Script Apart with Al Horner

• Clueless with Amy Heckerling

  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. Support for this episode comes from Final Draft.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected] get ad-free episodes and exclusive content, join us on Patreon. Hosted on Acast. See acast.com/privacy for more information.

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• American Psycho with Guinevere Turner

  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.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected] for this episode comes from Final Draft.To get ad-free episodes and exclusive content, join us on Patreon. Hosted on Acast. See acast.com/privacy for more information.

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• Severance with Dan Erickson

  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.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected] for this episode comes from Final Draft.To get ad-free episodes and exclusive content, join us on Patreon. Hosted on Acast. See acast.com/privacy for more information.

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  47:42
• The Monkey with Osgood Perkins

  How do you follow a film like Longlegs, the chilling riff on serial killer thrillers that became one of the cult smashes of 2024? The answer, if you’re acclaimed writer-director Osgood Perkins, is to first swap out the pressure-cooker dread of that breakout hit. Next, add a cursed toy monkey. Then, harvest the wildest, darkest parts of your imagination for some of the most gruesome demises ever seen on screen. And finally, package all of the above into an existentialist comedy about embracing death. The result is The Monkey – a Stephen King adaptation inspired by the literary icon’s 1980 short story of the same name, but very much a work of Oz’s own invention.From the moment a flamethrower-wielding Adam Scott opens the film with a maniacal cameo, screaming as he scorches everything in his path, it’s clear the movie is operating on a different tonal plane to Longlegs. But make no mistake, The Monkey is just as personal to Oz as that film and others before it, like The Blackcoat's Daughter and 2016’s I Am the Pretty Thing That Lives in the House. Perhaps, in fact, even more so. As Oz explains in this moving spoiler conversation, the film is a meditation on death because death is something he’s experienced up close in the most unimaginably tragic circumstances; on September 12 1992, his father, Psycho actor Anthony Perkins, died of AIDS-related pneumonia at his home in Los Angeles. Almost exactly nine years later, his mother, the actress and photographer Berry Berenson, was aboard American Airlines Flight 11 when it was hijacked by terrorists and flown into the North Tower of the World Trade Centre, on September 11, 2001. The Monkey, he says, features Theo James playing two roles as twin brothers Hal and Bill, because “that’s my life,” as he puts it. He and his own brother Elvis Perkins, an acclaimed musician, became “buried in the rubble of the tragedy” of their mother’s death on 9/11 and emerged with “differences more apparent than ever.” In the conversation you’re about to hear, Oz tells us the extent to which the movie helped reconcile some of the feelings towards his brother. Al asks him about the ending of the film, which involves a plane crash – a very emotionally-loaded image, given his tragic family history.  And he shares why accepting death is the only true way to find peace.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected] for this episode comes from ScreenCraft, Final Draft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the show Hosted on Acast. See acast.com/privacy for more information.

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  39:39
• September 5 with Tim Fehlbaum and Moritz Binder

  It was supposed to be “the cheerful Games.” That was the motto of the 1972 Munich Olympics, which was meant to usher in a peaceful new era on the world stage after the horrors in Germany just three decades earlier. Instead, on September 5th 1972, just after 4am. eight men in tracksuits jumped the fence at Munich's Olympic Village, armed with rifles and grenades. These men belonged to Black September — a group associated with the Palestine Liberation Organization – and their plan was to take the Israeli Olympic team hostage and hold them at gunpoint until 328 prisoners detained by Israel were released. The standoff ended in confusion and bloodshed. All eleven hostages died, as did a policeman and five members of the Black September group. This, despite media reports – broadcast to 900m people around the world – that the prisoners had been rescued. Today on Script Apart, we talk with the writer-director, Tim Fehlbaum, and co-writer, Moritz Binder, of a newly Oscar-nominated drama that contemplates what the Munich massacre might tell us about media complicity in acts of terrorism. The pair wrote this film with writer Alex David focused not on depicting the overall events of that terrible day – Steven Spielberg covered that with 2005's Munich, written by past Script Apart guests Eric Roth and Tony Kushner. Instead, Tim and Mortiz’s angle on the story is through the American sports broadcasters who suddenly find themselves tasked with covering the situation live as it unfolds – a world first. Never before had an event like this played out on television as it happened. Today, we’re very much used to consuming terrible atrocities as they happen on our digital devices. But in 1972, such a thing was unheard of. September 5 – which stars a great ensemble cast – puts the ethical questions involved with live-streaming terror under the microscope. It’s a period piece that resonates with disturbing power today not least because, since the film was finished, a harrowing new chapter in the history of violence between Israel and Palestine has been written. Maybe, the film seems to wonder, when you have a form of media that rewards being first and being loudest instead of being accurate, any type of live coverage is doomed to inflame and exploit rather than inform. This episode, as ever, contains spoilers.Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Instagram, or email us on [email protected] for this episode comes from ScreenCraft, Final Draft and WeScreenplay.To get ad-free episodes and exclusive content, join us on Patreon.Support the show Hosted on Acast. See acast.com/privacy for more information.

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