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A podcast about the first-draft secrets behind great movies and TV shows. Each episode, the screenwriter behind a beloved film shares with us their initial screenplay for that movie. We then talk through what changed, what didn’t and why on its journey to the big screen. Hosted by Al Horner and produced by Kamil Dymek.
A podcast about the first-draft secrets behind great movies and TV shows. Each episode, the screenwriter behind a beloved film shares with us their initial screenplay for that movie. We then talk through what changed, what didn’t and why on its journey to the big screen. Hosted by Al Horner and produced by Kamil Dymek.
Gareth Evans is a Welsh writer-director known for his work in the action genre, particularly for his films 'The Raid' (2011) and 'The Raid 2' (2014), which are celebrated for their innovative fight choreography. He also created the TV series 'Gangs of London', which has received critical acclaim for its intense action sequences and storytelling. Evans has a distinctive style that often explores themes of redemption and personal struggle, and his latest film, 'Havoc', continues this exploration through its complex characters and thrilling narrative.
Gareth Evans is a Welsh writer-director known for his work in the action genre, particularly for his films 'The Raid' (2011) and 'The Raid 2' (2014), which are celebrated for their innovative fight choreography. He also created the TV series 'Gangs of London', which has received critical acclaim for its intense action sequences and storytelling. Evans has a distinctive style that often explores themes of redemption and personal struggle, and his latest film, 'Havoc', continues this exploration through its complex characters and thrilling narrative.
Amy Heckerling is an American filmmaker and screenwriter, best known for her work on iconic films such as 'Clueless', 'Fast Times at Ridgemont High', 'Look Who's Talking', and 'Vamps'. She gained fame for her ability to blend humor with social commentary, particularly in her portrayal of teenage life. 'Clueless', a modern adaptation of Jane Austen's 'Emma', has become a cultural touchstone since its release in 1995, celebrated for its witty dialogue and memorable characters. In addition to her film work, Heckerling has also ventured into theater, recently writing a musical adaptation of 'Clueless' that premiered in London's West End. Her career spans several decades, during which she has received critical acclaim and numerous awards for her contributions to film and television.
Amy Heckerling is an American filmmaker and screenwriter, best known for her work on iconic films such as 'Clueless', 'Fast Times at Ridgemont High', 'Look Who's Talking', and 'Vamps'. She gained fame for her ability to blend humor with social commentary, particularly in her portrayal of teenage life. 'Clueless', a modern adaptation of Jane Austen's 'Emma', has become a cultural touchstone since its release in 1995, celebrated for its witty dialogue and memorable characters. In addition to her film work, Heckerling has also ventured into theater, recently writing a musical adaptation of 'Clueless' that premiered in London's West End. Her career spans several decades, during which she has received critical acclaim and numerous awards for her contributions to film and television.
Guinevere Turner is an accomplished author, actress, and screenwriter known for her work in film and television. She co-wrote the screenplay for the cult classic 'American Psycho' alongside director Mary Harron, adapting Bret Easton Ellis's controversial novel. Turner has also contributed to notable projects such as 'The L Word', 'Go Fish', 'The Notorious Bettie Page', and 'Charlie Says'. In her 2023 memoir, 'When The World Didn't End', she reflects on her upbringing in a cult and explores the themes of materialism and identity that resonate in her work.
Guinevere Turner is an accomplished author, actress, and screenwriter known for her work in film and television. She co-wrote the screenplay for the cult classic 'American Psycho' alongside director Mary Harron, adapting Bret Easton Ellis's controversial novel. Turner has also contributed to notable projects such as 'The L Word', 'Go Fish', 'The Notorious Bettie Page', and 'Charlie Says'. In her 2023 memoir, 'When The World Didn't End', she reflects on her upbringing in a cult and explores the themes of materialism and identity that resonate in her work.
Dan Erickson is a screenwriter and the creator of the critically acclaimed series 'Severance'. He serves as the showrunner and has been instrumental in shaping the narrative and thematic elements of the show, which explores the complexities of work-life balance and personal identity in a corporate environment. Erickson's work on 'Severance' has garnered attention for its unique storytelling and deep philosophical questions about personhood and capitalism. He has shared insights into his creative process and personal experiences, including overcoming depression, which have influenced his writing.
Dan Erickson is a screenwriter and the creator of the critically acclaimed series 'Severance'. He serves as the showrunner and has been instrumental in shaping the narrative and thematic elements of the show, which explores the complexities of work-life balance and personal identity in a corporate environment. Erickson's work on 'Severance' has garnered attention for its unique storytelling and deep philosophical questions about personhood and capitalism. He has shared insights into his creative process and personal experiences, including overcoming depression, which have influenced his writing.
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Here's the recent few episodes on Script Apart with Al Horner.
0:0044:39
Havoc with Gareth Evans
Hosts
Hosts of this podcast episode
Al Horner
Guests
Guests of this podcast episode
Gareth Evans
Keywords
Keywords of this podcast episode
HavocGareth EvansTom Hardyaction scenesThe RaidGangs of Londoncharacter developmentparenthoodscreenplay
Havoc is the new film from Welsh writer-director Gareth Evans, and it does exactly what it says on the tin. Starring Tom Hardy as a jaded cop at the heart of a conspiracy in an unnamed, crime-ridden American city's underbelly, it packs some of the most frenetic action scenes of the year so far – but then again, what did you expect? Gareth is the filmmaker behind 2011's The Raid, 2014’s The Raid 2 and the TV show Gangs of London – each of which is renowned for its dizzying fight choreography.
In the spoiler conversation you’re about to hear, Gareth tells me about his love for characters who have something to atone for. We get into an early, more commercial draft of the film in which Walker wasn’t the estranged father he is in the finished film, and break down how he constructed the movie’s jaw-dropping club fight sequence. Plus, hear how his own experience of parenthood fed into the writing of Havoc. That last bit is surprisingly tender for a film in which a character gets harpooned in the head.
Havoc is the new film from Welsh writer-director Gareth Evans, and it does exactly what it says on the tin. Starring Tom Hardy as a jaded cop at the heart of a conspiracy in an unnamed, crime-ridden American city's underbelly, it packs some of the most frenetic action scenes of the year so far – but then again, what did you expect? Gareth is the filmmaker behind 2011's The Raid, 2014’s The Raid 2 and the TV show Gangs of London – each of which is renowned for its dizzying fight choreography.
In the spoiler conversation you’re about to hear, Gareth tells me about his love for characters who have something to atone for. We get into an early, more commercial draft of the film in which Walker wasn’t the estranged father he is in the finished film, and break down how he constructed the movie’s jaw-dropping club fight sequence. Plus, hear how his own experience of parenthood fed into the writing of Havoc. That last bit is surprisingly tender for a film in which a character gets harpooned in the head.
CluelessAmy HeckerlingJane AustenBeverly HillsFast Times at Ridgemont HighLook Who's TalkingVampsmusical adaptationWest Endscreenwritingteen filmsoptimismdepression
Did you think Script Apart was going to let the 30th anniversary of one of the most iconic teen films ever just pass us by? In the words of Cher Horowitz – “as if.” On today’s episode, we’re joined by Amy Heckerling, the writer-director who, three decades ago this summer, gave Jane Austen’s Emma a Beverly Hills makeover to remember. You may also know her for Fast Times at Ridgemont High, Look Who’s Talking and Vamps, but Clueless is the film that she’s best-known for – a Nineties treasure trove of high school hilarity that’s still beloved today. So much so that a musical adaptation, also written by Amy, just opened in London’s West End.
In the conversation you’re about to hear, Amy tells Al about the spirit of kindness that runs through the movie. We get into the TV pilot for Clueless – then titled No Worries – that was turned down across Hollywood, and discuss what was going on in Amy’s life at the time of writing Clueless. The story of the film is one of a sunny optimist named Cher who’s ready to take on the world. For Amy, though, that was hardly the case as she wrote the hit comedy. “I was feeling very depressed, which is how most stories start,” she teased in an interview in 2016. In this episode, she tells us why.
Did you think Script Apart was going to let the 30th anniversary of one of the most iconic teen films ever just pass us by? In the words of Cher Horowitz – “as if.” On today’s episode, we’re joined by Amy Heckerling, the writer-director who, three decades ago this summer, gave Jane Austen’s Emma a Beverly Hills makeover to remember. You may also know her for Fast Times at Ridgemont High, Look Who’s Talking and Vamps, but Clueless is the film that she’s best-known for – a Nineties treasure trove of high school hilarity that’s still beloved today. So much so that a musical adaptation, also written by Amy, just opened in London’s West End.
In the conversation you’re about to hear, Amy tells Al about the spirit of kindness that runs through the movie. We get into the TV pilot for Clueless – then titled No Worries – that was turned down across Hollywood, and discuss what was going on in Amy’s life at the time of writing Clueless. The story of the film is one of a sunny optimist named Cher who’s ready to take on the world. For Amy, though, that was hardly the case as she wrote the hit comedy. “I was feeling very depressed, which is how most stories start,” she teased in an interview in 2016. In this episode, she tells us why.
American PsychoGuinevere TurnerBret Easton EllisPatrick BatemanMary HarroncultmaterialismNew Yorkscreenwritingmemoir
Today on Script Apart – one of cinema’s great monster movies. The terrifying creature at this movie’s core, though, didn’t have trailing tentacles, bloodshot eyes or reptilian skin. Instead of sharp teeth, it wore a sharp suit – Valentino pinstripe, perfectly pressed. This monster owned a gleaming Rolex, lived in an elegant condo and smiled politely through slap-up dinners with his fellow Wall Street sleazes. At night, he stalked the streets of New York, maiming sex workers and murdering the homeless, to a soundtrack of Huey Lewis and the News. And twenty-five years on, he’s arguably more fearsome than ever in his relevance to our own world.
Yes, joining Al Horner for a metaphorical reservation at Dorsia this week is author, actress and screenwriter Guinevere Turner, who co-wrote American Psycho. Guinevere teamed up with someone who would become a long-time collaborator, director Mary Harron, to adapt Bret Easton Ellis’ controversial novel about a deranged investment banker named Patrick Bateman (Christian Bale).
In the spoiler conversation you’re about to hear, Guinevere tells me about the parts of herself she perhaps threaded into her and Mary's version of the story, either consciously or subconsciously – as revealed in her 2023 memoir, When The World Didn’t End, she grew up in a cult that promised followers they’d be whisked off in a spaceship to Venus, and there’s cult-like framing of money and materialism in American Psycho that perhaps was no accident. We get into her and Mary’s treatment of Patrick as an “alien who’s crash-landed to Earth,” learning to fit in through the pop culture he engages in. You’ll also hear about Bret Easton Ellis’s version of the film that ended with Patrick Bateman singing a musical tribute to New York, and what Guinevere’s take is on the upcoming remake, reported to be directed by Luca Guadagnino.
For more from Guinevere, whose other work includes The L Word, Go Fish, The Notorious Bettie Page and 2018’s Charlie Says, pick up When The World Didn’t End, which is a great read – and head to our Patreon page! We’re running an exclusive series on our Patreon called One Writing Tip, in which great writers share one piece of advice they swear by that they think all emerging writers should know. And for more from us at Script Apart, hit subscribe if you haven’t already.
Today on Script Apart – one of cinema’s great monster movies. The terrifying creature at this movie’s core, though, didn’t have trailing tentacles, bloodshot eyes or reptilian skin. Instead of sharp teeth, it wore a sharp suit – Valentino pinstripe, perfectly pressed. This monster owned a gleaming Rolex, lived in an elegant condo and smiled politely through slap-up dinners with his fellow Wall Street sleazes. At night, he stalked the streets of New York, maiming sex workers and murdering the homeless, to a soundtrack of Huey Lewis and the News. And twenty-five years on, he’s arguably more fearsome than ever in his relevance to our own world.
Yes, joining Al Horner for a metaphorical reservation at Dorsia this week is author, actress and screenwriter Guinevere Turner, who co-wrote American Psycho. Guinevere teamed up with someone who would become a long-time collaborator, director Mary Harron, to adapt Bret Easton Ellis’ controversial novel about a deranged investment banker named Patrick Bateman (Christian Bale).
In the spoiler conversation you’re about to hear, Guinevere tells me about the parts of herself she perhaps threaded into her and Mary's version of the story, either consciously or subconsciously – as revealed in her 2023 memoir, When The World Didn’t End, she grew up in a cult that promised followers they’d be whisked off in a spaceship to Venus, and there’s cult-like framing of money and materialism in American Psycho that perhaps was no accident. We get into her and Mary’s treatment of Patrick as an “alien who’s crash-landed to Earth,” learning to fit in through the pop culture he engages in. You’ll also hear about Bret Easton Ellis’s version of the film that ended with Patrick Bateman singing a musical tribute to New York, and what Guinevere’s take is on the upcoming remake, reported to be directed by Luca Guadagnino.
For more from Guinevere, whose other work includes The L Word, Go Fish, The Notorious Bettie Page and 2018’s Charlie Says, pick up When The World Didn’t End, which is a great read – and head to our Patreon page! We’re running an exclusive series on our Patreon called One Writing Tip, in which great writers share one piece of advice they swear by that they think all emerging writers should know. And for more from us at Script Apart, hit subscribe if you haven’t already.
SeveranceDan Ericksondystopian workplaceseason two finaleLumon Industrieswork relationshipscorporationspersonal painpost-pandemicZoomworking from homepersonhood under capitalismdepressionwriting
Praise Kier, it’s a Severance Script Apart special! In the spoiler conversation you’re about to hear, Dan Erickson – the dystopian workplace drama’s creator and showrunner – spills all the secrets that Lumon Industries will allow, about the season two finale that aired last week, and our real-world relationships with work, corporations and personal pain that the show offers a meditation on.
The series, starring Adam Scott, Britt Lower, John Tuturro and Zach Cherry, debuted on Apple TV+ in 2022 at the exact right time: post-pandemic, a new Zoom-aided groundswell of people found themselves now “working from home” in a way that might be better described as “living at work.” Studies showed Brits and Americans were working longer than hours than ever and tethered to their desks in this round the clock way that made Severance’s story – of characters trapped in an endless hellscape of never-ending work – hit in this deeply relatable way. All work and no play… you know the rest.
It was a three year wait for season two, but the payoff was worth it. This latest batch of episodes delved deeper into the lives and psyches of Mark S, Helly R and their “Outies” – the versions of themselves who have no recollection of their job once they leave; it’s like they’re never there. And in doing so, new questions and philosophical dilemmas were thrown at us in the audience about personhood under capitalism, who deserves what rights and what constitutes a soul.
Listen out for Dan’s revelations about his drastically different original pilot for the show, and his breakdown of every twist and turn in this final episode including that ambiguous line of Helly’s – “I’m her.” We also get into the hardship from Dan’s life that he’s glad he didn’t sever from: a period of depression in which he learned there’s “power in clawing your way out of a dark place.” It made him the writer he is today – the writer responsible for Severance.
Praise Kier, it’s a Severance Script Apart special! In the spoiler conversation you’re about to hear, Dan Erickson – the dystopian workplace drama’s creator and showrunner – spills all the secrets that Lumon Industries will allow, about the season two finale that aired last week, and our real-world relationships with work, corporations and personal pain that the show offers a meditation on.
The series, starring Adam Scott, Britt Lower, John Tuturro and Zach Cherry, debuted on Apple TV+ in 2022 at the exact right time: post-pandemic, a new Zoom-aided groundswell of people found themselves now “working from home” in a way that might be better described as “living at work.” Studies showed Brits and Americans were working longer than hours than ever and tethered to their desks in this round the clock way that made Severance’s story – of characters trapped in an endless hellscape of never-ending work – hit in this deeply relatable way. All work and no play… you know the rest.
It was a three year wait for season two, but the payoff was worth it. This latest batch of episodes delved deeper into the lives and psyches of Mark S, Helly R and their “Outies” – the versions of themselves who have no recollection of their job once they leave; it’s like they’re never there. And in doing so, new questions and philosophical dilemmas were thrown at us in the audience about personhood under capitalism, who deserves what rights and what constitutes a soul.
Listen out for Dan’s revelations about his drastically different original pilot for the show, and his breakdown of every twist and turn in this final episode including that ambiguous line of Helly’s – “I’m her.” We also get into the hardship from Dan’s life that he’s glad he didn’t sever from: a period of depression in which he learned there’s “power in clawing your way out of a dark place.” It made him the writer he is today – the writer responsible for Severance.
