“I'm now at a place where I say to myself, ‘What haven't we seen?’ And then we take it to a place that’s completely, absolutely bonkers,” says writer Kirk Ward about his new show The Continental: From The World Of John Wick. “You take the audience down the road of a trope and then turn. That's the joy of collaboration and creativity for me.”

The Continental is a disco noire three-part miniseries that tells the origin story of The Continental Hotel from the famed John Wick universe. In my discussion with Ward and director Albert Hughes, we talk about creating The Continental Hotel as a character in the show, writing a totally unhinged role for Mel Gibson and depicting the High Table in the most unexpected way – even though they were told not to go there.  

“Chad [Stahelski, the director of the John Wick films] said, ‘Whatever you do, don't reveal the High Table. Do not come up with your own impression of what the High Table is.’ Well, I don't know what it is. So, we had to really lean into the mysterious elements of this show for that,” says Hughes.

To learn more secrets about The Continental, take a listen to the podcast. The three-part show is currently streaming on Peacock and is a must-see for every John Wick fan. 

“A lot of the scenes are [shot in] one take. The space that they hold, the amount of air that they let sit there before saying their next line. I mean it’s an incredible amount of tension and intimacy,” says screenwriter Samy Burch about her new film May December, which streams on Netflix December 1st.  

It sounds so simple and commonplace, but it's a lesson in not only great acting but also writing great subtext. Directed by Todd Haynes and starring Julianne Moore and Natalie Portman, May December is about Gracie (Moore), a middle-aged woman who seduced and later married a 13-year-old boy. Natalie Portman plays Elizabeth, an actress who gets to know Gracie so she can play her in an upcoming film. 

In my interview, Burch talks about taking inspiration from the real-life story, handling delicate material and finding the dark humor in this strange story of human folly. Samy also breaks down Elizabeth’s powerful monologue at the end of the film which is both hilarious and heartbreaking. 

“I think it's an intersection of a lot of things. I think it's the climax of Elizabeth's performance. I think we get the sense that it's she's never going to do better than this, she's never going to feel as confident.” 

To go deeper into the script, take a listen to the podcast. 

Monarch: Legacy of Monsters picks up the "monsterverse" story after the battle between Godzilla and the Titans and follows one family's journey to uncover secrets about their history linking them to Monarch. 

“Be sneaky and read every script that you can get your hands on. If you can work in a studio, read the original draft, read the revisions, see how the script got to the final script. That's what I was doing. I would use the opportunities of working in that system to learn,” says screenwriter Julian Breece on Final Draft’s Write On Podcast.

Julian, along with Dustin Lance Black, wrote Rustin, the new biopic about little-known civil rights activist Bayard Rustin, played exquisitely by actor Colman Domingo. Rustin, alongside Martin Luther King, helped make the 1963 March on Washington a pivotal moment in the Civil Rights Movement, while dealing with racism and homophobia as an out gay Black man in the 1960s.

Julian shares his inspiration for writing the film, Bayard Rustin’s belief in non-violent civil disobedience and what it was like working with Ava DuVernay on the Netflix series When They See Us.

Julian also talks about sneaking his own scripts into the reading pile while he was working at Disney and other risks he took to help jumpstart his career. Take a listen to the podcast to see what you can learn from Justin’s journey.

Director Alexander Payne’s new film The Holdovers, is set in the 1970s and tells the story of a grumpy ancient history instructor (Paul Giamatti) at a New England prep school who’s forced to remain on campus during the Christmas break to babysit the handful of students with nowhere to go. Eventually, he forms an unlikely bond with one of the students, an oddball troublemaker (Dominic Sessa), and the school’s cafeteria lady (Da’Vine Joy Randolph), whose son was recently killed in Vietnam. 

We speak to screenwriter David Hemingson about getting a very unexpected call from Alexander Payne (which at first he thought was a prank!) asking him to write the screenplay after reading one of his original TV pilots. Hemingson talks about his journey to craft just the right characters for the story, how to make their arcs feel authentic and give them meaningful, emotional lives.  

“The movie is a love story. I wanted these people to fall in love and do right by each other. Different people, from very different backgrounds with different problems and histories but they find a way, almost impossibly, certainly improbably, to come together over this small period and fall in love with each other and kind of save each other. I want to believe that’s possible,” says Hemingson. 

He also talks about bringing his own personal experience to the story even when it’s emotionally challenging. 

“I need to get to the place where I am very heartbroken about what’s happening on the page and really feeling it. There’s an honesty to it,” he says. 

To go deeper into the screenplay, take a listen to the podcast. 

One year after saving the town of Angel Falls from a psychotic killer on Christmas Eve, Winnie Carruthers (Jane Widdop) can’t let the fear and guilt of the event go. Struggling to make sense if her life, she wishes she’d never been born – only to find herself in a nightmare parallel universe. The film is a mash up of the Christmas classic It’s a Wonderful Life and Scream.

On this episode, I speak to screenwriter/producer Michael Kennedy about using a classic Christmas movie as inspiration for a slasher horror/comedy film. We also talk about the importance of queer representation in the horror genre.

“I wanted to give this a cornucopia of vastly different types of representation in the movie, but I also didn’t want for that to be what the movie is about. I wanted it to be just matter of fact. For me, if I can make a movie where seven of the characters are gay, then I should do that!” says Kennedy.

He went on to say that the quest for queer representation in Hollywood has been slow, but those who want to see it need to speak up. “It is satisfying as a producer to see that a lot of the change and stuff in this industry can happen if you just ask for it. Sometimes, you won’t be in the position to be able to do that and I really bided my time with that, so I’m really fortunate. It was great to not only ask for what I wanted but also get it,” he says.

For a deeper dive into the screenplay, take a listen to the podcast.

Season 3 of The Morning Show is now streaming on Apple TV+. With some of the most engaging actors working in television (Jennifer Anniston, Reese Witherspoon, Billy Crudup and Nicole Beharie), showrunner Charlotte Stoudt talks with us about some of the most shocking and groundbreaking scenes that are meant to blow your mind this season.

This dramaturge-turned-showrunner, Stoudt’s love of working with other writers is palpable. “The delight of sharing a story space with other writers is one of the great joys of this job. I never get tired of sitting across from a writer and having them say, ‘What if we did this?’ It’s like a Christmas present every day,” Stoudt says.  

Stoudt also gives her advice on what to include in a spec script, no matter what kind of writing job you’re up for. “The best writing samples give some insight and truth about what it means to be alive. That can take any form – comedy, sci-fi ­– I don’t think the genre matters if you’re able to put something of your most primal self on the page. There has to be something that’s alive inside of you, that hooks you and makes you go, ‘Who is this person telling this story?’”

To hear more about the challenges and delights of running The Morning Show, take a listen to the podcast.  

The new film Nyad tells the true story of athlete Diana Nyad (Annette Benning) who, at the age of 60 and with the help of her best friend and coach Bonnie (Jody Foster), commits to achieving her life-long dream: a 110-mile open ocean swim from Cuba to Florida. We talk to screenwriter Julia Cox about what it was like getting to know the real Diana Nyad, structuring the screenplay to create a satisfying sports movie and creating one of the most daunting physical antagonists on the page: the ocean. 

“I did think of the ocean as the mother of all antagonists and I tried to structure the screenplay so it didn’t feel too episodic, really focusing on a different obstacle with each attempt [to swim from Cuba to Florida]. In real life, there are sometimes two or three reasons why something happens or doesn’t happen, but in a screenplay, you have the impulse to distill it down and confront each obstacle with enough attention to make that feel tense and satisfying when she overcomes it,” Cox says.  

Cox also discusses how this story didn’t fit into typical sports movie tropes. 

“It's an unconventional sports movie in that she doesn’t have an opponent. We get a whiff of other people attempting to do the same thing and that creates some tension, but for the most part this is about one woman in the sea, supported by her team but competing against herself. So along with the ocean, her obstacle was often her own body and her own mind and when all these things were aligned, when she made peace about continuing to try, when the elements were working for her, that’s when she was able to make it.”

For a deeper dive into the screenplay, take a listen to the podcast. 

“Starting to write a project like this, we always begin with a set of very strong personal desires,” says Anatomy of a Fall writer/director Justine Triet, adding, “I’m quite reticent of scripts that are too clever or that clearly have the intension of disseminating things where information or the person disseminating information has the upper hand over my ability to navigate the narrative.”

The new film Anatomy of a Fall won the Palme d’Or at the recent Cannes Film Festival and could be called Anatomy of a Marriage – at least one that ends in a mysterious tragedy. Set in a remote village in the French Alps – perhaps reminiscent of the hotel in The Shining, frustrated writer Samuel (Samuel Theis), is found dead in the snow beneath his family’s chalet and his wife Sandra (Sandra Hüller), becomes the number one suspect in his suspicious death. In this shocking family drama that moves into a chaotic courtroom, the verdict comes down to the couple’s 11-year-old blind son’s gut-wrenching testimony.

Directed by Justine Triet from a script written by Triet and her own life-partner Arthur Harari, Triet talks about writing the film from an emotional place and not relying on structure or over-used devices like flashbacks to create a deeper sense of mystery.

This film is the best lesson on how to tell a character-driven murder mystery – while keeping the audience guessing – I’ve seen in a long time! Listen to the podcast to go deeper into how Triet crafted the story.