some modifications. It now has little arms that move, and it was given more articulation. “I feel like the creature effects in ‘Alien’ were so revolutionary and groundbreaking that there was not a lot of place for improvement,” says Gillis.

© 2024 20th Century Studios. All Rights Reserved.

Director, writer, and producer FEDE ALVAREZ (Director/Co-Writer/Executive Producer) is a Uruguayan filmmaker known for his visceral approach to film. Alvarez gained international recognition for his directorial debut, the 2013 “Evil Dead” remake, which he also wrote. The film starred Jane Levy, Shiloh Fernandez, and Lou Taylor Pucci and opened to number one at the box office. Following the success of his first film, he wrote, directed, and produced the hit genre film “Don’t Breathe,” which starred Jane Levy, Stephen Lang, and Dylan Minnette. The film premiered to rave reviews, grossed over $157 million globally, and left a lasting impact on the horror community for its innovative storytelling and tension-building scenes. Alvarez also produced and wrote “Don’t Breathe 2” and later produced and wrote 2022’s “Texas Chainsaw Massacre,” which premiered at number one on Netflix’s top 10 list. On the TV side, Alvarez created, directed, and wrote the Apple TV+ series “Calls,” an English adaptation of the French series of the same name. The series stars Aubrey Plaza, Riley Keough, Joey King, and Pedro Pascal, among many others. It won an Emmy® for outstanding motion design and earned Alvarez a WGA nomination for adapted short-form new media.

RODO SAYAGUES (Co-Writer) was born in Montevideo, Uruguay, where he also grew up. His father, a prominent lawyer, and his mother, an English teacher, were devoted art and culture consumers, inspiring their children to appreciate a variety of art forms–from classical literature and music to theater and films. At an early age, Sayagues developed a passion for cinema and music. He studied classical guitar and, eventually, modern music. He founded several rock bands, with which he played until early adulthood, achieving a career in the local Uruguayan music scene. Music forged his friendship with his long-time creative partner, Fede Alvarez. Soon, they discovered a shared interest beyond music and began shooting homemade short films with a simple VHS camera. His two passions eventually merged, and he started shooting music videos for local rock bands and, in time, for more prominent Uruguayan musicians. Filming, which had been a hobby, gained real estate in his creative life. By 2007, Sayagues directed commercials in the Uruguayan market, receiving several awards. Simultaneously, he and Alvarez were making more short films, for which they won many local and international awards. In November 2009, “Panic Attack” was uploaded to YouTube and went viral in a matter of days. The short caught the attention of acclaimed filmmaker Sam Raimi, who offered Sayagues and Alvarez a deal. After relocating to Los Angeles, they began working on a reimagining of the cult horror classic “Evil Dead” (Sony). The movie premiered at the SXSW Film Festival with horror critical acclaim and became a box-office success, scoring $100 million worldwide. The team reunited for “Don’t Breathe” (Sony) in 2016. The movie was a smash hit, scoring $160 million worldwide and becoming a cult classic. Sayagues and Alvarez found a way to channel their creativity during the COVID-19 pandemic in 2020. Amid the shutdown, they were able to write and produce the series “Calls” for Apple TV+. Sayagues made his feature directing debut with “Don’t Breathe 2” (Sony), the long-awaited sequel to their 2016 hit. The movie performed exceptionally well despite being released during the COVID-19 pandemic in August 2021. He served as a writer and producer for “Texas Chainsaw Massacre” (Netflix) in 2021.

The initial spark for writer and director Jeff Nichols’ latest film, The Bikeriders, came to him nearly 20 years ago, when he was introduced to Danny Lyon’s seminal photographic and oral history of a Midwestern outlaw motorcycle gang by his older brother Ben. “It’s about our search for identity. It is very much about American, masculine identity, capturing a rebellious time in America when the culture and people were changing. ” says Nichols.

“Ben has a band called Lucero and he wanted to use one of Danny’s photographs for an album cover,” Nichols recalls. “He had the book sitting on his coffee table, which was the first time I had seen it.”

The album cover never materialized, but Nichols connected with the photos and text immediately. First published in 1968 and later reissued, The Bikeriders is a chronicle of the four years Lyon spent with the Chicago Outlaws Motorcycle Club, interviewing and photographing longtime members. The book inspired Nichols to create a fictional narrative that incorporates characters based in part on some of the original bikers.

“I was introduced to what I think was the 2003 edition, which is important,” says Nichols. “That book has a preface that Danny wrote himself. In it, he goes back and recounts what he heard had happened to some of the members. There is just one line about the leader of the club, this guy named Johnny, who had been challenged for leadership. Many people say that incident was the end of the golden age of motorcycles. Just that sentence started giving me the shape of the film and the narrative.”

Lyon’s preface was steeped in nostalgia, according to Nichols, a nostalgia he believes to be specific to this outsider group. “It was a particular moment in time and once it was gone, it could never come back,” he explains. “It is unique to that moment. There was something beautiful and kind of sad in it that came to inform the whole film.”

Nichols admits motorcycle culture was not a natural fit for him. “I didn’t grow up riding. I didn’t have family members that rode. I was intimidated by it. And these people in the time period were a lot to be intimidated by. As time went on, I would sometimes pitch a story about a motorcycle club and people would say, oh, that’s really neat, you should do that, but it wasn’t really moving forward.”

Jeff Nichols Q&A

Over the years he would visit Lyon’s website, Bleak Beauty, revisiting the photojournalist’s gritty, often candid shots of the Outlaws in their heyday, looking for inspiration. “One day I discovered he had posted some QuickTime files of the original audio he used in the text for the book,” Nichols recalls. “It was Kathy, Zipco, all of the real people speaking. The voices were incredible.”

Hearing them speak for the first time gave Nichols the final push he needed to write a screenplay. “It was such a crucial tool for me as a screenwriter,” he says. “Suddenly I was able to visualize the movie, what it could sound like and look like.”

The audio tapes also gave Nichols the confidence to reach out to Lyon in 2014. “I introduced myself and told him how much I respected his work. He had seen Mud and liked it. So I went to New Mexico to meet with him.”

The Bikeriders takes place on two levels, according to the writer and director. “There is the A-line story, which is about a love triangle, but not a love triangle between two men who are chasing the same woman. It’s a man, Johnny, and a woman, Kathy, who are both chasing Benny. He’s everything that they both want but for different reasons. Everybody is trying to fill Benny up with their hopes and dreams and aspirations, but he isn’t built to contain those. He can’t hold them, and he doesn’t want to. And it’s a tragedy because they both put so much into a thing that was not built to hold anything. That’s not a story that takes place in the book. I took some character inspiration, but my job was to build it into a narrative.”

The film also tells a deeper story about the psychology of outsider groups, adds Nichols. “The best example I can think of is a monologue that Zipco, played by Michael Shannon, has about going down to the draft board all hung over. He aces all the tests, but he is rejected. When I wrote it, I thought it was pretty funny. When we shot that scene, everybody was laughing just like I expected. But by the end, there was a tinge of sadness, because Zipco actually wanted to go to Vietnam. The army didn’t want him. He was an undesirable. You see these tough guys around the campfire start to nod because they understand. It’s actually affirming everything that they’re feeling about not belonging.”

After a chance encounter at a local bar, strong-willed Kathy (Jodie Comer) is inextricably drawn to Benny (Austin Butler), the newest member of Midwestern motorcycle club, the Vandals led by the enigmatic Johnny (Tom Hardy). Much like the country around it, the club begins to evolve, transforming from a gathering place for local outsiders into a dangerous underworld of violence, forcing Benny to choose between Kathy and his loyalty to the club.

Director’s Statement

I’ve always tried to find a universal theme in my films. The idea being that if you have a universal thought at the core of your story, it is possible to make a very personal, regionally specific film that feels totally unique to a specific time and place that still resonates with a broad and diverse audience.

The Bikeriders is about our search for identity. It is very much about American, masculine identity, but only thinking of it in those terms misses a bigger idea. We are all desperate to find and build an identity for ourselves. I think this is one of the greatest animating forces at work in our society right now. People no longer simply define themselves by their work or where they went to college. We are turning to our sex, race, culture and history to help us find a deeper, more meaningful identity for ourselves. What I find interesting, and what The Bikeriders directly addresses, is that in our search for a unique identity, we very often turn to groups to help us define ourselves. It is human nature to want to belong, but that feeling is compounded when the group we choose to belong to is more unique. The more specific the group, the clearer the identity. In some instances, this can be a wonderful, powerful thing in our lives. In others, it can be terribly destructive. The Bikeriders represents both.

When you combine this universal idea, or truth if you want to go that far, with a subculture as complicated, colorful, dangerous, and alluring as American motorcycle culture, I think you have the recipe for a film that will speak to a lot of people. I found Danny Lyon’s book 20 years ago, and it has been an obsession in my life ever since. While illuminating for me all of the thoughts mentioned above, it was also, quite simply, the coolest book I’d ever come across. My hope was to make a film that captured this feeling, and more importantly, transferred it to a larger filmgoing audience. That is my wish for The Bikeriders.

As he considers the film and the book that inspired it, Nichols sees a pattern that recurs in all societies. “Mainstream culture doesn’t suit everyone,” he says. “Some outsiders are drawn to subcultures and that’s where interesting things happen. Subcultures are where new art comes from. Subcultures are where people can find interesting ways to express themselves. And inevitably those subcultures become interesting to the main culture. They are absorbed by the mainstream and become shadows of themselves.”

When he first discovered Lyon’s The Bikeriders and its unforgettable photos and text, he was reminded of a subculture he himself had explored as a younger man. “That’s what happened to the punk rock community I experienced in the mid-’90s in Little Rock. There was a great music scene and a great punk rock community. They couldn’t necessarily articulate why they didn’t fit in; they just knew they didn’t. They created their own world out of a desire to be outside of mainstream culture. But it morphed and it became this other thing. As it became more mainstream, punk rock seemed to become a facsimile of itself. It felt cyclical and very similar.” This cycle, he says, feels real and true and universal. “And anytime you land on something that feels universal, it’s worth exploring for a film.”

From Page To Screen

Perhaps best known as fashion-plate femme fatale Villanelle on the acclaimed television series “Killing Eve,” Jodie Comer has also emerged as one the most versatile actresses working today, playing leading roles on television, stage and screen. In The Bikeriders, the British actress transforms herself once again, playing Kathy, a conventional Midwestern girl who falls for an enigmatic young motorcyclist, and serves as the narrator of the film. The actress also listened to about a half hour of audio interviews that made it clear to her that Kathy is an exuberant woman who says exactly what she thinks.

Much of the film’s extensive narration was adapted from the real Kathy’s taped interviews, according to Nichols. “Kathy has a unique cadence in the way she speaks,” he says. “She’s funny and self-deprecating and has a very strong working-class Chicago accent. Jodie captured that exactly, as well as the way Kathy pauses and the way her voice pitches up when she is being sarcastic. I’ve played the interviews for audiences at festival screenings and they are dumbfounded by how accurate her dialect is. It’s uncanny.”

To Austin Butler, who shot to worldwide attention as the star of Baz Luhrmann’s biopic Elvis and was recently seen in Dune: Part Two, Benny is a mysterious figure and a man of few words. He comes from a more affluent family than most of the bikers, which sets him apart, says the actor. “He’s fallen out with his family and become a lone wolf. But there’s something in every human being that needs community. When he found the Vandals, he found a father figure in Johnny and camaraderie with all the guys. He and Kathy get married very quickly, but he’s always got one foot out the door. He doesn’t want anybody to need anything from him, but Kathy needs him to stop riding and get out of that life, and Johnny needs Benny to take over the gang.”

Nichols, he says, created a script with extraordinary care. “He really thought out every character and every angle. By the time that we got to set, he had a blueprint in his mind that was a comforting support system for us all. He encouraged the actors to do whatever they wanted, but you always knew he was taking care of you.”

Although the recordings Lyon posted were useful to some of his castmates, there were none of Benny. “I saw it as a blessing because there’s nothing to say that I do or don’t sound like Benny,” says Butler. “I listened to a lot of different recordings of people that Danny made and those were very helpful. But then at the end of the day, it’s more just about Benny’s essence and how that comes through in my voice.”
Butler grew up around motorcycles — his father and grandfather both rode. When his grandparents moved from California to Arizona when he was a young boy, Butler and his dad would ride the whole way to visit them. “When I was 16, my dad decided it was time for me to learn so he just threw me on a bike in a parking lot. After I spoke to Jeff (Nichols) about this role, I started riding all the time. Then when I was in Australia shooting Elvis, I met a man who fixed up old Harleys and we would go riding together. That was my first time getting on an older bike. It helped get me ready for the film.”

Tom Hardy plays Johnny, the Vandals’ founder and longtime alpha male. As a senior member of the group, he sets the example for the up-and-comers, but he is starting to feel his age. Johnny wants to appoint Benny as his successor. “When you look at Johnny, you see a man who gets outpaced by the times,” says Nichols. “He has the classic greased-back biker hair, but the younger members no longer look like that.”

Club member Funny Sonny, played by Norman Reedus, is a recent arrival from California, a hardcore biker who falls in with the Vandals.

“There were two pieces of pop culture I wanted to bookend this story with,” says Nichols. “The first is The Wild One with Marlon Brando, which is the kickoff for Johnny’s character. The other is Easy Rider.

Norman Reedus’ character, Funny Sonny, gets paid to sit outside of a movie theater to get people to come in to see it. They’ve become kind of a movie version of themselves. They’re starting to play the part of a biker.”

When Butler was cast, the only other actor in place was Michael Shannon. “I didn’t even know then which role he was playing,” he recalls. “He’s an incredibly focused actor. He’ll finish a take and then he’ll walk off by himself, come back a few minutes later and just go right back into it.”

Shannon plays Zipco, a character inspired by an original Outlaw immortalized in Lyon’s well-known photograph, “Funny Sonny Packing with Zipco, Milwaukee.”

Set primarily in Chicago, The Bikeriders was shot in and around Cincinnati, Ohio, a midsize Midwestern city that afforded the production both urban and rural settings for the film, as well as neighborhoods that could plausibly stand in for 1960s Chicago. The meticulous recreation of the city, it’s denizens and its surrounding areas depended on a close collaboration between the camera, production design, costume, and hair and makeup departments, according to Nichols. “I’ve been lucky enough to work with director of photography Adam Stone, production designer Chad Keith and costume designer Erin Benach on multiple films.”

The director gave each department head a single specific image: a color photo of Cal, one of the real- life bikers, sitting in a gas station holding a soda bottle. His clothing, his posture, the colors surrounding him would all influence every visual element in the film. “I told them that if we could achieve a frame in this film that looks this dense, this filled with life and specificity, then we’ve won,” he says.

© 2024 Focus Features, LLC. All Rights Reserved.

JEFF NICHOLS (Director, Writer) is an acclaimed writer and director who hails from Little Rock, Arkansas. In addition to two nominations for the prestigious Palme d’Or, Nichols has won three awards at the Cannes Film Festival. His critically-acclaimed feature, Loving, received four Critics’ Choice Award Nominations including Best Picture and Best Original Screenplay, and garnered an Oscar nomination for Best Actress for Ruth Negga. Nichols was previously an Independent Spirit Award Best Director nominee for Mud, starring Matthew McConaughey, and Take Shelter, starring Michael Shannon. Nichols and Shannon have collaborated on multiple occasions, beginning with Nichols’ directorial debut, Shotgun Stories, which he also wrote. In addition to numerous festival honors, the short film was also nominated for the John Cassavetes Award. Nichols and Shannon also worked together on the science fiction film Midnight Special, co- starring Adam Driver, Joel Edgerton, and Kirsten Dunst. He is the director of the upcoming film, The Bikeriders, a drama following the rise of a fictional 1960s Midwestern motorcycle club through the lives of its members.

“I wanted to capture what I felt to be the real New York, with its incredible diversity, vivid texture, and incredible soundscapes. And also its relationship to both violence and hope,” says French filmmaker Jean-Stéphane Sauvaire. Furthering his examination of violence inside institutions and among close-knit groups, he turns his unflinching and inquisitive eye on his adopted hometown of New York City in all its ragged glory with Asphalt City.

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Sauvaire concocts a visceral and immersive thriller out of the complex and grueling lives of grueling lives of emergency medical technicians and the everyday people they live to save and the everyday people they live to save in Asphalt City (originally titled Black Flies) is a 2023 American thriller drama film directed by Jean-Stéphane Sauvaire and written by Ryan King and Ben Mac Brown, based on the 2008 novel Black Flies by Shannon Burke.

Ryan King is a New York-based screenwriter, playwright, and actor who grew up in Austin and Round Rock, TX. His screenplay Black Flies, about a paramedic’s first grueling year on the job, was selected for the 2018 Black List of most popular unproduced screenplays. He attended the University of Texas at Austin and the Yale Drama School.

In Asphalt City Upstart paramedic Ollie Cross (Tye Sheridan) courses through adrenaline-fueled nights in an ambulance for the New York City Fire Department in Brownsville, Brooklyn while spending days studying for med-school exams in a Chinatown hovel. Working alongside seasoned first responder Gene Rutkovsky (Sean Penn), Cross discovers firsthand the chaos and awe of a job that careens from harrowing to heartfelt, and occasionally stretches into ethical ambiguity.

A Conversation With Filmmaker Jean-Stéphane Sauvaire

You’re a Frenchman based in New York City. How did you come to settle in Brooklyn?

I moved to Brooklyn fourteen years ago. I’ve always been fascinated by the city, and visited a few times
as a tourist, but after my first feature, Johnny Mad Dog, played in Cannes in 2007, I had American agents
reach out to me and thought it would be wise to move to New York, and shoot a movie there. I knew the
city mostly from movies—Scorsese, Ferrara, Friedkin, Schlesinger, Lumet, Cassavetes, and their cinematic depictions of subways, bridges and sirens, which we wove into ASPHALT CITY. I wound up buying an abandoned house in the Bushwick neighborhood of Brooklyn and tried to make an English-language experimental film based on Jean Cocteau’s Les Enfants Terribles set inside my damaged house. I couldn’t find the money to make that movie, but from the moment I moved into the neighborhood, I wanted to capture what I felt to be the real New York, with its incredible diversity, vivid texture, and incredible soundscapes. And also its relationship to both violence and hope.

How did Shannon Burke’s 2008 novel ASPHALT CITY come your way?

After A Prayer Before Dawn was released, producers sent me this book set in 1990s Harlem, based on the
experiences of an ambulance paramedic working the night shift. I read it and thought it would be a great
way to go deeper into New York City. I was intrigued that it was based on the author’s real experiences as
a paramedic, and I connected quickly with the protagonist. But the novel is different from the film we
made – it’s set in Harlem in the ‘90s that was more about the so-called crack epidemic. I didn’t want to do
a period piece and recreate the past. In my films, I like to capture the world and the reality as it is now.

Talk about shooting in Brooklyn.

My neighborhood in Bushwick hasn’t changed much, especially underneath the elevated train tracks,
which still looks like the New York City of The French Connection. In fact the Chinese takeout restaurant
in ASPHALT CITY was previously the bar that Friedkin filmed in back in the early ‘70s. We filmed around New Utrecht Avenue in South Brooklyn, where the chase scenes in The French Connection were filmed. In a way we’re paying homage to that movie, and the New York of that movie.

How did you update Shannon’s story to make it your own?

The central dynamic between upstart paramedic Ollie Cross and his more seasoned superior Gene
Rutkovsky was already there, and I liked their relationship; it’s faithful to the book. What we changed
besides the New York City borough and the time period in which it’s set was the origin of Rutkovsky’s
trauma; in the book it was the Vietnam War and in the movie it’s 9/11. This made sense in the context of
our story because so many emergency workers in New York City were affected by 9/11, directly or
tangentially. I thought it would be interesting to build a character out of that trauma. Also, in the book the ‘enemy’ was crack cocaine. In this film, the ‘enemy’ is a broken healthcare system. I wanted to explore
how the American healthcare system is a form of social violence perpetrated on the many of these same
communities.

How did you come to cast Tye Sheridan in the lead role?

The first actor that came to my mind after I read the book was Tye Sheridan, so I met with him and we
started working on the project—he’s also a producer on the movie. Then in 2018 I called Shannon Burke
and he came to New York so that Tye, the screenwriter and I could follow him around Harlem where he
worked. Tye thought it was good to have a sense of Shannon’s routine—the steps he took and the life he
led when he was a paramedic. He was very committed to the part. By experiencing this story through
Tye’s character eyes, we begin to understand how can resist the violence that, initially, hits him full-on.
How not to lose faith in humanity and be tempted by violence. But rather how to fight it, and as his sworn
oath, to try to heal it. To be there to accompany souls to the other side if needed, and sometimes to have
the privilege of saving them.

Describe your own research process for this movie.

In order to make a film as authentic and realistic as possible I needed to immerse myself in the world of
New York City paramedics, I needed to get inside those ambulances and ride along with the first responders. But it was difficult because the FDNY is very bureaucratic. I was lucky because Oscar Boyson, who produced Good Time, put me in touch with Wyckoff Heights Medical Center in Brooklyn, where I met Eric Cardamone, chief of emergency services. He was enthusiastic about our project because nobody has made a paramedic movie set in New York City since Scorsese’s Bringing Out the Dead in 1999. He told me his story, described his routine and allowed me to sit in the back of the ambulance and observe. The hours were typically 7pm to 7am and I rode along for two years. I was determined to pay tribute to their bravery, dedication, and passion for their profession in the face of a completely broken American healthcare system.

What was interesting to you about the paramedic’s life in New York City?

It was the rhythm of life, and their world. Cinema for me is based on rhythm, the way you shoot, edit, and
use music—this is how you find your movie. I wanted to capture the frenetic stop-start rhythm of
paramedic’s lives, the rush of adrenaline, then the unpredictable downtime, the experience of losing all
sense of temporality, slipping out of comfort zones, not knowing what day it is. Every night on the job is
dangerous and stressful—you don’t know what’s going to happen, and you enter into these intimate
situations with vulnerable people from every conceivable background. They are guardian angels of the
city, who put their lives on the line every day to help others. I found myself casting and scouting along
the way, meeting people, hearing different languages, and experiencing new cultures. The New York City
I discovered through my research was like the Tower of Babel with its diversity.

Where is your story set, specifically?

The story plays out in the Brooklyn neighborhoods of East New York and Brownsville, which Wyckoff
Heights Medical Center serves for emergency calls. Most of the calls depicted in the movie were based on
actual experiences around Brooklyn, including the shooting victim in the opening scene. These
neighborhoods for me feel like a fast vanishing side of New York. Bushwick and nearby Bedford-Stuyvesant have become gentrified, but East New York and Brownsville have remained working-class
and predominantly Black and Latino.

Many of the actors in this movie are non-professionals. How did you find them?

I’ve always tried to cast as many non-professionals as possible, and for ASPHALT CITY I wanted to cast
people from my neighborhood. To also give them a voice and the possibility of sharing their own
experince of life. I used to own a cabaret in Bushwick that attracted artists, performers, and just regular
neighborhood people. Lori Eastside, our casting director, has worked on Darren Aronofsky and Abel
Ferrara movies—she knows New York City in and out. So we did casting around my Bushwick
neighborhood, holding auditions in my bar and in my home. Karine Nuris, who was an acting coach on
Johnny Mad Dog and A Prayer Before Dawn, working with former prisoners on that movie, came aboard
to help the non-professionals get comfortable talking and appearing on camera and workshopping their
scenes.

How did you persuade Sean Penn to return to acting for this role?

Sean was always my first choice for the character of Gene Rutkovsky, and we had been in contact because the French actress Adèle Exarchopoulos had convinced him to watch Johnny Mad Dog while they were making his feature The Last Face. He loved it and we started swapping emails. When ASPHALT CITY was coming together in 2018, I called him and asked him to consider the role of Rutkovsky, but he was preparing to direct his next feature and said he wasn’t acting anymore. He said he would meet with me regardless if I came to Los Angeles, he invited me to stay in his house for a week, which was surreal. But it shows how generous Sean is—he’s not just an actor or movie star, he’s a human being who’s had an incredible experience of life. I couldn’t convince him during that week to take the part, but he wanted to help me cast the movie. Then COVID happened, and Sean started organizing vaccinations with the L.A. fire department. Since he’d had some experience with paramedics, I reached out again and said maybe it’s time to do this movie.

How did Sean prepare for the role?

He did research with the L.A. fire department but he also did intense training and ride-alongs with paramedics affiliated with Wyckoff Heights Medical Center—he was in the back of the ambulance
wearing a hat and mask so nobody recognized him. He took the project very seriously, like Tye Sheridan,
and became immersed in the role, making sure every gesture was authentic to the character. Because he’s
also a producer on the film, he became involved in every step of the production. We shot for 23 days with
a small crew, at times it was chaos, but Sean had this can-do attitude, shooting day and night without any
of the comforts you might expect for a star of his stature.

Tye and Sean have great chemistry on screen together…

They complimented each other both as actors and characters. I like the idea that they almost look like
each other, and I always saw Tye/Ollie as a younger version of Sean’s character, with Rutkovsky being a
version, grizzled and worn after years on the job.

Michael Pitt returns to acting as the volatile paramedic Lafontaine. How did you come to cast him?

I knew Michael from my Bushwick neighborhood, and he used to play music with his band in my bar. We
became friends, and I thought he would be amazing as the Lafontaine character; he agreed to do it. He has a different way of approaching a character than Sean or Tye, staying in the craziness of his character at all times. He was always pumped up, and it came alive during editing and made perfect sense—you could see how faithful he was to the character. With Lafontaine, we didn’t want to create a purely villainous character; we wanted to give him some humanity, to try and understand why someone like him could slip so far into darkness. He’s like a fallen angel

How did Mike Tyson enter the picture?

I thought it would be amazing to have him in the film because he’s from Brownsville, and his father used
to live at Sumner Houses in Bushwick, close by my house, where we shot the stabbing scene. I thought
Mike would be a great person to play the fire department chief because he had experienced violence as a
youngster but got through those circumstances to become a famous boxer. I loved the arc of his journey,
and how he came to find peace after his struggles. I called him and explained we were going to shoot in
his old stomping grounds and he signed on.

The sound design stands out because it accentuates the chaos of this story. How did it come about?

Nicolas Becker is a French composer and sound designer who I met on a movie I did in France called
Punk. Then we did A Prayer Before Dawn before he went on to win the Oscar for Sound of Metal.
Recently he worked on Alejandro González Iñárritu’s Bardo. I like him because he was a Foley artist
early in his career, so he understands working with sound and image at the same time. He went on to
become a sound designer and composer, grasping the importance of making the sound in a movie relevant to the emotions of the characters. Our sound supervisor Ken Yasumoto worked on most of Gaspar Noe’s films, using an immersive approach to sound, making it part of the character of the movie as opposed to a conventional score.

Most of the camerawork is handheld, also in keeping with the chaos of the story.

David Ungaro, my close friend who shot A Prayer Before Dawn, did the cinematography, which was mostly handheld camerawork using a stabilizer, allowing David to move with the camera as if he were
operating a dolly. I wanted him back for this one because I knew it would be a difficult production, and he
understands the way I like to shoot, which is in long shots that often last for up to ten minutes. It’s a lot of
work but he’s a great operator and D.P., always working closely with me on organizing the choreography
of a scene from beginning to end. When you film a scene like this without interruption, you have this
built-in tension, which worked very well with the emergency calls in ASPHALT CITY.

What’s your perception of the American health-care system after making this movie?

It’s hard to believe the U.S. healthcare system could be such a failure. Coming from Europe, where
healthcare is free, it’s difficult to witness. Medical care is very expensive and if you don’t have money,
you can’t be treated. From my ride-alongs with Brooklyn paramedics it was easy to see that people in
low-income neighborhoods simply can’t afford to go to the hospital—they wait until the last minute to
call 911, and without insurance the cost is exorbitant for the ambulance ride, hospital stay, and follow-up
care.

I’m shocked how people manage to survive inside this system, and not just the patients, but the EMS
workers, whose salaries are low and whose mental health is affected by the long hours and traumatic
experiences. My greatest satisfaction once the film was completed was to hear from the EMTs, who helped us and were consultants on the shoot, that the film depicts their daily lives in an honest and extremely realistic way.

Your last three features have depicted and examined violence in various capacities. What is your
interest in the subject?

Filmmaking has always been a kind of therapy to me, and my next movie is called Addicted to Violence,
about my personal relationship with violence. So I’m going to try through that movie to answer that
question. Violence is also fundamental to our experience as humans. ASPHALT CITY takes a different
approach to violence; it’s not about committing it, but healing it.

Jean-Stéphane Sauvaire – Director
Jean-Stéphane Sauvaire started out as assistant director in 1992 on Les Nuits Fauves (Savage Nights) by
Cyril Collard. He worked on feature films with directors such as Gaspar Noé, Bernie Bonvoisin, Karim Dridi, Siegfried and Laetitia Masson.
In 2000, Jean-Stéphane Sauvaire began his career as a director. Following three short films, Jean-Stéphane directed Carlitos Medellin in 2004 which is a feature length documentary filmed in Medellin Colombia during the civil war. It told the story of a young Colombian boy who sets out to save his neighborhood from war and violence. The film garnered critical acclaim, was selected to screen in a number of international film festivals and won Best Film for Children’s Rights at Human Rights International Film Festival.
Four years later, he wrote and directed Johnny Mad Dog, his first feature film which he co-produced with
Mathieu Kassovitz. The film was an adaptation of the eponymous novel by Congolese writer Emmanuel
Dongola, which follows the journey of a small militia of child soldiers during a civil war in Africa. It was
presented in Un Certain Regard at the Cannes Film Festival and it was awarded the Prix de l’Espoir.
Johnny Mad Dog went on to screen in approximately fifty festivals throughout the world and won
multiple awards.
In 2012, he directed Punk, a television movie for French/German channel Arte. Based on Boris Bergmann’s best-seller, with Béatrice Dalle, Paul Bartel and Marie-Ange Casta, Punk was selected to screen in the international film festivals of London, Montréal, Zurich and La Rochelle where Jean-Stéphane Sauvaire received the Best Director Award.
In 2017 Jean-Stéphane Sauvaire directed A Prayer Before Dawn based on Billy Moore’s eponymous
memoir. Joe Cole plays the lead character, fighting for his life in one of Thailand’s most ruthless prisons.
The film has been chosen for the Official Selection at the 70th Cannes Film Festival. Joe Cole won Best
actor at the British Independent Film Award for his performance. A24 released the film in the US in 2018

Film culture has never been more prevalent than now! Its rampant invasion has infiltrated the lives of people from all over the world, becoming accessible to anyone in cinemas and streaming platforms. If a film opens somewhere on the globe, it can be viewed immediately by anyone no matter where they are.

(Click on Title of Film To Read Full Feature) 2023 FILM RELEASES

Killers of the Flower Moon – Crafting a story of crime and racism that speaks both to a nation’s past and its future, Martin Scorsese’s epic masterwork speaks to the heart and soul. Scripted by Scorcese and Eric Roth, based on David Grann’s best-selling book, real love crosses paths with unspeakable betrayal at the turn of the 20th century, when oil brought a fortune to the Osage Nation, who became some of the richest people in the world overnight. The wealth of these Native Americans immediately attracted white interlopers, who manipulated, extorted, and stole as much Osage money as they could before resorting to murder. Based on a true story and told through the improbable romance of Ernest Burkhart (Leonardo DiCaprio) and Mollie Kyle (Lily Gladstone).

Sound of Freedom is based on an incredible true story and shines a light on even the darkest of places. After rescuing a boy from ruthless child traffickers, a federal agent learns the boy’s sister is still captive and decides to embark on a dangerous mission to save her. With time running out, he quits his job and journeys deep into the Colombian jungle, putting his life on the line to free her from a fate worse than death. Directed and co-written by Alejandro Monteverde, it features a powerful performance by Jim Caviezel.

Martin McDonagh’ The Banshees of Isherin is funny, sad, dark, and full of humanity. Set on a remote island off the west coast of Ireland, it follows lifelong friends Pádraic (Colin Farrell) and Colm (Brendan Gleeson), who find themselves at an impasse when Colm unexpectedly puts an end to their friendship. A stunned Pádraic, aided by his sister Siobhán (Kerry Condon) and troubled young islander Dominic (Barry Keoghan), endeavors to repair the relationship, refusing to take no for an answer. But Pádraic’s repeated efforts only strengthen his former friend’s resolve and when Colm delivers a desperate ultimatum, events swiftly escalate, with shocking consequences.

A Relevant Story About Human Connection, A Man Called Otto is based on the # 1 New York Times bestseller A Man Called Ove and tells the story of Otto Anderson (Tom Hanks), a grump who no longer sees purpose in his life following the loss of his wife. Otto is ready to end it all, but his plans are interrupted when a lively young family moves in next door, and he meets his match in quick-witted Marisol – she challenges him to see life differently, leading to an unlikely friendship that turns his world around. A heartwarming and funny story about love, loss, and life, A Man Called Otto shows that family can sometimes be found in the most unexpected places.

Beau if Afraid is an unforgettable character study about an un-lived life. Dense with meaning and aimed squarely at confronting the emotional chaos and collective uncertainty of our present day, writer-director Ari Aster’s mindblowing odyssey follows one man’s odyssey through the depths of the end of history, finding horror and humor at every turn. From the creator of Hereditary and Midsommar comes a crack-pot vision of control, inheritance, and escape—the world as experienced by the unforgettable Beau Wassermann, who lives alone in a downtown apartment building where every moment is a waking nightmare. From one of the most inventive cinematic minds working today comes the story of a man who sets out to visit his mother and discovers a world of malevolent forces and unseen eyes tracking his every move.

Barbie is a rich layered story, with humanity and heart. 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. Writer-director Greta Gerwig, who has established herself as one of Hollywood’s most important voices. “Barbie has so much recognition, so much love, and of course a 60-plus-year history, which was exciting for me. As with Little Women, Barbie is a property we all know, but to me she felt like a character with a story to tell, one that I could find a new, unexpected way into, honoring her legacy while making her world feel fresh and alive and modern.”

Nyad is a remarkable true story of tenacity, friendship, and the triumph of the human spirit. It poignantly recounts a riveting chapter in the life of world-class athlete Diana Nyad. Three decades after giving up marathon swimming in exchange for a prominent career as a sports journalist, at the age of 60, Diana (four-time Academy Award nominee Annette Bening) becomes obsessed with completing an epic swim that always eluded her: the 110 mile trek from Cuba to Florida, often referred to as the “Mount Everest” of swims. Determined to become the first person to finish the swim without a shark cage, Diana goes on a thrilling, four-year journey with her best friend and coach Bonnie Stoll (two-time Academy Award winner Jodie Foster) and a dedicated sailing team.

Punch is a film about loyalty, love, and liberation from New Zealand writer and director Welby Ings. It tells two, interwoven love stories; one between a father and his son and the other between two young, New Zealand gay men. These characters are flawed but despite their clumsy handling of relationships with each other, they are all in essence, good men.In this film, the gay bashing, the alcoholism, the local boxing fights, the silenced rapes, the tentative outreach of the medical profession, and the transition from sex to love … to letting go, all happen. Such things are specific but universal. As a pushback against a climate where being gay is now seen as relatively normalised, Welby used recent, true incidents to peel back the veneer to expose what can lie just below the surface.

Other gay-themed films that deserve a mention are Saltburn, a dark and shocking odyssey into the world of blind obsession, Red, White & Royal Blue, an LGBTQ+ rom-com with an unabashed celebration of the genre, the South African Runs In The Family is a positive relationship between a father and a young trans man.

Heartstopper Season 2 sheds a positive light on teenage Queer culture, The Inspection is an astonishing portrait of survival and one man’s unforgettable journey for acceptance and love, The Whale is a soaring story of a gay man’s transformation and transcendence.

Our Son poignantly explores what happens when a married male couple of 13 years decide to divorce and sacrifice the future of their son; and in Passages a gay couple whose marriage encounters a crisis when one of the men begins an affair with a young woman.

Talk To Me is a high-concept horror that reflects current society with a classic lens. In Talk To Me, a group of friends discover how to conjure spirits using an embalmed hand, they become hooked on the new thrill, until one of them goes too far and opens the door to the spirit world, forcing them to choose who to trust: the dead or the living. The real-world horror in the film stems from the consequences of reckless behaviour as an outlet, and the supernatural horror stems from the fallout of repressed feelings breaking free. Also worth mentioning is Scott Derrickson’s Black Phone, fearfully awakening the senses of those who indulge in the Supernatural and Uncanny realms.

Oppenheimer is an epic thriller that chronicles the life and legacy of the father of the atomic bomb. The films of Christopher Nolan have pushed the limits of cinematic storytelling to tell epic stories about unlikely heroes and audacious schemes that examine the necessity, morality, and hubris of ambitious endeavors. Now, he brings to screen his most ambitious and urgent movie yet, a sweeping, epic thriller that delves deep into the psyche of a singular American mind: the brilliant scientist behind the world-shattering invention that represented the total sum of human ingenuity, an invention that would remake civilization, even as its very existence threatened the future of mankind. Inspired by the Pulitzer Prize-winning book American Prometheus by Kai Bird and Martin J. Sherwin, it features stellar performances from  Cillian Murphy as J. Robert Oppenheimer, Matt Damon as the director of the Manhattan Project, and Robert Downey, Jr. as a founding commissioner of the U.S. Atomic Energy Commission. 

Noteworthy Films of 2023

• Saltburn is a dark and shocking odyssey into the world of blind obsession. A student who becomes obsessed with a wealthy fellow student within his college, who invites him to spend the summer at his eccentric family’s estate. A psychological drama written, directed, and produced by Emerald Fennell.
• Writer-director Todd Field,s TÁR is a searing examination of power, and its impact and durability in today’s society with a commanding performance from Cate Blanchett as the groundbreaking conductor of a major German Orchestra.
• Babylon is a mesmerizing tale of outsized ambition and outrageous excess
• El Conde is provocative satire to incite reflection on the persistence of evil
• Anatomy Of A Fall is a captivating drama

• Like a dream, Wes Anderson’s Asteroid City is a mix of ideas and places, a story of people in a certain moment of history, a story steeped in the history and myths of two poles of 1950s Americana: the West and Broadway, each with their heroes and legends.
• Sam Mendes’ Empire of Light is a moving drama about the power of human connection during turbulent times.
• Writer-director Scott Cooper’s The Pale Blue Eye is a visually haunting and methodically paced murder mystery that places a young Edgar Allan Poe at the center of a detective story.

• In her lauded documentary Beyond the Light Barrier Uga Carlini explores the extraordinary life of Elizabeth Klarer, a South African meteorologist who devoted herself to proving the existence of Akon, her extraterrestrial lover from the planet Meton in the Proxima Centauri solar system and is streaming on Amazon Prime. Read more

• The series All the Light We Cannot See is a story of the extraordinary power of human connection, about finding light in times of darkness.
• Leave the World Behind is a rare story that deals with race, class, what it means to raise kids in today’s world, and how external events start to seep into our consciousness and create fears where maybe there shouldn’t be any.
• The Little Mermaid is a very modern story about a girl who feels displaced and sees her life differently from anyone around her.
• The Northman is an astounding epic Viking revenge saga
• The Flash puts the fan-favorite DC Super Hero front and center in a big-screen outing filled with epic action, surprising humor, and heart, along with the wish-fulfilling superpower of the ability to bend time…

Following winning an Oscar for best original screenplay for Good Will Hunting, their first screenplay which they wrote together, and a friendship of over 40 years, Bostonians Matt Damon and Ben Affleck re-team for the screenplay of The Last Duel, a historical epic based on actual events that unravels long-held assumptions about France’s last sanctioned duel between Jean de Carrouges and Jacques Le Gris, two friends turned bitter rivals.

Eric Jager’s compelling 2004 book, The Last Duel: A True Story of Crime Scandal and Trial by Combat in Medieval France caught the eye of Matt Damon, who immediately saw its cinematic potential and envisioned Ridley Scott taking the helm.

Having worked with Scott on The Martian, Damon knew his visual sensibility and experience with big, historical epics throughout four decades in Hollywood was perfectly suited to this true story based on historical source materials about a legendary duel to the death, the last officially recorded trail by combat of its kind. The book brings the turbulent Middle Ages to life in striking detail.

Two friends and knights, Jean de Carrouges and Jacques Le Gris, must go against each other in a fight to the death after the wife of de Carrouges accuses Le Gris of sexual assault.

Watch now on Disney Plus

Telling The Story

When etiquette, social aspirations and justice were driven by the codes of chivalry, the consequences for defying the institutions of the time – the Church, the nobility at court, a teenage king – could be severe. For a woman navigating these violent times, one who had no legal standing without the support of her husband, the stakes were even higher.

Jager’s extensive research involved 10 years of tracking down, translating and scrutinizing centuries-old historical records – everything from chronicles, legal records and property deeds to military receipts, architectural plans and historical maps. “I found some documents containing errors or omissions. I also found documents that had either been entirely overlooked or had been mentioned only in very obscure places and that didn’t seem to be a part what historians and scholars knew about the case,” says Jager. “So one of the first big surprises for me was that what historians and legal scholars have been saying for centuries, that Marguerite was mistaken, or even that she had lied, didn’t seem to me to be true.”

The author took numerous trips to the Normandy region, where he visited the actual castle where Jean de Carrouges’ family resided, the royal palace where Parlement assembled to witness the request for a duel and Saint-Martin des Champs (the old monastery retrofitted to host the duel itself). Jager was even able to view the original, handwritten record of the legal testimony, which, due to the sturdy parchment used in the 14^th century, was very well preserved and clearly legible.

“It (the duel) is remembered like an old family tragedy,” says Jager. “It’s like part of the history of the Normandy region, part of life there. They have festivals where fencing enthusiasts re-enact the duel. People there live close to history, and they’re fascinated by it.”

With Scott attached as director, Damon and Affleck spent several months speaking to some wonderful screenwriters, but ultimately decided to tackle it themselves.

“We knew it was an incredible story, the question was how do we tell it in a way that would be really interesting,” says Damon. “And that’s when we came up with the perspectives idea and, ultimately, the kind of the bait and switch, where you have two thirds of a movie with these two men only to discover that this woman is actually the hero of the whole story.”

Damon and Affleck were soon collaborating on the script with Nicole Holofcener, a writer/director (Lovely & Amazing, Friends with Money) and an Oscar-nominated screenwriter (Can You Ever Forgive Me?), with each writing from the perspective of Carrouges, Le Gris and Marguerite, respectively, to ensure the story effectively captured all three voices.

According to Holofcener, “The reason I came on in is because Matt and Ben are not women. Not that they couldn’t write terrific women, plenty of men do, but I think that’s what I was able to add: my perspective as a female, and a different eye and a different voice as well.”

Men like Jean de Carrouges and Jacques Le Gris were the heroes of their own stories – but unreliable narrators of history. Marguerite’s perspective is essential, offering a needed correction to the men’s unchallenged views of themselves and the world around them.

“These guys were born into the middle of a hundred year war. They only knew this incredibly violent life, part of which was literally raping and pillaging, which were—and still are—weapons of war, but that was the world that these guys lived in,” says Damon. “It was incredibly, incredibly violent, so when reading the book it felt like the only story that was worth telling was hers; her incredible bravery under this awful pressure, to be interrogated that way, to be shamed that way, but to never relent and, in that culture, tell the truth about what happened to her.”

Grounded in the story of one extraordinary woman, The Last Duel is an exploration of power and survival, and the cultural forces that conspired to distort that truth. Despite their shared experiences, these characters lived in different worlds…and there can only be one truth.

Bringing the characters to life

Matt Damon, whose credits as an actor include Good Will Hunting, The Departed, The Talented Mr. Riley and the Jason Bourne films, takes on the role of Jean de Carrouges, the seasoned, ambitious knight from a respected family in Northern France who is struggling for power and position. Fighting is all he knows, and while revered for his loyalty and service to the King, he is stubborn, hotheaded and deeply mistrustful.

Adam Driver, who has starred in films including Marriage Story, BlacKkKlansman, Star Wars: Episode VIII – The Last Jedi and Star Wars: Episode VII – The Rise of Skywalker, plays Jacques Le Gris, the squire accused of assaulting his friend Jean de Carrouges’ wife, Marguerite. As Pierre d’Alençon’s protégé, he is both charming and arrogant.

Jodie Comer, who co-stars in the BBC hit Killing Eve and can be seen on the big screen in Free Guy, plays Marguerite de Carrouges, a hero ahead of her time who risked her life to stand up for the truth. Married to Jean, she is a devoted wife who manages her husband’s affairs in his absence, but the marriage was negotiated by her father. “For Marguerite, this was an arranged marriage…it wasn’t a marriage that stemmed from love. I think she has respect for Carrouges, but it’s not a happy marriage at all,” says Comer.

Ben Affleck, whose credits as an actor include The Way Back, Gone Girl and Pearl Harbor, as a director and producer, Argo, and as a writer and director, The Town, is Count Pierre d’Alençon, a wealthy and powerful land baron who is liege lord to Jean de Carrouges. Generous and somewhat impetuous, he relies on one of his vassals, Jacques Le Gris (whom he favors over Carrouges), for the collection of his debts, rewarding him with substantial gifts of land.

To help visually convey the brutal and gritty nature of a colorful world steeped in tradition and fanfare, Scott looked to acclaimed cinematographer Dariusz Wolski, with whom he has worked on five films (beginning with “Prometheus” in 2012), to man the cameras. Some scenes in The Last Duel were shot with six cameras, all filming simultaneously, but every scene was filmed with at least four cameras. Wolski used large-format Arri ALEXA mini LF’s, Angenieux short zooms and Panavison 65mm vintage primes to ensure Scott would have the best looking footage with which to cut the film.

Production designer Arthur Max and his department began preparing for the jousting portions of the film six months prior to principal photography. Referencing the surviving court documents and Eric Jager’s book and working with models and pre-viz, Max was able to help Ridley Scott better visualize how these scenes would play out.

Filming with Sensitivity

“The Last Duel” is grounded in Marguerite de Carrouges experiences more than 600 years ago. She was one person, but her story is a powerful reminder of the legacy of survivors – and all who have quietly, but steadfastly fought for justice – throughout history.

Medieval Europe was a brutal and unforgiving place for women, as documented in numerous historical records and manuscripts. A woman’s integrity was determined by her chastity and loyalty to her husband, and conforming to these expectations was crucial for survival. The term “rape” was rarely used, and the women who came forward with rape allegations or suffered any kind of sexual abuse were often discriminated against.

When Marguerite spoke out – in vivid and unambiguous detail – about what happened to her, it placed both her reputation and her life in danger. Like many survivors of sexual assault, she faced an extraordinary burden in proving the truth, as well as the judgment of her community. “The crime was horrible, but death for her husband and herself does not fit the crime,” says Nicole Holofcener. “By today’s standards, she was the victim of a horrific crime, and yet it is the ego and the pride of these two men (Jean de Carrouges and Jacques Le Gris) that becomes the true incentive for the duel.”

While the assault is an important part of Marguerite’s story, she does not let it define her, and the film worked to bring her personhood to the forefront. In order to ensure the film remained faithful to Marguerite’s story as a survivor, the studio sought advice from several advocacy organizations on the story’s portrayal of sexual abuse, survivors and recovery.

The production hired intimacy coordinator Ita O’Brien (“Sex Education”) to assist with the preparation, safety and comfort of everyone during principal photography. “The intimacy coordinator is a practitioner who brings skills and a process and a structure to the film’s intimate content, much like a stunt coordinator would do for the fight scenes,” says O’Brien.

O’Brien worked closely with the cast and filmmakers to make sure everyone understood how certain sequences would appear to the audience, and that the portrayal of sexual violence and violence against women on screen was handled with sensitivity. Marguerite’s account of what happened to her had been clouded by historical chroniclers and members of the clergy in the centuries that followed, so Ridley Scott felt it was important to depict the assault to leave no doubt about what she went through.

Shot from two perspectives, but unequivocal on the crime, this scene was filmed without any nudity, as the filmmakers were most interested in capturing the emotional toll of Marguerite’s experience without exploiting it. Scott chose to film the scenes in real time and in chronological order, too.

Scripts and call sheets were clearly marked as to whose perspective was being filmed when. “We always talked about the different perspectives with Ridley before we shot, because the intention changes depending on whose perspective you are in…always, even in little tiny ways,” says Damon. “The perspectives don’t wildly diverge, except in terms of intention, which then kind of informs the characters’ understanding of what’s happening.”

It required the actors to alter their performances when shooting scenes for another character’s point of view, as they needed to lean into how that particular’s character sees you. Comer explains, “It’s so important that in each perspective the audience really believes whichever character is narrating it, and that was actually really fun to do. It was also a little dizzying, as sometimes you were shooting three perspectives on the same day.”

Some stories are destined to become movies long before they are published. Producers showed interest in turning Anna Todd’s best-selling novel After into a film before the story was published in book form; the story became a publishing sensation after beginning as fan fiction on the social storytelling sharing platform Wattpad, read more than 1.5 billion times on Wattpad.

Directed by Jenny Gage, who co-wrote the screenplay with Susan McMartin, Tamara Chestna, and Tom Betterton, producer Jennifer Gibgot was struck by the relatable story and characters.

“Honestly, I love the love story between Hardin and Tessa because it’s a very imperfect love that felt authentic. Their love didn’t feel fluffy. The story is two damaged people coming together and healing each other, and learning to trust one another,” Gibgot comments. “The other thing I really responded to is that it’s about first love. When you read the books, it’s a very visceral emotional experience of what it feels like for a young girl to fall in love for the first time, and it brought me back to being a teenager. Hopefully, everyone has experienced a first love, a first heartbreak, a first time of being touched by the right person, and people want to be brought back to that experience.”

Just as with readers of the novel, Todd agrees that moviegoers can also find commonality with the characters in the story. “A movie felt like such a far-off concept,” says Todd, a New York Times bestselling author and avid reader, who began writing stories on her phone on Wattpad, the reading and writing multiplatform for original stories.

“A book made sense because the story was already written word. But honestly, until the movie was set to film, it was compartmentalized in another part of my brain.  Most books that get optioned don’t ever get made into a movie, so I focused on publishing books. The movie would always be a dream, but probably not reality.”

Tessa Young is a dedicated student, dutiful daughter, and loyal girlfriend to her high school sweetheart. Entering her first semester of college, Tessa’s guarded world opens up when she meets Hardin Scott, a mysterious and brooding rebel who makes her question all she thought she knew about herself — and what she wants out of life.

WATCH ON SHOWMAX. You can also watch After We Collided (2020), After We Fell (2021), After Ever Happy (2022). After Everything releases in cinemas on 15 Sept, 2023.

The producers felt it was essential to find the right director who could bring the story to life on-screen without sacrificing any authenticity

“Particularly for the first movie, because the story is from Tessa’s point of view, it felt completely right for me to have a female filmmaker tell that story,” comments Gibgot.  “I saw Jenny Gage’s documentary which I absolutely loved, and I thought it was so beautifully shot.  I loved how authentic and real it felt, and I really cared about those characters.”

Once Gage signed on, she immediately went to work on the script. “I met Anna Todd early on in the process of pitching for the project and always loved talking to her about her vision. As I started screenplay revisions, I always bounced ideas off of her,” comments Gage. “She’s captured this amazing story of youth and first love. Anna is the mother of Hardin and Tessa, so she’s a vital part of making this film.”

Todd appreciated Gage’s take on After. “I wanted a director who could make the movie visually beautiful,” Todd notes, “but I also wanted to make sure that the novel wasn’t taken word for word because I’ve also seen adaptations where it’s exactly like the book and it’s not the best thing.  I wanted somebody who would take the essence of my story but make it modern and visually appealing, and Jenny is a talented photographer.  There was no question that she could make it visually stunning.  She also presented a great mood board and was really in touch with the story itself, and that made me feel comfortable.”

As the script developed, several writers including Susan McMartin and Tamar Chestna made contributions.

“In the beginning, Susan McMartin and I worked very, very closely together and she came to be my friend. Then Jenny Gage came along, she wanted a different take,” remembers Todd. “The thing I was most worried about was the story. There’s no way to make a 600-page book into a 90-minute movie without some changes. There will always be scenes that don’t happen, but I always said to everyone involved, that as long as the characters don’t change, I will be very open to things. It’s been a pretty good collaboration. It’s also been a long road and I’m so glad that it took this long because now all the pieces of the team are exactly what they should be.”

Josephine Langford and Hero Fiennes Tiffin in After

First and foremost, the filmmakers knew they needed to stay true to the story. “All along we knew a few iconic things in the book that there was no way we were going change: number one was the lake scene, but also Tessa’s arrival to college with her mom and Noah that sets up that fish out of water feeling of her in this new world; when Hardin’s dad gets married; the truth or dare game; and the reveal at the end – those were things that we just didn’t want to touch from the book because we knew that the readers would be upset,” says Gibgot.

At the same time, the film needed to resonate with more than just the fans of the book. “The messages in this movie are a huge thing that I think about a lot,” shares Gage. “One of the reasons why I was attracted to the project is, in this day and age, everyone has a responsibility to tell authentic, inspiring stories.  First love is never perfect. It’s often messy but that doesn’t mean that it can’t be something that we learn a lot from, and that is inspiring. As a female filmmaker, as a woman, as a mother of a daughter, I think about that all the time when making any art.”

For Todd, seeing the characters she created come alive on film has been a revelation for the author. “Jenny’s take made the film more of an awakening story. Jenny has pointed to directly what Tessa’s feeling and experiencing through her eyes the entire film, which has been cool to watch.”

Todd also serves as a producer on the film and was on set daily for the shoot in Atlanta. “We embraced Anna’s involvement, and it’s important that Anna is here is because when you have the author present, she can assure certain iconic lines or moments or items, like the dress, that when you’re a filmmaker you might overlook,” comments Canton. “For instance, she’ll tell us that the fan base is crazy about this maroon dress that Tessa wears. 

Her fan base is rabid about every detail.” Solomon adds, “Fortunately, we’ve had Anna working with us to have the most important things in the movie. We feel like we have the lines that the fans have been waiting and wanting to hear. We’re bringing their characters to life and they’re living and breathing. The fans can also look forward to the surprises we’re putting in the movie that they very likely aren’t expecting, but that have the blessing of Anna.”

“I hope audiences will get that same feeling of the old-time love story, like from Pride and Prejudice, Wuthering Heights, or from She’s All That or even Cruel Intentions,” says Todd. “Our movie has a nostalgic feeling of a love story but is very modern, painful, angsty, and happy. The same story that readers loved, but with a couple of surprises I love.”

An authentic tale of first love and self-discovery, After began as fan-fiction online, posted one chapter at a time, almost daily, with the fans weighing in on what author Anna Todd was creating.

“The beginning of After was me reading fan fiction,” says author Anna Todd. “I’ve always loved fan fiction, and I saw on Instagram where people were writing fan fiction about the band One Direction. I was the only one of my adult friends who liked One Direction’s music. There’s something infectious about them and their music that makes people happy. I joined the app Wattpad so I could read it. I had never thought about really writing fan fiction myself.”

Soon Todd had read everything available about the boy band on Wattpad, an online social storytelling platform where you can read and write for free. “I only wanted to read fan fiction about One Direction specifically, so I thought I’d just write a chapter. It was literally this random thought. I’m glad I didn’t really think about it, otherwise, I would’ve never done it,” laughs Todd. “I’ll write a chapter to entertain myself. After about three months it really started picking up, and eventually crashed the website.  Wattpad reached out to me about publishing it as a novel. The book went to an auction and I got to choose the editor and publishing house that I wanted, which is literally like a writer’s dream come true.”

After becoming Wattpad’s most-read series with over 1.5 billion reads, in the years since Wattpad has grown to a global reach. The print edition of After was published in 2014 by Simon & Schuster and has since been released in over 30 languages with more than 11 million copies sold worldwide. After has been a #1 bestseller across the globe including Italy, Germany, France, and Spain.

The main male character in the posts was, at first, inspired by one of the band’s popular singers, whose name’s initials matched Anna’s character’s. “But Hardin Scott definitely became the exact opposite of what Harry Styles seems to be in real life. Once I wrote that first chapter, nothing about One Direction stuck in my head, besides their appearances. Nobody in my story is even in a band, no one sings. Nobody is even British in the book, except Hardin. Most of my characters have a bunch of tattoos. When I first started writing the book on Wattpad, Harry Styles had three little tiny tattoos and I had Hardin with his whole chest covered in ink. Then slowly Harry kept getting more tattoos, so that was fun because I just wrote it into the next chapter. Every time Harry would get another tattoo, I would mention one of Hardin’s that looked exactly the same. When Harry’s hair started getting longer, Hardin’s hair got longer too.”

It took time for Todd to solidify the overall arc of her story and come to choose its somewhat enigmatic title – whose relationship to the story also evolved with time. “In the beginning on Wattpad the book didn’t have a title at all – it literally said ‘A Harry Styles Fan Fiction’ until I was almost halfway done,” remembers Todd.  “Once I started getting into the story and started realizing how the characters were changing through the entire story, the title ‘After’ referred to who Tessa is after she meets Hardin and how she becomes this different person.  But then as the series progressed, the title became more of who he becomes after her.  I’ve had a million interpretations from fans, including what happens after they fall in love.  I like the explanation of what happens after you fall in love, who these people are after they meet each other.”

Todd really responded to the community on Wattpad. “The best thing to me about Wattpad is that the people that write and read there, for the most part only write and read there, and only do it out of passion,” comments Todd. “The readers are so organic and it’s a place where people literally write stories just because they want to write them, they don’t care about what’s selling, or what their editor thinks. They just write for fun and that is magic to me.”

As a young Army wife, Todd wrote much of the first book while her husband was deployed. “The fans just wanted to know what happens next. It felt like they were as much owner of the story as I was, because we were doing it together,” Todd adds. “Literally I would write and post, I didn’t edit or re-read. It is a social way of writing and I like it. Later I wrote a book called The Spring Girls and I wrote like a proper writer, sitting in a room by myself, and I was miserable. I’ll never do it again, ever. Writing on Wattpad is way more fun and social and I found I’m not a reclusive type of writer.”

Todd has hardcore fans – who call themselves Afternators – who have been following her right from the beginning on Wattpad. “Their influence has been this sea of fish that’s a friend for me. Their comments in the beginning sometimes made me write the next chapter. Their passion – having all these people say ‘I need another chapter, I need another chapter’ – really did help me write fast. I wrote a million words in a year,” comments Todd.

The After Series now includes five published novels: After, After We Collided, After We Fell, After Ever Happy, and Before; as well as two books about an After character in The Landon Series, called Nothing More and Nothing Less. “My foreign publishers have never seen sales like this from an American author writing on a random website with no experience whatsoever,” shares Todd.

The After series: After (2019), After We Collided (2020), After We Fell (2021), After Ever Happy (2022). After Everything releases in cinemas on 15 Sept, 2023.

Director Jenny Gage is both a skilled filmmaker and a fine arts photographer, having previously worked in art, fashion, and advertising along with husband, Director of Photography Tom Betterton. Their editorial work included stories for W magazine, Vogue, and Vanity Fair. They have collaborated on advertising campaigns for Ralph Lauren, Estée Lauder, IBM, and Sony. Gage made her mark as a director with the debut of her feature documentary All This Panic in 2016. The project received much critical acclaim, appeared at the Tribeca Film Festival and the Toronto International Film Festival in 2016, and was released in March 2017. The New York Times described the documentary as a “Cinematic Confidant of Teenage Girls.”

Tom Betterton is known as a Director of Photography, Producer, Director, Cinematography, and Screenplwriter.

Screenwriter Susan McMartin‘ television credits include “Californication,” “Two and a Half Men,” and “Mom,” which she is currently co-executive producer on. Her feature films include Mr. Church, starring Eddie Murphy and directed by Bruce Beresford, and her feature adaptation of the international bestselling book series by Anna Todd, After. McMartin is currently adapting the novel Miracle on Voodoo Mountain as a feature for Sony and Affirm Studios with Doug Belgrad producing.

Screenwriter Tamara Chestna was an EP on the final season of “The Art of More” starring Dennis Quaid and Kate Bosworth and spent the last year working on her project “Wildside” for YouTube Premium, with Gary Fleder directing, and “Scartlett’s Method” for Snapchat. It was recently announced that Amy Poehler would direct her adaptation of the Jennifer Mathieu novel, Moxie, for Netflix, with Poehler’s Paper Kite and “Veep”’s Morgan Sackett producing. On the feature side, she wrote Other People’s Love Letters and Revenge Wedding for CBS Films. The latter just brought on Cheryl Hines to direct. Additionally, she wrote Everything’s Cool for Iconolocast/Anonymous Content, and wrote After, which just wrapped with Jenny Gage directing.

If your story has a healthy heart, it will result in happy readers and audiences.

If you want to be a writer, there are some basics you must know from the outset before start thinking about writing your masterwork.

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.

• You have to fully acknowledge that you are a writer. Accept that you have to write your story and that no-one else can write your story.  You must take responsibility for your state of consciousness. If you are not taking responsibility for your state of consciousness, you are not taking responsibility for life.
• You have to enjoy writing and being a writer. Enjoyment replaces wanting as the motivating power behind your actions. Your ability to enjoy writing and the quality of your life will increase dramatically. Your joy is the dynamic aspect of Being. Your joy of being is the joy of being conscious.
• You have to be enthusiastic about your writing and being a writer. Nothing great has ever been achieved without enthusiasm. Your enthusiasm will bring enormous empowerment into what you write.

Writing is constant struggle to get to the new, undiscovered place and will always remain a mystery.

• You must discover your own unique process
• You must find a way inside your own STORY.
• You must become an emotional archaeologist.

Always remember that you, the writer, and everything that happens in the story, SERVES THE STORY: the plot, the characters, the dialogue, the theme, and even the style and tone of your writing.

The story will gradually mutate and evolve into a novel, award-winning film, or television series, or even a stage play, but the heart and soul of all great stories are rooted in a simple story that rules the creative universe.

That indestructible force begins with you, the writer.

In THE WRITE JOURNEY course we fully explore what makes a well crafted story, drawing your audience/ readers into a deep involvement, holding that involvement, and rewarding your audience/ readers with a moving and meaningful experience. They will care about the story and the characters, suspend disbelief, and be involved in whatever is happening