{"version":"1.0","type":"rich","provider_name":"Acast","provider_url":"https://acast.com","height":250,"width":700,"html":"<iframe src=\"https://embed.acast.com/$/67c9aea877bd2911248357a5/67c9aec902d588df94c44878?\" frameBorder=\"0\" width=\"700\" height=\"250\"></iframe>","title":"Contact with James V. Hart","description":"<p>Our guest this week is James V. Hart, whose screenwriting talents have seen him enlisted to pen scripts for everyone from Steven Spielberg to Francis Ford Coppola. There&apos;s one movie in his extensive filmography that he looks back on with particular pride and emotion, however. Contact – the Robert Zemeckis-directed story of a scientist played by Jodie Foster, who discovers proof of extraterrestrial life – was a novel before James adapted it into one of the most celebrated sci-fi dramas of all time. The book was written by renowned astronomer Carl Sagan – a close personal friend of James&apos;. Carl sadly didn&apos;t live to see the film&apos;s completion, passing away after a long illness just months before Contact&apos;s release.<br/><br/>James looks back on the movie today as a tribute to his friend and the astronomer&apos;s brilliant partner, author Ann Druyan, both of whom he worked with closely while adapting Contact. It was a tricky screenplay to get right. As you&apos;ll discover in this episode, the book was a dense meditation on what would happen if contact were made with life from another planet – the ripples it would send through politics, through religion, and everything in between. It was a book rooted, as anyone who knows Carl&apos;s work might expect, in scientific fact. Translating the novel into a piece of blockbuster entertainment without losing any of the book&apos;s authority and spirit of scientific discovery, in a time dominated by the explosions and spectacle of alien movies like Independence Day, was a daunting task. <br/><br/>This is the story of how James pulled it off. Over an engrossing sixty minutes, we reflect on the movies that Contact helped inspire, a version of the script that included the Pope as a major character, and why James is not satisfied with the film&apos;s ending. Truly, they should have sent a poet to interview James. Instead, you guys have Al. Sorry about that.<br/><br/>Support for this episode comes from <a href='http://www.mubi.com/scriptapart'>MUBI</a>, <a href='http://www.screencraft.org'>Screencraft</a> and <a href='https://tblaunchpad.com/'>Launchpad</a>.<br/><br/>Script Apart is a podcast about the first-draft secrets behind great movies. Each episode, the screenwriter behind a beloved film shares with us their initial screenplay for that movie. We then talk through what changed, what didn’t and why on its journey to the big screen. </p><p>Script Apart is hosted by <a href='http://www.al-horner.com/'>Al Horner</a> and produced by <a href='http://www.kamildymek.com/'>Kamil Dymek</a>, with music from Stefan Bindley-Taylor. Follow us on <a href='http://www.twitter.com/scriptapart'>Twitter</a> and <a href='http://instagram.com/scriptapart'>Instagram</a>, or email us on thescriptapartpodcast@gmail.com.<br/><br/>Get a free digital copy of the Script Apart Magazine by supporting us on <a href='http://www.patreon.com/scriptapart'>Patreon</a>! 50 pages of interviews with screenwriters, including exclusive conversations you won&apos;t find anywhere else. You can also now support the show on <a href='http://www.ko-fi.com/scriptapart'>Ko-Fi</a>.</p><p><a rel=\"payment\" href=\"https://patreon.com/scriptapart\">Support the show</a></p>","author_name":"Script Apart"}