The annual Hollywood Reporter (THR) Writers Roundtable featured six screenwriters: Clint Bentley (Train Dreams), Hikari (Rental Family), Guillermo del Toro (Frankenstein), Bradley Cooper (Is This Thing On?), Will Tracy (Bugonia), and Noah Oppenheim (A House of Dynamite). The November discussion centered on the origins of their screenplays, writing dialogue, and navigating multiple roles in film production. A common theme identified across their works was trauma and grief, with some writers acknowledging personal experiences as inspiration.
Screenwriting Origins
Participants shared their paths to screenwriting:
- Hikari emphasized character-driven storytelling, involving in-depth research into a character's job and motivations.
- Noah Oppenheim highlighted curiosity and storytelling, noting that fictional narratives can effectively convey issues and foster broader discussions than journalism alone.
- Will Tracy described a circuitous route, starting with an internship at The Onion, moving to late-night comedy, then to Succession, before reaching film writing.
- Guillermo del Toro stated he began as a writer, viewing his Frankenstein project as a culmination of 50 years of training, connecting the story to diverse topics like impressionism and architecture.
- Clint Bentley initially pursued literature before moving to short films and eventually screenplays with co-writer Greg Kwedar. He described the iterative process of rewriting scripts multiple times.
- Bradley Cooper expressed a passion for dialogue and its rhythm. His transition to screenwriting was driven by a desire to produce his own work rather than waiting for acting roles, beginning with A Star Is Born.
Dialogue and Structure
The screenwriters discussed various aspects of crafting dialogue:
- Bradley Cooper described dialogue as "infectious" and emphasized the importance of pauses.
- Hikari observed a rhythmic quality in Cooper's film dialogue.
- Guillermo del Toro likened dialogue to music, noting its rhythmic flow. He applied this to Frankenstein, particularly in structuring the Creature's developing intelligence through specific word choices.
- Clint Bentley stated that while dialogue is often enjoyable, he seeks ways to reduce its reliance, believing the film itself can convey much without explicit lines. He drew inspiration from the natural speech patterns of individuals without formal education.
- Will Tracy discussed elevating conversation in contained settings, noting his approach of playing emotional reality straight to allow comedy to emerge.
- Noah Oppenheim detailed how his film A House of Dynamite depicted characters in a crisis performing their jobs with a "matter-of-fact nonchalance," reflecting real-world accounts of professionals rehearsing extreme scenarios.
Personal Themes and Grief
Several writers integrated personal experiences into their work:
- Hikari's Rental Family was inspired by her childhood experiences involving her mother's fabricated story about her father's death, exploring themes of identity and truth.
- Clint Bentley's Train Dreams was developed after the loss of both his parents, aiming to portray the lasting impact of grief and the coexistence of sorrow and joy.
- Guillermo del Toro's Frankenstein was a project he had contemplated since age 11. He described how the deaths of his parents, particularly his mother, influenced the film's ending and the Creature's acceptance of grace amidst pain. He also noted how his perspective on the character of Victor Frankenstein evolved over time to embrace imperfection.
Creative Process and Writer's Block
The roundtable addressed challenges in the writing process:
- Will Tracy cited the "infinite number of possibilities" as a source of being stuck, fearing making a wrong structural choice early in the process.
- Noah Oppenheim described "surfing through" discomfort during dry spells, allowing ideas to form during unrelated activities. For A House of Dynamite, he approached it as a "math equation," building the non-linear structure brick by brick.
- Bradley Cooper distinguished writer's block from procrastination, noting a preference for composing while prone, inspired by Leonard Bernstein. He allowed improvisation when the script had been thoroughly developed.
- Guillermo del Toro found reading dialogue aloud useful for identifying structural weaknesses, especially for historical dialogue. He also mentioned an anecdote about Idris Elba's approach to learning lines.
Writing Environment and Tools
- Writing Location: Most writers, including Bradley Cooper, Clint Bentley, Will Tracy, and Hikari, preferred working on a sofa or in bed. Guillermo del Toro explicitly avoids writing at a desk, while Noah Oppenheim prefers a desk.
- Tools: All confirmed using modern digital tools, with Hikari occasionally writing dialogue on her phone and Bradley Cooper using Final Draft on his phone. No one reported using a typewriter.
- Silence vs. Noise: Noah Oppenheim and Hikari required total silence. Bradley Cooper listened to a sports show, and Will Tracy preferred music. Guillermo del Toro created specific music playlists for his screenplays. Clint Bentley could work with or without silence but avoided music due to its potential influence.
Influential Scripts
The writers shared films and scripts they admired:
- Will Tracy cited Ari Aster's Eddington for its bold decision to tackle the early COVID-19 period.
- Bradley Cooper mentioned One Battle After Another for its handling of time progression.
- Guillermo del Toro praised No Other Choice (based on Donald Westlake's The Ax) for its blend of horror and humor, and Weapons for its structural innovation. He also admired Frankenheimer's The Train.
- Clint Bentley named Sentimental Value and The Curious Case of Benjamin Button for its structure.
- Hikari expressed admiration for Yorgos Lanthimos's The Favorite and director Park Chan-Wook.
- Noah Oppenheim commended Train Dreams and Sinners for taking "big swings on original" ideas. He also cited Dr. Strangelove.
- Bradley Cooper referenced Beverly Hills Cop for its blend of comedy and drama.