How Jenna Ortega and Paul Rudd Bring Unicorn Magic to A24’s Latest Creature Feature

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Alex Scharfman, the director of “Death of a Unicorn”, acknowledges his good fortune in having his first feature film produced by A24, starring Paul Rudd and Jenna Ortega. However, he’s earned this opportunity through years of hard work, primarily as a producer, and honing his screenwriting skills. Along the way, Rudd, through their shared manager, became aware of Scharfman’s script titled “The Cats of Baxley“, which was in the possession of Seth Rogen and Evan Goldberg’s Point Grey at that time. This led to Rudd subtly urging Scharfman to write a role for him, which eventually evolved into “Death of a Unicorn”.

The story primarily revolves around Elliot (Rudd) and his daughter Ridley Kintner (Jenna Ortega), who are traveling to a secluded mountain lodge owned by Elliot’s employer, the Leopolds. On their way, they unintentionally hit a young unicorn with their rental car. The Leopold family, being involved in pharmaceuticals, quickly realize the healing potential of this creature and the substantial profit it could bring.

The main characters are Elliot (Rudd) and his daughter Ridley Kintner (Jenna Ortega). They accidentally hit a young unicorn while driving to a mountain lodge owned by Elliot’s boss, the Leopolds. The Leopold family, who are in the pharmaceutical business, see that the unicorn can be healed and could make them a lot of money.

Scharfman started casting Ortega just as her blockbuster Netflix show, Wednesday, took off, skyrocketing her career to new heights in the entertainment world.

“I sent ‘Death of a Unicorn’ to her over the weekend prior to its premiere in November 2022. Honestly, I don’t know what we would have done if we hadn’t landed Jenna for this role. It’s a tough part, but she nails it perfectly.”

After and following his college years, Scharfman worked for co-founder Lars Knudsen at the production company Parts & Labor Films which they established together. Later on, Knudsen started Square Peg with Ari Aster, and this production house contributed to the creation of “Death of a Unicorn“. Interestingly, while working at Parts & Labor, Scharfman had the opportunity to observe Robert Eggers completing “The Witch” and developing initial drafts of “Nosferatu“. As a result, the intricate unicorn lore in “Death of a Unicorn” reflects Scharfman’s adoption of Eggers’ meticulous research approach.

Scharfman mentions, ‘I wasn’t his official research partner, but merely being in proximity to his research, reading his work, and witnessing the trajectory of his ideas was astonishing. It’s truly amazing how deeply rooted he is in research.’ This encounter served as a profound insight for him, shaping the overall philosophical approach during the initial stages of crafting this narrative. I decided that [Death of a Unicorn] would be a contemporary adaptation of ancient unicorn folklore, reimagined as a monster movie.’

In a recent chat with THR, Scharfman delved into the pertinent themes of “Death of a Unicorn” and shared reasons behind John Carpenter not contributing to its soundtrack.

During a discussion with THR, Scharfman touched upon the timely aspects of “Death of a Unicorn” as well as explaining why John Carpenter didn’t create the movie’s music score.

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Reminiscing about my high school days, I was reminded of the incident when our basketball team’s bus collided with a Clydesdale horse on the return from an away game. This event echoes in my mind much like the title, “A Tale of the Fallen Unicorn.” Was a similar wildlife encounter the inspiration behind creating this movie for you?

I’m fortunate to report that I’ve never been in a real collision with a wild animal while driving. There have been instances where I’ve suddenly come across a bear on the road and had to veer off course to avoid it. Driving through national parks also offers unique experiences, like unexpected encounters with buffaloes and other large animals that always leave me amazed by their size. However, I’m grateful that I haven’t experienced an accident involving these creatures.

Why was “Death of a Unicorn” chosen as your first directorial project, seeing that you’ve been producing for over 15 years and have written numerous other scripts? What made “Unicorn” stand out among all these projects?

The project developed naturally over time. I’ve collaborated with several directors on various scripts, but a few years ago, I encountered a script that resonated deeply within me, as it delved into more personal topics and questions. It was the first time I felt compelled to take up directing. Though I’ve been involved in producing, screenwriting, and working closely with directors, I had never felt an urgent desire to direct. However, the script I felt should be mine proved too ambitious for a debut feature film. Yet, it sparked an idea that persisted.

As a passionate gamer, I found myself immersed in an intriguing concept for a film. It sparked within me, and I started delving deeper into its potential. I soon discovered that it was grand enough to warrant the immersive experience of a theatrical movie, a chance to recreate the magic of those films that ignited my passion for cinema during my youth. This prospect was thrilling, like diving headfirst into the waters of those iconic productions and attempting to create on a scale I’d only admired from afar.

“I’ve been diving deep into the mystical world of unicorns, and it turns out that all those fascinating details I’ve been incorporating came from my years of observing Rob Eggers while working together in a production company. Fascinating, isn’t it?”

Absolutely, my approach leans towards extensive research and amassing a substantial body of knowledge. For several years, I served as an executive at a film production company named Parts & Labor Films, which was behind the critically acclaimed movie The Witch. Following its success, they began developing some of Robert Eggers’ subsequent projects, such as Nosferatu. It was during this period that the initial drafts for these films were penned. My role at Parts & Labor Films encompassed work on The Witch, particularly in post-production and additional photography, as well as handling distribution and sales aspects.

The office space housed Black Philip horns and a collection of Robert Eggers’ research books. While I wasn’t his dedicated research assistant, being surrounded by these materials, reading his scripts, and observing the direction of his creative process provided an enlightening insight into his meticulous approach to research. This experience significantly influenced my perspective during the initial stages of conceptualizing this story. I was determined to create a contemporary retelling of ancient unicorn mythology for our modern monster movie adaptation.

Did you write Death of a Unicorn with A24 in mind?

I didn’t specifically create the piece with them in mind, but I admire their style as a company. The writing was inspired by something that would have been my favorite movie back when I was young. I had myself as the target audience in mind while writing. To give you an idea, it was like writing a script for someone who religiously watched ‘The Making of Aliens’ every weekend. As for A24, they had previously shown interest in some of my other projects and scripts at various stages. They were intrigued by what I was working on, and fortunately, they expressed immediate interest in optioning it after reading it. They also wanted to help me make this my directorial debut. By the weekend, they had already shown their intention to be involved, and by Monday, they had put an option offer on the table. The whole process happened quite swiftly compared to our past discussions about other projects and scripts, but I had always known that they appreciated my work.

What was Ari Aster’s role in all this?

Ari’s long-time business associate, Lars Knudsen, is someone I’ve been acquainted with since my late teens. During college, I interned under Lars and later worked for him at Parts & Labor. After that, Ari and Lars established Square Peg, their current venture, which I eventually joined thanks to our extended relationship. Tyler Campellone, who also works with them at Square Peg, was also part of the team. Prior to directing for the first time, Ari and I were already socially acquainted, and he graciously offered some advice on directing.

First, Paul read your story ‘The Cats of Baxley’. His praise inspired you to pen ‘Unicorn’ especially for him. Subsequently, incorporating Jenna Ortega into the mix – given that she currently has numerous opportunities at her disposal – how difficult was that process?

Sending the email was straightforward; you simply draft a message and dispatch it with the hope that she comprehends your intention and is intrigued by it. I believe we sent it over the weekend before her movie, Ridley, premiered in November 2022. It was quite nerve-wracking because there’s a lot at stake for the character of Ridley. She serves as a means to convey information, but she is also the emotional core of the film. The audience experiences everything through her perspective. She is the only sane person amidst the madness; everyone else seems insane to her. Paul’s character, Elliot, also perceives this insanity, but he tries to ignore it because he wants something from these seemingly crazy individuals.

I can’t help but wonder how we would have navigated if Jenna hadn’t joined us. Her portrayal of this challenging role is nothing short of extraordinary. Coordinating schedules wasn’t necessarily a struggle because things seemed to fall into place quite effortlessly, but there was always that delicate balancing act of figuring out the logistics. However, from our very first encounter, there was an amazing energy that resonated, and she truly embodied the character. Furthermore, she grasped both the genre and story aspects I intended, and her collaboration and performance were simply outstanding.

It appears that both unicorns and the cats of Baxley hold your attention, especially when it comes to understanding the negative effects of excessive greed. Can I inquire if you believe that the Ridleys have a chance at turning things around?

As a gamer, I’ve learned that in the game of life, greed is an obstacle we all face and must find a way to overcome. A part of me wants to believe that optimism will prevail, but another part reminds me to open my eyes and see the reality around us. The last decade has been the warmest on record, a fact that can’t be ignored. I share this planet with all of you, and I want it to continue thriving for generations to come. I have a child, and I dream of a world where he can grow up without fear of environmental catastrophe or moral decay. So, I call upon the visionaries like Ridley, to unite us, inspire us, and lead us towards a brighter future. If we are to make a change, it must be a generational shift – one that moves away from self-interest and towards collective progress, a change in mentality that has been long overdue.

Do you suppose that when a real-world family such as the Leopolds watches a movie with themes similar to those in Unicorn, they might experience a moment of introspection and wonder, “Could we be the antagonists?”

The movie seems reminiscent of the popular “Euphoria” meme, “Wait, is this story about us?” This film delves into the self-deceptive narratives we construct to rationalize our actions. For instance, “I’m performing an immoral act for the sake of my loved ones; the end justifies the means.” I imagine that’s how the Leopold family might justify their actions: “Someone has to do it. If not me, then someone else. At least I’m furthering my own interests and benefiting my family.”

In simpler terms, the movie explores the lies people tell themselves to make their questionable actions seem acceptable.

Occasionally, I ponder over the possibility of any perspective other than a skeptical outlook, given individuals shaping the world for their personal gain. It’s intriguing to consider how people perceive themselves when they gaze into mirrors. Personally, I believe most people construct a story where they are the hero, striving to make a difference in the world. Yet, at times, one cannot help but observe the apathy and cynicism of some people, which seems to suggest, “Why bother? Do as you please.” This perspective, in its own twisted way, can be quite appealing. However, it’s a terribly dismal way to live.

It seems plausible that crafting even a single unicorn, let alone multiple ones, on a modest independent budget would have posed challenges. Given that Director of Photography (DP) Larry Fong has handled computer-generated (CG) aspects in the past, was he instrumental in helping to overcome these difficulties?

As a gamer, I found Larry to be an essential partner throughout our project. I was in dire need of mapping out every scene and visualizing the entire movie sequence. The way it goes, you can’t even get the green light for a project until you have a budget, and you can’t secure a budget unless you have a bid for the Visual Effects (VFX). However, you can’t submit a bid for VFX until you know how many scenes there are. And you can’t determine how many scenes or what their scope is without first creating a shotlist and storyboard.

To create a film of this kind, it was essential to meticulously pre-plan each scene, distinguishing between shots using puppets, VFX, or hybrid techniques. You devise a strategy, strive for excellence in its execution, and then adapt the plan as your team members contribute their unique expertise. Larry played a crucial role in this process, particularly in the area of lighting design. While I’ve worked on many film sets, my experience with cinematography is limited since college days. Consequently, Larry was pivotal in the practical implementation and would suggest ideas like, “We should intensify single-source moonlight for this shot. This will help keep the creature more defined by silhouette.

Although Clueless premiered in 1995, Paul’s first film he directed was Halloween: The Curse of Michael Myers. This movie’s music was famously composed by John Carpenter. Was there a sort of reunion happening with these creators on this project?

Indeed, it was initially planned that John would compose the film’s music, given his significant impact on my cinematic journey, particularly for this specific project, where he holds a special place as an inspiration. I reached out to him with the script and a letter expressing my interest, and he humbly accepted the offer. As production progressed, it became apparent that the film required a distinct sound palette compared to John’s usual synth, guitar, and drum-oriented compositions. The movie seemed to demand a more organic sound and diverse soundscape instead. This led us to consider how we could create an atmosphere that aligns with the film’s needs while still preserving John’s unique storytelling style. Although the final score might differ from his typical work, you can undeniably see his influence in certain moments, especially those reminiscent of Carpenter’s signature sound that I admire deeply.

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Death of a Unicorn is now playing in movie theaters.

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2025-03-29 01:25