{"id":1856,"date":"2025-10-06T13:16:47","date_gmt":"2025-10-06T13:16:47","guid":{"rendered":"https:\/\/filmfreeway.com\/articles\/?p=1856"},"modified":"2025-10-06T13:16:54","modified_gmt":"2025-10-06T13:16:54","slug":"nora-garrett-after-the-hunt-screenwriter-interview","status":"publish","type":"post","link":"https:\/\/filmfreeway.com\/articles\/nora-garrett-after-the-hunt-screenwriter-interview\/","title":{"rendered":"How Nora Garrett Went From Personal Assistant to \u2018After the Hunt\u2019 Screenwriter"},"content":{"rendered":"\n

As Nora Garrett tells us, her dad calls her an \u201covernight success\u202610 years in the making.\u201d<\/p>\n\n\n\n

After studying acting at New York University Tisch School of the Arts, the \u201cAfter the Hunt\u201d screenwriter did a little bit of everything in Los Angeles, working as a personal trainer, personal assistant, and actor. But her life changed forever once she sat down and penned a story about a Yale University professor confronting her past when a trusted colleague is accused of misconduct. What Garrett thought would be a spec script that might land her representation turned out to be something much bigger.\u00a0<\/p>\n\n\n\n

The material soon became a hot package within the industry. Producer Allan Mandelbaum (\u201cFair Play,\u201d \u201cIngrid Goes West\u201d) advocated<\/a> for the project with Imagine Entertainment and CAA, which in turn helped land Oscar-nominated director Luca Guadagnino and a star-studded cast that includes Julia Roberts, Andrew Garfield, Ayo Edebiri, and Michael Stuhlbarg. Suddenly, Garrett found herself premiering her debut film at the Venice Film Festival.<\/p>\n\n\n\n

\u201cI banged my head against a wall for so many years,\u201d Garrett says of finally breaking through. \u201cI do think there\u2019s a certain amount of people who hear my story and they are either very inspired\u2014\u2018It can happen\u2019\u2014or incredibly annoyed. [Laughs<\/em>] And, honestly, I understand both sides. I feel so incredibly lucky, and it\u2019s one of those wonderful surprises where sometimes what you think you want for yourself is actually not the right place for you to be, but this just feels like the right time and place.\u201d<\/p>\n\n\n\n

Here, Garrett shares the lessons she\u2019s learned and the advice she\u2019d give to aspiring writers.<\/p>\n\n\n\n

When you reflect back on this life-changing experience, where does your mind go first?<\/strong><\/h4>\n\n\n\n

It\u2019s been such a whirlwind. In my wildest dreams I never could have predicted this trajectory for my script. Looking back to the past version of myself, she has no idea what\u2019s about to happen. At the time of writing it, I thought: Best-case scenario, I\u2019ll use this as a spec script to get a manager. It\u2019s obviously a difficult subject matter\u2014a very talky script with a lot of intellectualism in it\u2014so it\u2019s not anything that anybody ever tells you to write, especially as someone who didn\u2019t have a full-length screenplay to their name.<\/p>\n\n\n\n

So where did the idea of \u201cAfter the Hunt\u201d come from?<\/strong><\/h4>\n\n\n\n

The genesis began with the character of Alma Imhoff [Roberts]. I was really interested in people who have power and wield power, as well as the emotional cost of power and success. What if there\u2019s this woman who has this secret, and encased around that secret is a lot of shame? And what happens if she really presses that down in order to become the person that she becomes? And does that compartmentalization actively fuel the desire to be so outwardly successful because inwardly she can\u2019t fully accept herself? And then what happens if there comes a point where that self-denial is deeply challenged?<\/p>\n\n\n\n

This being your first script, what was the writing process like?<\/strong><\/h4>\n\n\n\n

Looking back, I think it was a crystallization of themes that I\u2019ve been gestating on for a really long time\u2014because I had tried to explicate power dynamics and complicated female relationships in different forms, and this was sort of all of that in potentially the right type of container.\u00a0<\/p>\n\n\n\n

But I was actually writing the first draft when I was taking a class taught by [screenwriter] Tim Neenan, whose focus was structure and just getting through a draft. His philosophy is that getting the first draft done is the hardest part, and then once you have that, you can shape and mold. And I think that changed everything for me. It really got me out of my own head and let me follow the first impulse to the end of that impulse, even if I ended up changing it on the back end.<\/p>\n\n\n\n

\"\"
Ayo Edebiri in \u201cAfter the Hunt\u201d Credit: Yannis Drakoulidis
<\/em><\/figcaption><\/figure>\n\n\n\n

Having written this script on your own, what was the experience like when Luca came into the mix?<\/strong><\/h4>\n\n\n\n

Luca coming on was something that I thought was never going to happen. When Imagine Entertainment got involved, Luca was at the very top of the list for directors, and I thought maybe we\u2019d get into his inbox and that would be it\u2014and I would have considered that a victory. But when his schedule opened up and he was interested, our first meeting was at Chateau Marmont in Hollywood, where I used to work as a hostess. So my old manager was standing a couple feet away from me having this meeting with Luca Guadagnino. He was like, \u201cWhy is the girl who used to play crossword puzzles at 1:00 a.m. at the host stand here?\u201d [Laughs<\/em>]\u00a0<\/p>\n\n\n\n

So that was a very surreal, out-of-body experience. I was constantly expecting this to fall apart, because I was trying not to get ahead of myself. But Luca has so much confidence, and he moves so swiftly and knows exactly what he wants. And that\u2019s such a gift as a writer to have someone who gives you very specific notes that come from his deep understanding of cinema and the language of cinema. I felt so lucky that he wanted to bring all of that to bear on this.\u00a0<\/p>\n\n\n\n

With Luca and this cast, you\u2019ve really set the bar high out of the gate.<\/strong><\/h4>\n\n\n\n

I was telling one of my friends: Is this the equivalent of peaking in high school? Like, what am I gonna do next?\u00a0<\/p>\n\n\n\n

Speaking of, what lessons did you learn on \u201cAfter the Hunt\u201d that you\u2019ll carry onto the next project?<\/strong><\/h4>\n\n\n\n

Because Luca moved so quickly, and we had rehearsals and rewrites, I learned how to write under pressure and to trust the fact that I knew what I had created. Also, Julia Roberts was instrumental in showing me where things could get cut. I wrote these really long monologues, and you don\u2019t need that much text when you have someone as good as her. So she really taught me the autonomy of words.<\/p>\n\n\n\n

What advice would you give someone who is looking to break through like you did?<\/strong><\/h4>\n\n\n\n

For a long time, I had a very pedantic notion of what being an artist meant. I had this fantasy that I\u2019m going to wake up at 5:00 a.m. every morning, write for two hours, and then I\u2019ll go to work. And that just never worked for me. My friend told me that sometimes you have to lower the bar low enough so that you can get over it.\u00a0<\/p>\n\n\n\n

So if you can write 10 minutes a day, write 10 minutes a day, and you\u2019ll probably end up writing for two hours. But if you tell yourself you\u2019re going to write for two hours and then you only write 15 minutes because life gets in the way, you\u2019re gonna feel like crap about yourself. Then that makes it much harder to pick it up the next day. I need the bite-size structure of small, measurable goals; otherwise the task just feels way too daunting. And don\u2019t let \u201cgreat\u201d be the enemy of \u201cgood,\u201d especially when it comes to first drafts. Get it out, and then it can become great through shaping.<\/p>\n\n\n\n

This interview has been edited for clarity and length.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

The first-time writer shares how her spec script became a star-studded Venice premiere.<\/p>\n","protected":false},"author":75,"featured_media":1858,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[45],"tags":[],"class_list":["post-1856","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles"],"acf":[],"yoast_head":"\nFrom Personal Assistant to Venice Film Festival: Nora Garrett\u2019s Screenwriting Breakthrough<\/title>\n<meta name=\"description\" content=\"After years of working odd jobs in L.A., Nora Garrett wrote a spec script about power and misconduct that became \u201cAfter the Hunt,\u201d starring Julia Roberts and directed by Luca Guadagnino. 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