About 30 years ago, something changed in Hollywood. Big blockbuster movies by top-notch filmmakers were no longer the clear-cut favorites to win Academy Awards. Small films were breaking through the surface and gaining appeal among a wide audience. Suddenly, filmmakers like Steven Soderbergh, the Coen Brothers and Kevin Smith, whose films’ budgets were miniscule compared to studio feature films, were finding niche audiences and building box office credibility.

It was the Indie boom. People wondered what rising filmmaker they’d catch out of Sundance or which obscure film they could brag about seeing over the weekend.

Major studios created or acquired independent subsidiaries to compete…but many went away or shrank.

But there is still a thriving independent film market with companies like A24 and Neon leading the pack, both of which had big splashes at the Oscars this year with Best Picture winner Anora (Neon) and The Brutalist (A24). With the original and inspiring films coming from these studios, independent cinema is shining once again.

Opus: An A24 Feel

That bring us to Opus, a new film by A24 about a young journalist invited to the compound of a legendary 90s pop icon who has been hiding for almost 30 years. On this epic journey, Ariel (Ayo Edebiri) travels along with a handful of other journalists to hear the highly-anticipated new album by Alfred Moretti (John Malkovich).

But things take an A24 turn when Ariel arrives and notices that things aren’t quite what they appear to be. They are surrounded by Moretti’s sycophants and the routines and lifestyle have all the hallmarks of a cult. And yet, everyone Ariel arrives with seems happy to play along and enjoy the experience of being near Moretti. The more she uses her journalistic instincts and investigates, the darker things become.

That A24 turn is all about putting a character into a strange position that becomes a me vs. the world type scenario - this isn’t true for all A24 but it does show up a lot, such as Academy Award winning films like Everything Everywhere All At Once (another Oscar winner) that places that main character into a strange world they must navigate.

Here are 5 lessons screenwriters can take away from Opus and how to work toward creating a compelling narrative that’s independent to the core, but can bring stellar actors like Ayo Edebiri, John Malkovich and Julliette Lewis to work for a first-time writer/director like Mark Anthony Green.

Ayo Edebiri in 'Opus'

1. Ariel’s Reality

At the beginning of Opus, we get an idea of who Ariel is. She pitches an idea for an article in a board meeting only to have the editor give it to someone else. Then she’s at lunch with a friend who gives her a reality check: there’s nothing special about her. Ariel grew up in a middle-class family with no familial problems. She is well-educated, has a good job and gets along in life just fine. Basically, she has no experiences and that really bothers her. This is a great move by Green because this is something that many can relate to. Most people have a decent existence and strive to do something spectacular, only to go about their day-to-day life not changing anything.

In Opus, Ariel gets what she wishes for and gets her chance to write about something extraordinary from personal experience – if she can survive.

2. The No Phone Trope

It’s hard to disconnect these days and filmmakers know that this level of communication can help solve a lot of problems. What writers must figure out, if the story calls for it, is how to either manage the use of mobile devices or get rid of them altogether.

In Opus, once the bus bringing the selected guests arrives at Moretti’s compound, the group must surrender their phones, cutting them off from the outside world. Audiences know this is a bad idea, like when someone decides to run up the stairs away from the serial killer, instead of out of the house.

Lots of movies provide examples of this trope including Blink Twice, where guests must also give up phones, to Heretic (another A24 film) where two Mormon missionaries enter a house with metal in the roof and the walls to prevent cell service.

It’s not impossible to make a modern-day movie without phones, but writers must find creative ways to do it.

3. Building Anticipation

Moretti was iconic – think Taylor Swift but bigger. He had loyal fans who worshipped him so much that just a phone call could get people to drop everything in their life and follow him, as relayed in a story told by one of his followers. The thing is, no one knows why he disappeared for nearly 30 years.

The journey for the visitors involves flying on a private jet then hopping on a bus for a four hour ride to a desert compound. The audience doesn’t know what to expect so the anticipation is high. Even after the group enters the compound and joins the residents for dinner, we still don’t know what’s going on. Everything seems to be normal enough, yet we see things from Ariel’s perspective and she feels something is not right.

Opus is great at showing screenwriters how to consistently build anticipation, which has more to do with curiosity and less with tension.

Juliette Lewis, John Malkovich, Murray Bartlett, Stephanie Suganami, Melissa Chambers, and Ayo Edebiri in 'Opus'

4. Moretti: Character Introduction

Actors want to say great lines. The first time they appear on screen, they want to make an impact. This means when they read the script, those first lines matter when courting talent. When you watch movies, think about the first time a lead actor appears. What do they say? And how do they say it? Rarely will it be a cordial, “Hello.”

In Opus, Moretti’s entrance shows his importance to his minions, and it’s the first time that the six invited guests see him up close and personal. Moretti then regales his people with a tale about when Muhammad Ali and Chuck Norris had an alpha male competition in front of him. It’s a strange story, almost like a joke, that has more relevance in the 1990s than modern day. But it’s an introduction that affords Malkovich to command the screen for several minutes and introduce who his character is.

Ayo Edebiri and Juliette Lewis s in 'Opus'

5. A24: Different and Original

When you watch an A24 film, you’re in for something original. You may not always like it or even understand it, but the filmmakers A24 promote have a unique vision and have new and exciting ways to tell a story.

From the 3.5 hour The Brutalist to I Saw the TV Glow to Opus, A24 is all about swinging for the fences. Screenwriters often struggle between art and entertainment, characters vs plot, and wondering if it’s worth taking the time to write something truly personal – the answer is to always go for something different and original, but make sure you’re telling the story you want to share with the world.