Richard Linklater is a hit man, but not in the assassin sense of the word. No, the hits he trades in are of the movie variety – stylish cult classics that vary in genre and form, but always manage to ignite something powerful in viewers. It’s been that way for three and a half decades now: among his hits, dating back to 1990, are Dazed and Confused, Before Sunrise, Before Sunset, Before Midnight, Boyhood, School of Rock, A Scanner Darkly, Slacker, Waking Life, Everybody Wants Some, Fast Food Nation… the list goes on. No wonder the Texan is one of the most respected names in modern American cinema – a force both prolific and patient, as his multiple movies shot across numerous decades prove. 2014 coming-of-age drama Boyhood was filmed across twelve years, with Merrily We Roll Along – a Paul Mescal-starring Sondheim adaptation, to be shot across twenty years – among his current projects.

Earlier this year, he released Hit Man – a romantic comedy of sorts, with a hint of thriller thrown in for good measure, about a bashful college professor with a unique side hustle. Gary, played by the film’s co-writer Glen Powell, has a recurring gig with the New Orleans police force, pretending to be an contract killer. He wears a wire to meet with people seeking to order a hit on their spouses, their work colleagues, their parents and so on. It’s a gig that’s going smoothly for Gary, until he meets Madison, played by Adria Arjona – a woman trying to escape an abusive husband, who Gary begins to fall for. What follows is Linklater in full-blown crowd-pleasing mode.

In the conversation you’re about to hear, we discuss what it was about this true-ish story, adapted from a newspaper article by journalist Skip Hollandsworth, that spoke to Richard. We talk about the baseball injury that put him on a path to filmmaking (and how it might have led to the unstoppable pace with which he makes movies). And we break down every detail of Hit Man, one of the movies of 2024, in spoiler-filled detail.

Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected].

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Season’s greetings, Script Apart listeners. As you may have noticed, it’s the last week before Christmas – the year’s coming to an end, and so, we figured, let’s end 2024 strong. So all this week, on this podcast about the first draft secrets of great movies and TV shows – interviews with the writers behind some of the best movies of the last twelve months that we didn’t manage to cover upon release. And holy prince of House Atreides, what a way to begin today. 

Our guest today made one of the most pulse-racing crime thrillers of the century so far, in the form of 2015’s Sicario. He’s made one of the greatest movies about the power of language of all-time, in 2016’s Arrival. And in 2017 and 2021, he took on the impossible twice – crafting first a sequel to one of the greatest blockbusters ever, in the shape of Blade Runner 2049, and then a movie adaptation of a novel previously thought unfilmable: Frank Herbert’s Dune. 

Yes, the great Denis Villneueve is with us today, stopping by for a chat about how his gargantuan Dune: Part Two – starring Timothee Chalamet and Zendeya – helped define 2024. Not just in the way it dominated the box office, earning almost three quarters of a billion dollars (which by the way, is not bad for a hallucinatory epic full of spice-induced visual experimentation). No, it’s reflective of the year just passed because notions of fascism, faith, false messiahs… these have all been uncomfortable parts of the backdrop of 2024.

In the conversation you’re about to hear, Al had thirty minutes to ask Denis his most probing questions about the script. Questions like: was there ever a moment in the making of Dune: Part Two when he contemplated keeping Feyd-Rautha Harkonnen – played by Austin Butler – alive to explore in further films? What does the ending of the film, which veers away from Frank Herbert’s source material, mean for the future of the franchise? And if Dune: Part Two is a film that warns about colonialism and facism, does he believe that cinema has the power to actually dismantle those structures, or is just about expressing a kinda howl of resistance?

Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected].

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Motherhood is a doggone nightmare in the new film from Marielle Heller. This week, the writer director of movies like The Diary of a Teenage Girl, Can You Ever Forgive Me? and A Beautiful Day in the Neighborhood returns to cinemas with one of the more surreal-sounding offerings of the year – Nightbitch, a drama in which Amy Adams plays a parent by day and a dog by night. If you weren’t already familiar with the 2021 Rachel Yoder novel on which it’s based, you’d be forgiven for thinking that this film is a frantic comedy, or possibly the mad fever dream of Charlie Kelly from It’s Always Sunny In Philadelphia – a character with his fair share of hound-based ideas for movies. But no, Nightbitch is something else – an affecting, magical realist tale of a woman pushed over a feral brink by the physical and societal demands placed on women, that needs to be seen to be believed.

On today’s episode, Marielle joins Al Horner to break down in spoiler-filled detail this remarkable film. We get into why the realities of birth – the body horror of it all – are so under-acknowledged in pop culture. We talk about why, after the gentleness of films like A Beautiful Day In The Neighbourhood, Marielle fled in the opposite direction, towards this anarchic scream of a story. And you’ll also discover the truth behind some of the movie’s more ambiguous, unresolved questions: such as, are the women that Adams character befriends also secretly dogs?

Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected].

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Never meet your heroes. At least, not these ones – the dysfunctional megalomaniacs that murder innocents and seed division in Prime Video’s The Boys, a show as satirically sharp as it is gore-splattered and gross. Created by our guest today, Eric Kripke, the comic book adaptation debuted in 2019 and has since become one of the most captivatingly timely stories in our pop culture landscape, commenting not just on our current era of superhero saturation but on American society at large. Across four seasons, it’s become a funhouse reflection of the way DC and Marvel movies are content machines with often jingoistic messages at their core. It’s mirrored the nation’s split into two furiously opposed political camps: Homelanders versus Starlighters in the case of the show; MAGA versus liberals in real-life. And along the way, it’s done things never seen on TV before. Octopus beastiality. Super-powered sheep. A guy called "Herogasm" whose name kinda says it all. The list goes on.

All of which begs the question: with The Boys’ final season approaching and America currently reeling from another dramatic election, how will the tale of Billy Butcher, Hughie Campbell and co end? It’s a question Eric, previously best known for creating the long-running series Supernatural, has been wrestling with himself. In the wide-ranging conversation you’re about to hear, he’s honest about the difficulty of “landing the plane” when it comes to beloved TV dramas. And as fans of The Boys know all too well, planes don’t often land in this show, so much as they have a habit of exploding in the sky in a fury of laser vision. 

We talk about the psychology of superheroes – why they continue to appeal, what fantasy they offer audiences in a post-9/11 world. We talk about the story choices in season four, and how they came to be, such as Homelander’s rise to near-presidential power. And you’ll hear whether season five of this show that’s dovetailed through the years with real-life events in American politics, will respond to the fact that Donald Trump has just entered the Oval Office again.

Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected].

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The second in our series of ScreenCraft Summit throwback interviews, running on the Script Apart feed in anticipation of December's summit – it's Mike Schur! The lauded creator of The Good Place made his first appearance on Script Apart in 2022 and, a few weeks later, spoke with Al again in front of hundreds of emerging writers to break down his wider writing process on shows like The Office, Brooklyn Nine-Nine, Saturday Night Live and Parks & Recreation.

This was a wonderful conversation to be a part of – Mike is as hilarious in person as you'd expect of such a magnificent comic resume, and his insights are remarkable. Strap in for some brilliant observations on the elasticity of time in great sitcoms, the importance of punching up rather than down when writing jokes and what it is that keeps him turning up in front of a blank page time and time again – his relationship with the craft of writing itself. Enjoy, and don't forget to sign up for this December's ScreenCraft Summit by visiting ScreenCraft.org today.

Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected].

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Sofia Coppola. Is anymore introduction really necessary? As writer-directors go, her influence (and place in one of American cinema's greatest dynasties) can't be overstated. The filmmaker is one of the best-known and most-loved working today, renowned for the lilting feel and femininity of films like Lost In Translation, The Virgin Suicides, Marie Antoinette, On The Rocks and most recently, Priscilla.

In 2022, Al spoke to Sofia about her writing process, for the ScreenCraft Summit – a weekend of interviews with great storytellers, designed to inspire emerging writers. With the latest Summit just weeks away, featuring a host of amazing guests, we thought it'd be a great time to post Al and Sofia's conversation from that event – a freewheeling chat about hotels, the intimacy with which we get to know her characters, her love of using photo books as mood boards for her movies – and why she still experiences self-doubt, even today.

Sign up for this December's ScreenCraft Summit by clicking here.

Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected].

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Here's a question: is the “spirit of the Blitz” that’s become one of the pillars of British self-identity actually a myth? The idea of ordinary people coming together in a moment of collective resilience during WWII is invoked regularly in UK politics and beyond. There might be more to that story than meets the eye, though, according to Blitz – the astonishing new historical drama from revered British artist Steve McQueen. The film forefronts the experiences of people of colour and other marginalised communities during the notorious London bombings – people who were excluded from that togetherness, often with violent force. Instead of the “stiff upper lip” that Britain has since proudly woven into its self image, Blitz teases a more feral reality, full of community, yes, but also opportunistic criminals robbing the dead and sex on the tube tracks of Stepney Green underground station. 

In this spoiler conversation, Steve breaks down what’s fact and what’s fiction when it comes to this mythologised part of British history – and how he turned it into a cinematic experience unlike any other in modern memory. 

Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected].

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On today’s episode – a crime thriller? A musical? A coming-out drama? Emilia Pérez, the new film from famed French auteur Jacques Audiard, is all of the above and somehow none of these things at all. It really is hard to understate the disorientating excess and madness of this somewhat opinion-splitting new Netflix awards contender, which is tipped for Oscar glory after picking up the jury prize at Cannes earlier this year. Jacques is, of course, the writer-director of works like A Prophet, Rust and Bone, See How They Fall, The Beat That My Heart Skipped and The Sisters Brothers, a masterful western from 2018. But Emilia Pérez is like none of those films. It’s a film that sees Jacques – who, at seventy-two years young, could be making victory-lap movies at this stage in his career – swinging for the fences. 

The movie follows Rita, a criminal defence lawyer played by Zoe Saldaña, who is kidnapped and brought before someone terrifying – Manitas Del Monte, one of Mexico’s most feared cartel bosses, played by Karla Sofía Gascón. Manitas has something to ask of Rita. This crime lord – responsible for such brutal bloodshed, in a country blighted by thousands of cartel-related missing persons – wishes to fake their death and transition gender. And to do so, they need Rita’s help. Reborn as Emilia Perez, this character embarks on a new life that she finds, over the course of the movie, had to untangle from what came before.

Al caught up with Jacques a few days after the film’s release on Netflix to break down the script, with a little help from his translator, Nicholas Elliott. Get ready to learn about the version of Emilia Pérez in which the character of Rita was a man, and in which a romance blossomed between the lawyer and the eponymous former crime lord. You’ll hear about why Jacques is so drawn to characters attempting to reinvent themselves in his work, and there’s also a breakdown of the story’s dramatic climax – an ending that asks complicated questions of the audience, questions with no easy answers.

Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected].

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On Election Day in America, with the nation at the polls, Al spoke with a man uniquely placed to comment on the fractures underpinning the battle for the nation. Chuck Palahniuk, you see, is the author of 21 novels, but probably best known for his first - 1996’s Fight Club, later adapted by David Fincher into one of the defining films of its era. Since then, the story has had this unexpected cultural half life, going on to become an unlikely part of the rhetoric of modern politics. The term "snowflake," popular with young men within the right-wing MAGA movement, is derived from Chuck's novel. But the connections don’t end there between Chuck’s work and an America ablaze with male rage, as cultural commentators frequently put it. Across his career since that culture-shifting story, the author’s work has continued to contemplate the "real" America – not what the country wants to be, but the sometimes uncomfortable reality of what it could become. In books like his 2018 novel Adjustment Day – about a version of America splintered off into different enclaves sorted by political ideology – hints lie at perhaps how we got here. His latest novel, Shock Induction, released earlier this year, feels just as loaded with insights about our time.

On this today's show – a conversation to mark the 20th anniversary of Fincher’s Fight Club, with the man from whose imagination Tyler Durden first sprung. Chuck didn't write the movie adaptation of Fight Club – that honour fell to screenwriter Jim Uhls. Instead, Chuck was able to witness from afar the oddity of this story he’d written – about a white-collared insomniac who forms an underground bare knuckle fighting ring with an enigmatic soap salesman – becoming itself commodified and turned into merchandise, despite its warnings against consumerism. He got to witness the film intersect in a strange way with 9/11 and an immediate shift in the culture afterwards, away from subversion. And he was left with the question, what will Chuck Palahniuk do next? The answer was a bibliography full of more grime, dirt, depravity and yes, mayhem.

This show is typically an interview series reserved for screenwriters, but when Al was reading Chuck's brilliant latest novel, Shock Induction, released earlier this year, he was overrun with questions for the Portland-based author. Questions like: what is it that's so necessary about the grotesquery of his stories, in an increasingly sanitised culture of storytelling? Where exactly did the anti-corporatism of his work come from? How did he devise that twist in Fight Club that continues to reverberate to this day? And of course, what's the latest on rumours of a Fight Club rock opera that he was once said to be devising with Fincher?

Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected].

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In 1978, a Texan-born man went on national TV, competing in and ultimately winning an episode of the popular American game show The Dating Game. This man was, according to host Jim Lange, a "successful photographer" who you might find "skydiving or motorcycling." Left out of that description – unknown to Lange, the show's producers and millions watching at home – was a terrifying secret: that Rodney Alcala was a rapist and murderer, who would eventually be sentenced to life in prison. He died in 2021, leaving behind a terrible legacy of unthinkable violence – conclusively linked to eight murders, with the true number of his victims thought to be closer to 130.

This week on Script Apart, Al is joined by Ian McDonald – the screenwriter behind Woman Of The Hour, an Anna Kendrick-directed thriller telling the tale of Alcala's Dating Game appearance. Other storytellers might have approached this real-life story determined to answer one question: what possessed a man meant to be lying low, evading the law, to parade himself in front of the nation, for all to see? Ian, though, had a different question that he wanted to get to the bottom of. Never mind the motivations of this cowardly abuser. How was his killing spree enabled by a broader culture of misogyny, prevalent in the media?

To answer that question, the film centres not on Alcala, but on Cheryl Bradshaw, a real-life contestant on that episode of The Dating Game, played by Kendrick. In the spoiler conversation you're about to hear, you'll discover why that is, what the meaning of the film's evocative title is, and what it is about society that seems to reward misogynists – then and now, more than ever.

Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected].

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